Page 86 - ARTE!Brasileiros #60

ENGLISH VERSION FOR FREEDOM

the worker. He knew he was stepping into At the turn of the 1970s, José Claudio Nara Roesler has for the artist. “I owe my
a minefield because he knew the famous produced the series Histórias de um work as a gallery owner to José Cláudio. His
phrase of Pernambuco’s modernism: Carimbo and developed an instigating work touched me deeply and awakened in
“regional as an option, regional as a prison”. “artist’s book”, in which he mixed his work me the desire to be like a translator for the
The work of the Mexican muralist Rivera process, stamps, drawings, magazine artist”, says Nara.
was also an inspiration for the group that clippings, paintings, collages and texts. A With it, the gallery owner says she learned
is already starting to make public art. For work that bothers for creating a pact with to look at the simple things of everyday life.
Aracy, José Claudio was born to paint at the reader, suppressing interlocutors. See the beauty of the colorful clothes that
the Ateliê Coletivo, when he was a young Continuing with the feat of arriving at a the washerwomen put to dry on the banks
man and enthusiastic about the artistic multiple and singular work, in 1975 José of the streams, the rays of sun between
atmosphere of the place. As the artist has Claudio accepted the invitation of his friend the leaves and the dance of the coconut
already repeated in several interviews, he scientist and musical composer Paulo trees. The taste of ripe mango and the smell
considers the Ateliê a turning point in the Vanzolini, director of the Museum of Zoology of cashew, the sunset skies in Olinda and
history of Pernambuco’s painting. at USP, to make a trip from Manaus to Porto all the beauty contained in life. “So, this
Motivated by a renewing impulse, José Velho, aboard the garb, a laboratory boat. exhibition is a tribute to the 90 years of my
Claudio was looking forward to the life of For this endeavor, he once again has the master, this talented artist who taught me
an artist and, when he settled in Salvador, support of Renato Magalhães Gouveia, a so much”, concludes Nara.
from 1953 to 1954, and met Mario Cravo gallery owner and friend, who gives him a
Júnior, Jenner Augusto, Carybé and their roll of dozens of meters of canvas. EXHIBITION SÃO PAULO [PAGES 58 And 59]
works, he changed his life. A restless spirit, This expedition resulted in a collection
the artist then goes to São Paulo where he of 170,000 species for the collection of the AFTER ALL
works as an assistant to Di Cavalcanti and São Paulo museum and, for the arts, around The critic, professor and curator makes an
attends the Escola de Artesanato do mAm 100 canvases inspired by vegetation, fauna, analysis of the work of Germana Monte-
SP, under the guidance of Lívio Abramo. local community (ribeirinhos) and everything Mór, who until November 5th presents, at
Galeria Estação, about 25 paintings, made
José Cláudio’s relationship with the else he managed to capture on each day of during the pandemic
city of São Paulo goes back a long way. travel, including the dishes they tried. José
Aracy highlights the period in which he Claudio was commissioned by Vanzolini By rodriGo nAVES
collaborated with the Literary Supplement to write a diary that resulted in a detailed
from the newspaper O Estado de S.Paulo, report, transformed into the book José germana monte-mór’s first Drawings
under the guidance of Arnaldo Pedroso Claudio da Silva – 100 Telas, 60 Dias & um — made in the late 1980s and early 1990s
D’Horta. The work of the young José Claudio, Diário de Viagem: Amazonas (1975). — looked like real bruises. The artist
at that moment, is at the same time on the When he returns to Recife, his work is avoided the explicit presence of a work
border of some art movements that he does flooded with colors and sunlight that bathes that ordered the asphalt over the paper
not ignore and in the technique developed the city, with some canvases showing surface. Everything happened as if an initial
by him with original gestures. scenes from the carnival. In this moment of blow was followed by movements that were
At this time, the delicate designer emerges, tonal freedom, the work Zé Pereira appears, independent of her will. So her drawings
attentive to the ink line that, according to an allusion to the group that drags revelers also had the appearance of something
Aracy, surprises in the discipline assumed in through the streets of the city, with its huge made from the inside out. As much as the
his observation of exhibitions and biennials. puppet that turns 100 years old. material with which she drew had a rough
The works show a certain influence from the Nu is a genre of painting that is born in the and ostensible consistency, her treatment
work of Lívio Abramo, Grassmann, or from academy. José Claudio makes a series with led more to a revelation of the capillarity
the linear, almost abstract, abstraction of naked women he met in brothels in the city. of the paper than to the construction of
Pedroso d’Horta. Aracy says that the purpose of these visits figures that stabilize the area in which they
At the insistence of friends, the artist was to paint the characters who worked appeared. The shapes we saw were the
applies for and is accepted at the 4th there, and each of these paintings bears precarious configuration of a movement
Bienal de São Paulo, in 1957, he receives the name of the girl portrayed. Still from that tended to continue expansion.
the Acquisition Prize, in addition to a this period, he pays homage to his wife with Subsequently, her drawings acquired
scholarship from the Rotellini Foundation, the painting Retrato de Leonice (1971), and greater definition and incorporated areas
in Italy, where he lives for a year and travels eight years later immortalizes his gallerist of color. The asphalt areas thickened and
to several countries. This was the first of friend in the canvas Nara. began to differentiate, more intensely,
a sequence of his participation in the São In the 1980s, José Claudio delves into the from the other regions of the design.
Paulo event, in which he took part in the universe of Almeida Júnior, reinterpreting However, much of that formal instability
5th, 6th, 7th and 18th editions. the paintings O Inoportuno (1898) , Descanso remained, along with the counterpoint
In the 1960s, among various poetic da Modelo (1882) and Saudade (1899), in with the color regions and reliefs. The
experiments, the series of ink stamps which he portrays a girl dressed in black even more aggressive presence of the
on paper was born. “These abstract reading a letter. In Zé Claudio’s version, the asphalt was accentuated by the irregularity
compositions with a rich diversity of pure woman is also naked reading the letter. In of its contours, by the organic aspect of
graphic poetry lasted from 1968 to 1969”, these works, the artist from Pernambuco its configuration. With their inconstancy,
comments Aracy. The book Carimbos – practically eliminates the depth of the they were not able to contain the mass they
José Cláudio mentions the correspondence pictorial plane and simplifies the shapes circumscribed. A kind of surface tension
between the artist and Walter Zanini about with a geometric tendency. was then created, ready to give way. This
the concepts of this experience and the So many curiosities permeate this movement was intensified in the drawings
critic’s praise of his work. exhibition motivated by the respect that exhibited in 1998, since then, in the same
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