Antonio Henrique Amaral

Antonio Henrique Amaral (São Paulo 1935, São Paulo 2015)

Antonio Henrique Amaral was a painter, engraver, and draftsman. He began his artistic training in 1952 at the School of the São Paulo Museum of Art Assis Chateaubriand (MASP), under the guidance of Sambonet (1924–1995). In 1956, he furthered his studies in printmaking with Lívio Abramo (1903–1992) at the São Paulo Museum of Modern Art (MAM/SP). In 1958, he traveled to Argentina and Chile, where he exhibited his works and met the poet Pablo Neruda (1904–1973).

In 1959, he traveled to the United States, where he studied printmaking at the Pratt Graphics Center in New York. Upon returning to Brazil in 1960, he worked as an assistant at the Bonino Gallery in Rio de Janeiro and met important figures in Brazilian art, such as Ivan Serpa (1923–1973), Candido Portinari (1903–1962), Antonio Bandeira (1922–1967), Djanira (1914–1979), and Oswaldo Goeldi (1895–1961). Alongside his artistic career, he worked as an advertising copywriter.

Early in his career, he produced drawings and prints strongly influenced by surrealism. From the second half of the 1960s onward, his work began to incorporate a more incisive social critique, utilizing elements of popular printmaking and mass culture, and approaching the aesthetics of pop art. In 1967, he released the album of colored woodcuts "O Meu e o Seu" (Myself and Yours), with an introductory text by Ferreira Gullar (1930) and a cover by Rubens Martins, in which he denounced the authoritarianism prevailing in the country.

From this period on, he devoted himself primarily to painting. In 1971, he was awarded the Rio de Janeiro Salon of Modern Art's overseas travel prize, which took him back to New York. He returned to Brazil in 1981, continuing his artistic production.

Critical Commentary

Known primarily for the series of paintings about Bananas, created from 1968 to 1975, Antonio Henrique Amaral began his artistic career with drawing and printmaking. His apprenticeship with the engraver Lívio Abramo (1903-1992) was fundamental to his artistic development, as it taught him to impose discipline on his lines. From the master, he retains only the technique. His style, which already displays a considerable surrealist vein, is inspired by artists such as Roberto Matta (1911), Paul Klee (1879-1940), Joan Miró (1893-1983), among others, from whom he absorbs the balance between psychic automatism and formal rigor.

Political and cultural changes marked his work in the 1960s, which began to incorporate elements of popular printmaking and figuration drawn from mass culture, such as advertising and graffiti. Violence, sex, and politics are themes addressed through the recurring use of images of generals and mouths. From this period, the album of seven colored woodcuts "O Meu e o Seu" (Myself and Yours) (1967) stands out, in which it succinctly reveals the issue of the internalization of authoritarianism.

The search for symbols that evoke a situation, whose meanings are constructed and reiterated throughout their appearances, is a constant in Antonio Henrique Amaral's work. While he initially chose mouths and the figure of the general, also present in his early paintings from the mid-1960s, it is in the representation of the banana, or through it, that the artist manages to concentrate all his dissatisfaction with the historical moment. An inverted index of a national identity, the figure of the banana is depicted in various situations: alone and in bunches, pierced by ropes, knives, or forks, ripe, green, or rotten. As a metaphor, the banana refers both to the military dictatorship and to Brazil's position within the group of democratic countries, to "being" Brazilian at the time of the slogan "Brazil, love it or leave it", while at the same time resuming a modern tradition of representing the national character that begins with the banana tree in Tropical (1917), by Anita Malfatti (1889 - 1964), passing through the painting A Negra (1923), by Tarsila do Amaral (1886 - 1973), and Bananal (1927), by Lasar Segall (1891 - 1957). In his almost fantastical "hyperrealism," with photographic framing and an abundance of cross-sections and close-ups, Amaral also revisits a specific tradition of still life painting, including artists such as Albert Eckhout (ca. 1610 - ca. 1666) and Rufino Tamayo (1899-1991).

Over the years, Antonio Henrique Amaral uses other symbolic figures in his paintings, creating series based on forks, bamboo, enormous breasts and torsos, and stylized forests and cities. In rotation, these symbols acquire "new meanings based on the interconnection of phases and eras of his painting and the relationship of his work to the reality of the country and the world."1

Notes

1 Morais, Frederico. In: Antônio Henrique Amaral: obra em processo. São Paulo: DBA, 1997. p. 57.

Criticism

"At the time Amaral painted the bananas, they became an explicit symbol for the individual subjected to arbitrary acts, appearing tied and hung by ropes, or attacked and pierced with forks and other blunt instruments. Such was the vigor of this painting, such the effectiveness of the symbol, that Amaral came to be associated, as a painter, with bananas, just as Volpi with the flags, and Di Cavalcanti with the mulatas. Three inattentive and imprecise simplifications.

In Amaral's case, the reading of his work was stereotyped as a denunciation of a specific political and urban violence, to the detriment of even the appreciation of the pure pictorial phenomenon. (And yet, it is because of this, and not themes or engagements, that the quality and permanence of a work of art are established.) The banana It was a clue, yes, but it didn't exhaust the author's complexity and totality. The broad, all-encompassing Brazilianness has been somewhat forgotten, something he doesn't seek, strictly speaking, as an articulated project (in the manner, for example, of a Rubem Valentim), but which is found, by force, behind, or at the core of, his entire production. Less attention has been paid to canvases from the 1970s (during the period of exception, therefore) in which Amaral delves into other plant-based signs without a metaphorical urban interpretation: bamboo groves, cerrados, and/or super-enlarged details of stems, leaves, and thorns, resulting in a plant-like, impenetrable yet dynamic, wild, and Amazonian visual fabric.
Olívio Tavares de Araújo
AMARAL, Antonio Henrique. Amazônia "a mata" (The Forest). São Paulo: Memorial Gallery, 1992.

"Amaral occupies a prominent place in the history of 20th-century Brazilian art. His links with the Modernism of the past are obvious. His family associations with Tarsila do Amaral are far less significant than the aesthetic and creative affinities he shares with her work. On the one hand, Amaral is a master of the figurative, but at the same time, there is an element in him that connects him to the Constructivist impulse, so powerful in Brazilian art and in that of many other Latin American countries. (...) I have also mentioned Amaral's work in reference to the art of the heroic generation of Concrete and Neo-Concrete artists who flourished in the 1950s and 1960s. Some readers may be surprised by my insistence on this connection. Superficially, at least, Amaral's exuberant and colorful canvases and drawings seem to represent a sensibility quite distant from that of artists such as Clark, Pape, Franz Weissmann, Ivan Serpa, Rubem Valentim, Waldemar Cordeiro, and others. However, Constructivism is not far removed from the world of aesthetic themes addressed by Amaral. A close reading of his works always reveals a strong awareness of geometric form. The volumetric substance and weight vary considerably from one canvas to the next. However, one of the most consistent characteristics of Amaral's paintings is his interest in outlining and shading to create structures (both representational and non-objective) that appear to be interconnected with the forms that accompany them, creating an architectural whole within the canvas. (...)".
Edward J. Sullivan, 1993
SULLIVAN, Edward J., MILLIET, Maria Alice. Work in progress: Antonio Henrique Amaral. São Paulo: DBA, 1996.

"Before the canvas, the artist knows that it is not enough to reproduce or invent forms; his tension/intention exists because he is concerned with the sensory economy of images. Making visible means capturing the intensity of things and not taking the visible as the object of painting and representation as its end. This principle, enunciated by Klee, calls into question figurative art as mimesis, a simple copy of what is seen. The question immediately arises: could there be an art exclusively submissive to the world of appearances? Modern art sought to escape this submission by turning its back on the conventions that governed representation. In this escape, it took two paths: one, which radically refuses subordination to the referent, abstraction; the other, which moves toward the figure. When painting embraces the figure, it is the figural, not the figurative, that is realized.
The order of the figural (conceptualized by Lyotard) keeps the door open to desire, disordered, chaotic in its greed. for satisfaction. From this connivance arises all kinds of transgression: the deformation and deconstruction of the object, the rupture of narrative logic, nonsense, the subversion of pictorial space. These procedures are rebellious to any codification."
Maria Alice Milliet
MILLIET, Maria Alice. Front and back of the figure. In: SULLIVAN, Edward J., MILLIET, Maria Alice. Work in progress: Antonio Henrique Amaral. São Paulo: DBA, 1996. p. 82.

Testimonials

"When I was 25, or almost, I saw two stages of creation: one was the revelation of certain ideas through sketches. Those notes, the plans for the prints, that search for specific images that emerged in graphite on paper. Later, I realized that, as I executed, not only did the sketch change, but I also encountered the resistance of the material. My technical limitations—the paper, the ink, the brush, which I had to learn to use, the chisel I had to press into the wood—at that time, I thought there were two stages of creation: one emotional and the other technical; two stages of creativity. I revealed the images to myself. The next thing is that with the action of the material, these ideas underwent changes. These were recreations, and from there the definitive form resulted. (...)
When I was in my early 20s, my images were much more subjective than my contact with the objective world. They were those first drawings, figures monstrous. Then came the abstract forms, of an expressionist nature, the lyrical watercolors, etc. This was very much a reflection of my inner world, at a time when I was first very fantastical, surrealist, and then, in the 1950s and 1960s, abstract. I found it easy to express my inner world through this type of form, and with very loose drawing, without any concern for portraying objective reality. My work became frankly descriptive after the military coup of 1964. (...) I think that all artwork has a political relationship; artistic activity is a political activity. In my case, I became frankly explicit. I made a point of becoming almost pamphleteering. (...) (It's) the series of engravings of the military, the album Mine and Yours, and the whole sequence of satirical engravings, of a social nature, recording an anomalous situation we were experiencing. Then I began the banana phase. (...) My concern, even when I was making social satires was language. I was learning printmaking, watercolor, drawing, and starting to work with paint. I even painted these generals as well. Language is important, and we're always learning that. But there's also no way to make art without mastering the material used. (...) At 23, I dropped out of law school in my final year because I already knew I wasn't going to be a lawyer. I packed a suitcase with forty prints and went to Argentina, then Chile, where I had several exhibitions. In 1958, I had already exhibited at the MAM in São Paulo, and in 1959 I was exhibiting at the Pan-American Union Gallery in Washington. In New York, I studied printmaking for six months with the Japanese master Shiko Munakata. I did prints twelve hours a day, because I didn't know what else to do. (...) When I was 16, I studied at the Art Museum school with Roberto Sambonet. Encouraged by Marcelo Grassmann and Aldemir Martins, who looked at my drawings and told me to keep going; that was fundamental. And Picasso, who was the father of them all. Lívio Abramo was my first printmaking teacher, and later Shiko Munakata (...).
The album *My and Yours* signified color in printmaking and also the step I took, making a living from art. It was my act of love for art; it changed my life, after seven years working in advertising and public relations."
Antonio Henrique Amaral, 1986
ANTONIO HENRIQUE AMARAL. Work on paper, 30 years. Campinas: Museum of Contemporary Art, 1986.

Collections

Artistic-Cultural Collection of the Government Palaces of the State of São Paulo - São Paulo, SP
Archer M. Huntington Gallery, Texas University - Austin (United States)
Art Museum of the Americas - Washington, D.C. (United States)
Casa de Las Américas - Havana, Cuba
El Colegio de México - Mexico City (Mexico)
National Library Foundation - Rio de Janeiro, RJ
Institute of Modern Art - Santiago, Chile
Latin American Art Collection / Essex University - Essex (England)
Metropolitan Museum of Art - New York (United States)
Museum of American Art - Maldonado, Uruguay
Museum of Modern Art - Mexico City (Mexico)
Museum of Modern Art of Bogotá - Bogotá (Colombia) National Art Museum - La Paz (Bolivia) Rayo Museum - Roldanillo (Colombia) Brazilian Art Museum of the Armando Álvares Penteado Foundation - FAAP - São Paulo, SP Museum of Contemporary Art of the University of São Paulo - MAC/USP - São Paulo, SP Museum of Contemporary Art of Campinas - Campinas, SP Museum of Contemporary Art of Niterói - MAC/Niterói - Niterói, RJ Pampulha Art Museum - Belo Horizonte, MG Museum of Art of Paraná - Curitiba, PR Museum of Modern Art of São Paulo - MAM/SP - São Paulo, SP Museum of Modern Art of Rio de Janeiro - MAM/RJ - Rio de Janeiro, RJ National Museum of Fine Arts - MNBA - Rio de Janeiro RJ
Museum of Contemporary Art - Skopje (Macedonia)
Latin American Parliament - Latin American Memorial - São Paulo SP
São Paulo State Art Gallery - Pesp - São Paulo SP

Solo Exhibitions

1958 - Santiago (Chile) - Antonio Henrique Amaral: prints, at Universidad de Concepción
1958 - Santiago (Chile) - Antonio Henrique Amaral: prints, at Instituto de Arte Moderno de Chile
1958 - São Paulo SP - Antonio Henrique Amaral: prints, at MAM/SP
1959 - Washington (USA) - Solo exhibition, at Pan American Union
1960 - Rio de Janeiro RJ - Solo exhibition, at Petite Galerie
1960 - São Paulo SP - Solo exhibition, at Galeria Antigonovo
1963 - Buenos Aires (Argentina) - Solo exhibition, at Galeria Saber Vivir
1963 - São Paulo SP - Solo exhibition, at Galeria Mobilinea
1967 - São Paulo SP - Solo exhibition, at Galeria Astréia
1967 - São Paulo SP - Solo exhibition, at Galeria Mirante das Artes
1968 - São Paulo SP - Solo exhibition, at Associação dos Amigos do MAM/SP
1969 - Rio de Janeiro RJ - Solo exhibition, at Galeria do Hotel Copacabana Palace
1969 - São Paulo SP - Solo exhibition, at Galeria Astréia
1970 - Cochabamba (Bolivia) - Solo exhibition, at Centro Pedagógico Y Cultural Portales
1970 - La Paz (Bolivia) - Solo exhibition, at Galeria Círculo 3
1971 - London (UK) - Solo exhibition, at Elvaston Gallery
1971 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1971 - Washington (USA) - Solo exhibition, at Pan American Union
1972 - Brasília DF - Solo exhibition, at Galeria Oscar Seraphico
1972 - Geneva (Switzerland) - Solo exhibition, at Galerie du Théatre
1972 - São Paulo SP - Solo exhibition, at Galeria Alberto Bonfiglioli
1973 - Bogotá (Colombia) - Solo exhibition, at Galeria San Diego
1974 - New York (USA) - Solo exhibition, at Lee Ault & Co. Gallery
1975 - Birmingham (UK) - Solo exhibition, at Birmingham Museum of Art
1975 - Nashville (USA) - Solo exhibition, at Nashville Fine Arts Center
1975 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1975 - São Paulo SP - Solo exhibition, at Galeria Alberto Bonfiglioli
1976 - Mexico City (Mexico) - Solo exhibition, at Museo de Arte Moderno
1976 - San Salvador (El Salvador) - Solo exhibition, at Patronato Pró-Cultura
1976 - São Paulo SP - Solo exhibition, at Galeria Alberto Bonfiglioli
1977 - Porto Alegre RS - Solo exhibition, at Galeria Guignard
1977 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1978 - New York (USA) - Solo exhibition, at Lee Ault & Co. Gallery
1979 - Mexico City (Mexico) - Solo exhibition, at Juan Martín Gallery
1979 - New York (USA) - Solo exhibition, at Cayman Gallery
1979 - São Paulo SP - Solo exhibition, at Galeria Alberto Bonfiglioli
1980 - Miami (USA) - Solo exhibition, at Forma Gallery
1980 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1980 - São Paulo SP - Solo exhibition, at Galeria Luisa Strina
1981 - São Paulo SP - Solo exhibition, at Grifo Galeria de Arte
1983 - Caxias do Sul RS - Solo exhibition, at Galeria da Universidade de Caxias do Sul
1983 - Porto Alegre RS - Solo exhibition, at Galeria Tina Presser
1983 - São Paulo SP - Solo exhibition, at Galeria Alberto Bonfiglioli
1984 - Ottawa (Canada) - Solo exhibition, at National Arts Center
1985 - Porto Alegre RS - Solo exhibition, at Margs
1985 - Rio de Janeiro RJ - Solo exhibition, at Paço Imperial
1985 - São Paulo SP - Solo exhibition, at Galeria de Arte São Paulo
1986 - Campinas SP - Antonio Henrique Amaral: works on paper – 30 years, at MAC/Campinas and Galeria do Instituto de Artes da Unicamp
1986 - São Paulo SP - Antonio Henrique Amaral: works in progress 1956-1986, at MAM/SP
1986 - São Paulo SP - Antonio Henrique Amaral: works on paper, at Galeria Montesanti Roesler
1986 - São Paulo SP - Antonio Henrique Amaral: works on paper, at Galeria Montesanti Roesler
1987 - Rio de Janeiro RJ - Solo exhibition, at Montesanti Galleria
1987 - São Paulo SP - Solo exhibition, at Galeria Montesanti Roesler
1988 - Coral Gables (USA) - Antonio Henrique Amaral: paintings 1980-1988, at Opus Gallery
1988 - Miami (USA) - Antonio Henrique Amaral: paintings 1980-1988, at Opus Gallery
1989 - Coral Gables (USA) - Solo exhibition, at Elite Fine Arts Gallery
1991 - Los Angeles (USA) - Parallels and Divergence/One Heritage: two paths
1991 - Washington D.C. (USA) - Parallels and Divergence/One Heritage: two paths, at Kimberly Gallery
1992 - Coral Gables (USA) - Solo exhibition, at Elite Fine Arts Gallery
1992 - Miami (USA) - Antonio Henrique Amaral: recent works, at Elite Fine Art Gallery
1992 - São Paulo SP - Amazônia "A Mata", at Galeria do Memorial da América Latina
1993 - São Paulo SP - Solo exhibition, at MAM/SP
1993 - Zurich (Switzerland) - Solo exhibition, at Galerie Andy Jllien
1994 - Berlin (Germany) - Solo exhibition, at Haus der Kulturen der Welt
1994 - Coral Gables (USA) - Solo exhibition, at Elite Fine Arts Gallery
1994 - Frankfurt (Germany) - Solo exhibition, at Künstlerhaus Mousonturm Frankfurt am Main GmbH
1994 - Miami (USA) - Solo exhibition, at Elite Fine Art Gallery
1996 - Miami (USA) - Solo exhibition, at Elite Fine Art Gallery
1997 - Berlin (Germany) - Solo exhibition, at Virtualitas Galerie
1997 - Poços de Caldas MG - Antonio Henrique Amaral: from printmaking to painting, at Casa da Cultura de Poços de Caldas
1997 - São Paulo SP - Antonio Henrique Amaral: from printmaking to painting, at Instituto Moreira Salles
1997 - São Paulo SP - Antonio Henrique Amaral: recent works, at Masp
1997 - São Paulo SP - Antonio Henrique Amaral: works on paper, at Dan Galeria
2000 - São Paulo SP - Divertimentos (recent works …), at Galeria Nara Roesler
2002 - São Paulo SP - Antonio Henrique Amaral: paintings 2001-2002, at Galeria Nara Roesler
2004 - São Paulo SP - Solo exhibition, at MAM/SP

Group Exhibitions

1957 - São Paulo SP - 6th São Paulo Salon of Modern Art, Galeria Prestes Maia
1958 - São Paulo SP - 7th São Paulo Salon of Modern Art, Galeria Prestes Maia
1959 - São Paulo SP - 5th São Paulo International Biennial, MAM/SP
1960 - São Paulo SP - 9th São Paulo Salon of Modern Art, Galeria Prestes Maia
1961 - São Paulo SP - 10th São Paulo Salon of Modern Art, Galeria Prestes Maia
1961 - São Paulo SP - 6th São Paulo International Biennial, MAM/SP
1962 - Buenos Aires (Argentina) - First Latin American Engraving Contest
1962 - Curitiba PR - Paraná Salon, Biblioteca Pública do Paraná
1962 - São Paulo SP - 11th São Paulo Salon of Modern Art, Galeria Prestes Maia
1963 - London (UK) - Brazilian Art Today, Royal College of Arts
1963 - Vienna (Austria) - Brazilian Art Today, Angewandt Kunst
1963 - Brussels (Belgium) - Brazilian Art Today
1963 - São Paulo SP - 7th São Paulo International Biennial, Fundação Bienal
1963 - São Paulo SP - 1st Exhibition of Young National Drawing, FAAP
1963 - São Paulo SP - 12th São Paulo Salon of Modern Art, Galeria Prestes Maia
1964 - Belo Horizonte MG - 1st Exhibition of Young National Drawing, MAP
1965 - London (UK) - Brazilian Art Today, Royal Academy of Arts
1966 - Bonn (Germany) - Brasilianische Kunst Heute
1966 - Bonn (Germany) - Brazilian Art Today, Beethovenhalle
1966 - Salvador BA - 1st National Biennial of Visual Arts – Acquisition Prize
1966 - São Paulo SP - 15th São Paulo Salon of Modern Art, Galeria Prestes Maia
1967 - Brasília DF - 4th Modern Art Salon of the Federal District, Teatro Nacional de Brasília
1967 - Curitiba PR - 24th Paraná Fine Arts Salon, Biblioteca Pública do Paraná – 2nd Prize, Engraving
1967 - Santiago (Chile) - 3rd American Biennial of Engraving, Museo de Arte Contemporáneo
1967 - São Paulo SP - 1st Young Contemporary Art, MAC/USP
1967 - São Paulo SP - 9th São Paulo International Biennial, Fundação Bienal
1968 - Campinas SP - 4th Contemporary Art Salon, MACC
1968 - Campo Grande MS - 28 Artists from the MAC/USP Collection, Galeria do Diário da Serra
1968 - Curitiba PR - 25th Paraná Salon, Biblioteca Pública do Paraná – 1st Prize
1968 - Havana (Cuba) - International Art Exhibition – Awarded
1968 - Rio de Janeiro RJ - 17th National Salon of Modern Art, MAM/RJ
1968 - São Paulo SP - 17th São Paulo Salon of Modern Art
1969 - Fortaleza CE - 28 Artists from the Contemporary Art Museum of the University of São Paulo Collection, Centro de Artes Visuais Raimundo Cela
1969 - Rio de Janeiro RJ - 18th National Salon of Modern Art
1969 - Rio de Janeiro RJ - Salão da Bússola, MAM/RJ
1969 - Santo André SP - 2nd Contemporary Art Salon of Santo André, Paço Municipal
1969 - São Paulo SP - 1st São Paulo Salon of Contemporary Art, MASP
1969 - São Paulo SP - 3rd Young Contemporary Art, MAC/USP
1969 - São Paulo SP - 1st Panorama of Contemporary Brazilian Art, MAM/SP
1970 - Rio de Janeiro RJ - 19th National Salon of Modern Art, MAM/RJ
1970 - São Paulo SP - 2nd Panorama of Contemporary Brazilian Art, MAM/SP
1970 - São Paulo SP - 4 Groups of Recent Acquisitions and Donations by the International Society of Plastic and Visual Art, MAC/USP
1970 - São Paulo SP - Antonio Henrique Amaral, Odetto Guersoni, Tomie Ohtake, Pedro Tort, Gerda Brentani, Galeria Alberto Bonfiglioli
1970 - São Paulo SP - Pinacoteca do Estado de São Paulo, 1970
1971 - Paris, France - Salon d'Automne, Grand Palais
1971 - Rio de Janeiro, RJ - 20th National Salon of Modern Art
1971 - São Paulo, SP - 5th Young Contemporary Art, MAC/USP
1972 - Havana, Cuba - International Art Exhibition
1972 - Medellín, Colombia - 3rd Medellín Biennial, Museo de Antioquia
1972 - Rio de Janeiro, RJ - 21st National Salon of Modern Art - Travel Abroad Award
1972 - Santiago, Chile - 3rd Latin American Print Biennial - Honorable Mention
1972 - São Paulo, SP - Arte/Brasil/Hoje: 50 Years Later, Collectio Gallery
1972 - São Paulo, SP - 2nd International Print Exhibition, MAM/SP
1973 - Boston, USA - Contemporary Latin American Art, University of Massachusetts
1973 - New York, USA - Latin American Painting, Queen Cultural Center
1973 - São Paulo, SP - 5th Panorama of Brazilian Contemporary Art, MAM/SP
1973 - Washington, USA - Homage to Picasso, Pan American Union
1975 - New York, USA - Group Exhibition, Lee Ault & Co. Gallery
1976 - Cali, Colombia - 3rd American Biennial of Graphic Arts, Museo de Arte Moderno La Tertulia
1976 - Campinas, SP - 10th Contemporary Art Salon of Campinas, MACC
1976 - Florida, USA - Latin American Horizons
1976 - São Paulo, SP - 7th São Paulo Contemporary Art Salon, Paço das Artes
1976 - São Paulo, SP - 8th Panorama of Brazilian Contemporary Art, MAM/SP
1977 - Madrid, Spain - Contemporary Ibero-American Art, Instituto de Cultura Hispánica
1977 - Rio de Janeiro, RJ - 2nd Arte Agora: Vision of the Land, MAM/RJ
1978 - Caracas, Venezuela - 1st Ibero-American Meeting of Artists and Critics, Fundación Museo de Bellas Artes
1978 - São Paulo, SP - 1st São Paulo Latin American Biennial, Bienal Foundation
1979 - São Paulo, SP - 11th Panorama of Brazilian Contemporary Art, MAM/SP
1980 - São Paulo, SP - 12th Panorama of Brazilian Contemporary Art, MAM/SP
1981 - Mexico City, Mexico - Visual Arts and Identities of Latin America
1981 - Curitiba, PR - 3rd National Drawing Exhibition - Acquisition Award
1981 - La Paz, Bolivia - Contemporary Latin American Art
1981 - Osaka, Japan - Latin American Contemporary Art Exhibition Brazil/Japan, National Museum of Art
1981 - Rio de Janeiro, RJ - From Modern to Contemporary: Gilberto Chateaubriand Collection, MAM/RJ
1981 - Rio de Janeiro, RJ - Pablo, Pablo!: A Brazilian Interpretation of Guernica, Funarte
1981 - São Paulo, SP - Brazilian Contemporary Artists, Escritório de Arte São Paulo
1982 - Lisbon, Portugal - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, Centro de Arte Moderna José de Azeredo Perdigão
1982 - London, UK - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, Barbican Art Gallery
1982 - São Paulo, SP - 3rd Brazilian Art Salon, Fundação Mokiti Okada M.O.A.
1982 - Rio de Janeiro, RJ - 3rd Brazilian Art Salon
1982 - Tokyo, Japan - 3rd Brazilian Art Salon
1982 - Atami, Japan - 3rd Brazilian Art Salon
1982 - Kyoto, Japan - 3rd Brazilian Art Salon
1983 - Maldonado, Uruguay - 5th International Drawing Biennial - Ten-Year Biennial Award
1983 - Merida, Venezuela - Commemorative Exhibition for the Bicentennial of Simón Bolívar, Corporación de Los Andes
1983 - Rio de Janeiro, RJ - 6th National Visual Arts Salon, MAM/RJ
1983 - São Paulo, SP - 14th Panorama of Brazilian Contemporary Art, MAM/SP
1983 - São Paulo, SP - Art in the Street
1984 - Curitiba, PR - 6th Curitiba City Print Exhibition
1984 - Curitiba, PR - Woodcut in the History of Brazilian Art (6th : 1984 : Curitiba, PR) - Casa Romário Martins (Curitiba, PR)
1984 - Curitiba, PR - Simões de Assis Art Gallery: Inaugural Exhibition (1984 : Curitiba, PR) - Simões de Assis Art Gallery (Curitiba, PR)
1984 - Fortaleza, CE - 7th National Visual Arts Salon
1984 - Havana, Cuba - 1st Havana Biennial
1984 - Ottawa, Canada - Antonio Henrique Amaral and Siron Franco, National Arts Center
1984 - Ribeirão Preto, SP - Brazilian Printmakers of the 1950s/60s, Galeria Campus USP-Banespa
1984 - Rio de Janeiro, RJ - Woodcut in the History of Brazilian Art, Funarte, Galeria Sérgio Milliet
1984 - Rio de Janeiro, RJ - 7th National Visual Arts Salon, MAM/RJ
1984 - São Paulo, SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, MAM/SP
1984 - São Paulo, SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, Bienal Foundation
1985 - Atami, Japan - 7th Fine Arts Exhibition Brazil-Japan
1985 - Kyoto, Japan - 7th Fine Arts Exhibition Brazil-Japan
1985 - Rio de Janeiro, RJ - 7th Fine Arts Exhibition Brazil-Japan, Brazil-Japan Foundation
1985 - São Paulo, SP - 18th São Paulo International Biennial, Bienal Foundation
1985 - São Paulo, SP - 7th Fine Arts Exhibition Brazil-Japan, Brazil-Japan Foundation
1985 - Tokyo, Japan - 7th Fine Arts Exhibition Brazil-Japan
1985 - Tokyo, Japan - Today's Art of Brazil, Hara Museum of Contemporary Art
1986 - Curitiba, PR - 7th Brazilian Drawing Exhibition, MAC/PR
1986 - Rio de Janeiro, RJ - 1st Christian Dior Contemporary Art Exhibition: Painting, Paço Imperial
1986 - São Paulo, SP - 17th Panorama of Brazilian Contemporary Art, MAM/SP
1986 - São Paulo, SP - URBS Through the Eyes of Eight Artists, Montesanti Roesler Gallery
1987 - Indianapolis, USA - Art of The Fantastic Latin America: 1920-1987, Indianapolis Museum of Art
1987 - New York, USA - Art of the Fantastic Latin America: 1920-1987, The Queens Museum
1987 - Paris, France - Modernity: Brazilian Art of the 20th Century, Musée de l’Art Moderne de la Ville de Paris
1987 - Paris, France - São Paulo-Rio-Paris, Galerie 1900-2000
1987 - São Paulo, SP - São Paulo-Rio-Paris, Galerie 1900-2000, Montesanti Gallery
1987 - Rio de Janeiro, RJ - São Paulo-Rio-Paris, Galerie 1900-2000, Montesanti Gallery
1987 - Rio de Janeiro, RJ - To the Collector: Tribute to Gilberto Chateaubriand, MAM/RJ
1987 - São Paulo, SP - 20th Contemporary Art Exhibition, Chapel Art Show
1988 - Florida (United States) - Art of The Fantastic Latin America: 1920-1987, at the Center of Fine Arts
1988 - Mexico City (Mexico) - Art of The Fantastic Latin America: 1920-1987, at the Centro Cultural/Arte Contemporáneo
1988 - Leverkusen (Germany) - Brasil Já, at Museum Morsbroich
1988 - Stuttgart (Germany) - Brasil Já, at Galerie Landesgirokasse
1988 - Paris (France) - São Paulo-Rio-Paris, at Galerie 1900-2000
1988 - Rio de Janeiro RJ - São Paulo-Rio-Paris, at Galeria Montesanti
1988 - São Paulo SP - São Paulo-Rio-Paris, at Galeria Montesanti
1988 - Rio de Janeiro RJ - 88 x 68: um balanço dos anos
1988 - São Paulo SP - 15 Years of Fine Arts Exhibition Brazil-Japan, at Fundação Mokiti Okada M.O.A.
1988 - São Paulo SP - 63/66 Figura e Objeto, at Galeria Millan
1988 - São Paulo SP - MAC 25 Years: Recent Acquisitions and Donations, at MAC/USP
1988 - São Paulo SP - Modernity: 20th Century Brazilian Art, at MAM/SP
1988 - Stuttgart (Germany) - Brasil Já, at Galerie Landesgirokasse
1989 - Hanover (Germany) - Brasil Já, at Sprengel Museum
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - Brasília Prize for Visual Arts, at MAB
1990 - Caracas (Venezuela) - Figuración Fabulación, 75 Years of Painting in Latin America 1914-1989, at Fundación Museo de Bellas Artes
1990 - Rio de Janeiro RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1991 - Stockholm (Sweden) - Viva Brasil Viva, Kulturhuset, Konstavdelningen och Liljevachs Konsthall
1991 - Frankfurt (Germany) - Art Frankfurt
1991 - Los Angeles and Washington D.C. (United States) - Parallels and Divergence/One Heritage: Two Paths, at Daniel Saxon Gallery and Kimberly Gallery
1991 - Makurasaki (Japan) - 2nd Biennal Exhibition of Arts - Special Jury Prize
1991 - Nagoya (Japan) - Perspectives of the Present: Contemporary Painting of Latin America, at Nagoya Museum of Art
1991 - Paris (France) - 6 Artistes Latinoamericains, at Galerie 1900-2000
1991 - San Diego (United States) - Latin American Drawings Today, at San Diego Museum of Art
1991 - São Paulo SP - What Moves You Now? Generation of the 60s: Revisiting Young Contemporary Art of the 60s, at MAC/USP
1991 - Washington (United States) - Tradition and Innovation, at Art Museum of the Americas
1992 - Americana SP - Reopening Exhibition of the Contemporary Art Museum of Americana, at MAC/Americana
1992 - Campinas SP - Award Winners at the Contemporary Art Salons of Campinas, at MACC
1992 - Mexico City (Mexico) - International Collection, at Museo de Arte Moderno
1992 - Curitiba PR - 10th Printmaking Exhibition of Curitiba, at Museu da Gravura
1992 - Paris (France) - Diversité Latino Américaine, at Galerie 1900-2000
1992 - Paris (France) - La Amerique Latine dans tous ses États, at Maison de l'Amerique Latine
1992 - Poços de Caldas MG - Brazilian Modern Art: Collection of the Contemporary Art Museum of the University of São Paulo, at Casa da Cultura de Poços de Caldas
1992 - Rio de Janeiro RJ - A Caminho de Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Eco Art, at MAM/RJ
1992 - Rio de Janeiro RJ - Nature: Four Centuries of Art in Brazil, at CCBB
1992 - Santo André SP - 20th Contemporary Art Salon of Santo André, at Paço Municipal
1992 - São Paulo SP - 60s/70s: Gilberto Chateaubriand Collection - MAM/RJ, at SESI Art Gallery
1992 - Seoul (South Korea) - Humanism and Technology, at MNBA
1992 - Seville (Spain) - Expo 92: Mirando a La America Latina y el Caribe
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1993 - João Pessoa PB - Woodcut: From Cordel to Gallery, at Funesc
1993 - Niterói RJ - 2nd A Caminho de Niterói: João Sattamini Collection, at MAC/Niterói
1993 - Porto Alegre RS - Arcangelo Ianelli, Antonio Henrique Amaral, and Francisco Stockinger, at Bolsa de Arte de Porto Alegre
1993 - Rio de Janeiro RJ - Brazil: 100 Years of Modern Art, at MNBA
1993 - São Paulo SP - Luso-Nipo-Brazilian Exhibition, at MAB/Faap
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at SESI Art Gallery
1993 - São Paulo SP - Portugal-Japan: Navigated Seas, at MAB/Faap
1993 - São Paulo SP - Representation: Decisive Presences, at Paço das Artes
1994 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - São Paulo SP - Brazil 20th Century Biennial, at Fundação Bienal
1994 - São Paulo SP - Woodcut: From Cordel to Gallery, at Metrô and MASP
1994 - Seoul (South Korea) - Humanism and Technology, at National Museum of Fine Arts
1995 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1995 - New York (United States) - New Acquisitions - 20th Century Collection, at Metropolitan Museum of Art
1995 - Santa Barbara (United States) - Point/Counterpoint: Two Views of 20th Century Latin American Art, at Santa Barbara Museum of Art
1995 - São Paulo SP - Drawing in São Paulo: 1956-1995, at Galeria Nara Roesler
1995 - São Paulo SP - Projeto Contato, at Galeria Sesc Paulista
1995 - São Paulo SP - 1st United Artists, at Casa das Rosas
1995 - São Paulo SP - Visual Road, at Renato Magalhães Gouvêa Escritório de Arte
1996 - Belo Horizonte MG - Traveling Prints, at Palácio das Artes
1996 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - Off Biennial, at MuBE
1996 - São Paulo SP - Six Timeless Artists, at Múltipla de Arte
1997 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1997 - Porto Alegre RS - 1st Mercosur Visual Arts Biennial, at Fundação Bienal de Artes Visuais do Mercosul
1997 - Porto Alegre RS - Political Trends, at Fundação Bienal de Artes Visuais do Mercosul
1997 - São Paulo SP - Anthropophagic Appropriations, at Itaú Cultural
1998 - Brasília DF - Art Football, at Ministry of Foreign Affairs
1998 - São Paulo SP - Art Football, at Memorial da América Latina
1998 - Rio de Janeiro RJ - Art Football, at Casa França-Brasil
1998 - Paris (France) - Art Football
1998 - Marseille (France) - Art Football
1998 - São Paulo SP - Elective Affinities I: The Collector’s Gaze, at Casa das Rosas
1998 - São Paulo SP - Canibáliafetiva, at A Estufa
1998 - São Paulo SP - Figurations: 30 Years in Brazilian Art, at MAC/USP
1998 - São Paulo SP - Prints: The Art of Brazilian Engraving, at Espaço Cultural Banespa
1998 - São Paulo SP - Modern and Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and Prints, at SESI Art Gallery
1999 - Niterói RJ - Rio Print Exhibition: Banerj Collection, at Museu Histórico do Ingá
1999 - São Paulo SP - 8 Brazilian Artists, at Galeria Sergio Caribé
1999 - São Paulo SP - Brazil in the Century of Art, at SESI Art Gallery
2000 - Colchester (England) - Outros 500: Highlights of Brazilian Contemporary Art in UECLAA, at University of Essex
2000 - Lisbon (Portugal) - 20th Century: Brazilian Art, at Calouste Gulbenkian Foundation, José de Azeredo Perdigão Modern Art Center
2000 - New York (United States) - Latin American Still Life: Reflections of Time and Place, at El Museo del Barrio
2000 - Rio de Janeiro RJ - Ferreira Gullar Collection of Brazilian Paintings, at MAM/RJ
2000 - São Paulo SP - Art and Eroticism, at Galeria Nara Roesler
2000 - São Paulo SP - Brazil + 500: Rediscovery Exhibition. Contemporary Art, at Fundação Bienal
2000 - São Paulo SP - Investigations: Brazilian Engraving, at Itaú Cultural
2000 - São Paulo SP - The Role of Art, at SESI Art Gallery
2000 - São Paulo SP - New Works, at MAC/USP
2001 - Brasília DF - Investigations: Brazilian Engraving, at Itaugaleria
2001 - Penápolis SP - Investigations: Brazilian Engraving, at Itaú Cultural
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at MARGS
2001 - São Paulo SP - Brazilian Culture 1, at Casa das Rosas
2001 - São Paulo SP - Brazilian Art Museum: 40 Years, at MAB/Faap
2001 - São Paulo SP - X Poetics, at A Hebraica
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - São Paulo SP - 8 Contemporary Brazilian Artists, at Casa das Rosas
2002 - São Paulo SP - Imaginary Mexico: The Brazilian Artist’s Gaze, at Casa das Rosas
2002 - São Paulo SP - Gate 2, at Galeria Nara Roesler
2003 - Rio de Janeiro RJ - Brazilianart Project, at Almacén Galeria de Arte
2003 - São Paulo SP - The Subversion of Means, at Itaú Cultural
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2003 - São Paulo SP - Artknowledge: 70 Years USP, at MAC/USP
2003 - São Paulo SP - Israel and Palestine: Two States for Two Peoples, at Sesc/Pompéia
2004 - São Paulo SP - Still Life/Natureza Morta, at SESI Art Gallery