Arcangelo Ianelli
Untitled
oil on wood1947
33 x 49 cm
signed lower right
registered under the fosm 13. with artist's certificate.
Composition
gouache and graphite on paper1972
66 x 57 cm
signed lower right
Registered under Tombo GGSP 74.
Park With Lake
oil on canvas1958
46 x 61 cm
signed lower right
Participated in the exhibition: Brazilian Landscape, Marcelo Guarnieri Gallery, Ribeirão Preto, 2023.
Arcangelo Ianelli (São Paulo, SP, 1922 - idem, 2009)
Arcangelo Ianelli was a painter, sculptor, illustrator, and draftsman. Abstract painting with refined colors is the main symbol of the work of visual artist Arcangelo Ianelli.
Our artist began drawing as a self-taught artist, and considers himself self-taught despite having studied perspective at the São Paulo Association of Fine Arts in 1940, and having briefly received academic painting guidance from Colette Pujol (1913-1999), who taught a private painting course in 1942. Soon after (ca. 1944), he attended the studio of Waldemar da Costa (1904-1982) for six months, where he met Lothar Charoux, Hermelindo Fiaminghi, and Maria Leontina[1]. Due to his temperament, self-teaching became the natural path for Ianelli's art, although he was always committed to the technique he so well observed.
In the 1950s, he was also part of the Guanabara Group[2], which had 34 members, the majority of whom were Italian and Japanese immigrants or their descendants; Among them, artists who had belonged to the Seibi Group[3] and the Group of 15 (1948-...), whose mentor was the painter Yoshiya Takaoka (Tokyo, 1909 – São Paulo 1978), who provided them with artistic guidance and, as a group, was also considered the first avenue for emerging artists to enter the market.
It is worth a digression: It is often noted in the biographies of artists active during the late 19th and early 20th centuries that there is a tendency toward gregariousness. This can be interpreted as the cohesive force that fostered the growth of their beliefs—most often of a unequal nature—making them strong in relation to their environment, through their participation in everything alongside "such special people," with whom they shared discoveries, criticisms, and paths to technical, pedagogical, philosophical, ethical, and other improvements. We had around 15 different artistic groups among us that, although ephemeral, fulfilled part of their purpose. The ephemerality we refer to is the natural result of coexistence, based on an initial identification, which formed bonds with leaders or dominant ideas that were not always necessarily positive, since they come from the core of an "Institution" that, however liberal and informal it may seem, ends up "stifling" the individual creative process.
Let's return to Ianelli.
1940s-1950s: From the 1940s onward, he produced everyday scenes, urban landscapes, seascapes, and drawings with a "figurative" address (Figure 1), but which reveal great formal synthesis and a very sober, even severe, chromatic range (Figure 2). Despite giving material existence in accordance with what he saw, it is clear in the work "The Boy Painter" (Figure 3) that color, despite being contained by lines or even as a demarcation of objects, is not a merely supporting element. Did the painter already know/intuit that color in its maximum expression[4] would already be the culmination of his poetics?
1960s: Around the 1960s, he points to the non-figurativism announced by the last seascapes and related themes produced at the end of the previous decade, with a clear geometric conception represented by verticalities and geometric figures.
The works were still technically figurative, but with very simplified structures. He was on the path to abstraction, producing canvases that presented concretely perceived material density and a dark palette. Leirner tells us, "In the phase that the critic PM de Alemida called 'Transition,' Ianelli darkens the scene as an interlude."
This "interlude" momentarily interrupted his trajectory, and critics classified it as an "Informal Abstraction"; But by the late 1960s, his work was simultaneously linear and pictorial, with a prominent use of graphics.
1970: From 1970 onward, breaking with textures and graphics, Ianelli introduced us to "Geometric Abstraction," primarily employing rectangles and squares, which appear as superimposed planes. These were the heirs to the first rhythmic works in which geometric figures clashed. The still life painted in 1960 already contains the presence of the forms that would be painted during this decade (Figures 4 and 4a). He also worked as a sculptor since the mid-1970s, creating works in marble and wood, embodying his pictorial work. It was then, after the graphic arts (Figure 5), that his monochromatic squares and rectangles appeared, the simplifications of which would become his trademark. Due to oil paint intoxication, he began to use egg tempera, perfecting his techniques of transparency and uniformity in his late Concretism.
In this same decade and part of the following, Ianelli presented us with his series of enormous overlapping rectangles, worked with inventiveness and subtlety of color and luminous transparencies that marked most of his career. And through this, he became known and applauded, for having made it possible to perceive the coherence of his trajectory, how one phase was necessarily succeeded by the next, simultaneously avoiding the appearance of the repetition—the eventual consequence of the "serial tendency" pointed out by Murilo Mendes (1901-1975), which was neutralized by Ianelli with the succinct phrase, "there is always something unresolved in the previous painting that I try to resolve in the subsequent one."
Frederico Morais[5] gives us a different version regarding the explanation above. Perhaps the same statement may have been used more than once. Here it goes: When I asked Arcangelo Ianelli, during a three-day interview, how he comes up with the idea for a painting, he replied: "There's always something unresolved in the previous painting that I try to resolve in the next. Painting demands discipline and constancy. Even when we're not ready to work, we must get to the drawing board..."
Figures 4 and 4a clearly show, like many others already commented on by Paulo Mendes de Almeida (1978), that within that still life (1960) were already inserted the forms that would compose the future works that began in the 1970s. Pure planes of color in which figuration gave way to geometrization, and this, in the future, would give way to color.
1980-2000: And when one thought one had seen everything the master could produce in terms of color and its infinite variables and geometry (Figure 6), Ianelli removes the boundaries of risk—a characteristic of Constructivism—from his work and shows us that the surrounding colors were and continue to be sovereign, creating the so-called "Chromatic Vibrations" (Figure 7). Fabio Magalhães said: "Throughout his life, chromatic expression represented the core of his poetics. Color/light always exerted an extraordinary fascination and was also the challenge of a lifetime. In his final phase, color took on a central role, pulsating as a source of energy and beauty! Arcângelo Ianelli left us a radiant body of work, full of energy, vibrant like the light that gives life to the universe."
To see Ianelli's contemporary painting is to discover one of the most complete Brazilian artists, through the perfect integration of all the elements that comprise his work. Emotion combines with reason to generate an abstract geometric language without theoretical recipes or orthodox rules.
In 2002, he was honored by the 10th Paulista Contemporary Art Salon in São Paulo and the 21st "Arte Pará" Salon, organized by the Romulo Maiorana Foundation in Belém, Pará.
His works are exhibited in museums in Japan, Mexico, Italy, Canada, and Latin America, in addition to being part of the collections of major Brazilian institutions. In 2002, he celebrated his 80th birthday with a retrospective organized by the Pinacoteca do Estado de São Paulo.
Ainda há espaço para um fragmento de um diálogo de Ianelli e Angelo Simione[6], que, como ele mesmo admite considera fundamental à sua decisão de encarar a pintura como uma questão de forma:
“Seeing my (Simeone's) difficulty in representing certain objects in a still life, he came over and said to me: you're there trying to faithfully reproduce what you see before you, and you forget that, once the painting is finished, we'll dismantle this still life and no one will remember if the vase was blue or white, if this apple was here or there. The subject doesn't matter; what will remain is the painting. From then on, I began making quick sketches, seeking a synthesis of what I saw, focusing on capturing form and color.”
Commented Works
“...his painting glides fluidly, in an almost conformist lyricism, very Brazilian. His pictorial work, let's say from the outset, does not oppose—it exposes.”
Mário Pedrosa, 1961.
It is impossible to comment on this work without at least making some reference to its trajectory. Ianelli's artistic journey began in 1944 with Colette Pujol and later with Waldemar da Costa. He immediately freed himself from them and, so to speak, was self-taught.
He drew nudes, portraits, landscapes, and whatever else the "Academy" could desire and applaud. In the "MAM Retrospective in 1978," his career was presented in a didactic and clear manner. Large steps were evident between "Pottery – 1947" and "Houses, Ponta da Praia – 1953" and "Landscape – 1957"; and through them, his path to abstraction and geometry was already traced. His painting "Houses – 1960" presents a simplified and essential figuration and contains virtually all the elements of his geometric work. In the early 1970s, geometry gave his work a figurative character, until color displaced the line.
With a leap of 15 years, we find him in the midst of his geometric phase, as can be seen in the work above. This specific work is one of many examples of the work of a great colorist attentive to luminosity and chromatic shifts, presenting us with a purely sensorial painting, superimposing squares, rectangles, and planes that are unified through the circumspect and measured luminosity that, like a mist, seems to originate from the lowest tones. Nuances and chromatic subtleties permeate the entire work... our eyes sensorially linger over a large piece of silk!
Valerio Pennacchi-Pennacchi, 2005.
Critiques
"It is curious to observe that, between one phase and another, what occurs is never a radical change. They are linked, through the addition or purification of elements, in a constant drift. Everything develops as if the beginning of a new work were a consequence of the previous one.
The artist never completely closes, or abandons, one process to move on to another; rather, he remakes, transforms, creates new dimensions, valuing outdated experiences, even reinvigorating them at times, as if instinctively driven by the purpose of preserving the line of coherence, which has been the predominant line in the evolution of his work since its inception."
Paulo Mendes de Almeida, 1978.
"Since the 1920s, several constructive painters have, like him, sought pure painting. The painting is a concrete, palpable reality. Deep within all transparencies (and some, like the (blues, they look like tissue paper floating in space) is also the painting. This, in fact, is most evident in the more strongly monochromatic canvases, with an accentuation of whites. Ianelli's painting never surrenders itself in a first encounter. It demands prolonged, almost loving contemplation, so that what is in the background (of the canvas, of the being) comes to the foreground, leaving the viewer with a sense of calm and spiritual well-being. Arcangelo Ianelli's exhibition is, from now on, one of the best of 1975."
Frederico Morais, 1978.
"Ianelli's mature work—which is fully defined from the moment he mastered the last traces of informal abstractionism, around 1970—could be referred to the eternal Greek formulas of rhythm, measure, proportion, unity, harmony.
His idiom registers an individualized alchemy whose dosage distinguishes him from any other abstract artist. Brazilian of similar origins and of the same generation. He is neither cerebral nor rigorously constructive.
He creates a sensorial and arbitrarily structured geometry. He develops variations increasingly concentrated around the same plastic themes: the rectangle, the square, the displacement of axes in relation to orthogonality, the superposition of transparent spaces, the ambiguity between front, background, form, and support."
Olívio Tavares de Araújo
Those who believe that a colorful painting is one that contains varieties and an accumulation of colors dominating a poorly arranged surface are mistaken. The subtlety and elaboration of color itself, when created by a true artist, can contain an infinite wealth of hues within a single blue or a single gray.
Color is enough to construct and express our universe.
The difficult part is knowing how to use it.
I believe there is a relationship between my abstract proposal as a plastic phenomenon and the sound vibrations of music—an acoustic phenomenon.
I organize my colors and shapes in a space where the tones harmonize in an effect similar to polyphony and counterpoint. I believe that a musician can equally create a sound architecture in which timbres are organized into chromatic, transparent planes and effects of pure abstraction, like those that can be distinguished in my work. For example, Bach, who composed his masterful 'Art of Fugue' without indicating instruments."
Arcangelo Ianelli
...the painting should speak for itself, without the need for dissertations. It should convey something to sensitive people, solely through its pictorial content. Never with the purpose of "telling a story, revealing psychic states," etc. We should leave this problem to the literary, who express themselves much better in their books. A painter must have in mind, above all, painting.
Arcangelo Ianelli In: Dicionário crítica da pintura no Brasil; José Roberto Teixeira Leite Rio de Janeiro: Artlivre, 1988.
He began drawing as a self-taught artist in the early 1940s. He studied perspective with Colette Pujol and attended the studio of Waldemar da Costa. During the 1950s and 1959s, he was an active member of the "Guanabara Group," which had been formed in the studio and framing workshop of painter Tikashi Fukushima, on Largo da Guanabara, in the south zone of São Paulo. As in other forums (e.g., Grupo Santa Helena, Núcleo Bernardelli, Grupo Seibi, Grupo 15, etc.), the goal of its members was to establish a space for the development of their work without establishing rigid trends or even defining a specific artistic movement.
Initially figurative, he gradually embraced abstract painting from 1960 onward; without radical changes, from his initial figurative phase onward, each new work presented was always a descendant of the previous one, in an uninterrupted sequence that culminated in "chromatic vibrations."
An enviable career!
He has participated in important exhibitions in Brazil and abroad. In August 2004, MAB-FAAP opened the exhibition "Ianelli. The Paths of Figuration" to the public. Like the 1975 exhibition, this was also an unmissable artistic manifestation!
Valerio Pennacchi-Pennacchi, 2004.
Solo Exhibitions
1950 - Rio de Janeiro, RJ - Solo exhibition at the Palace Hotel
1950 - São Paulo, SP - Solo exhibition at the Itá Gallery
1961 - Rio de Janeiro, RJ - Solo exhibition at the Rio de Janeiro Museum of Modern Art
1961 - São Paulo, SP - Solo exhibition at the São Paulo Museum of Modern Art - MAM SP
1962 - Lima, Peru - Solo exhibition at the Institute of Contemporary Art
1962 - São Paulo, SP - Solo exhibition at the Folhas Art Gallery
1962 - São Paulo, SP - Solo exhibition at the Petite Galerie
1963 - Rio de Janeiro, RJ - Solo exhibition at the Petite Galerie
1965 - Rio de Janeiro, RJ - Solo exhibition at the Barcinski Gallery
1965 - São Paulo, SP - Solo exhibition at the Astréia Gallery
1966 - Bonn (Germany) - Solo exhibition at the Stadthale Gallery
1966 - Milan (Italy) - Solo exhibition at the Italian-Brazilian Institute
1966 - Rome (Italy) - Solo exhibition at the Casa do Brasil Art Gallery
1967 - Berlin (Germany) - Solo exhibition at the Rathaus Kreusberg Gallery
1967 - Paris (France) - Solo exhibition at the Debret Gallery
1968 - São Paulo, SP - Solo exhibition at the Astréia Gallery
1969 - Curitiba, PR - Solo exhibition at the Department of Culture
1969 - São Paulo, SP - Solo exhibition at the Documenta Gallery
1970 - Belo Horizonte, MG - Solo exhibition at the Brazil-United States Cultural Institute
1971 - Santos, SP - Solo exhibition at the Brazil-United States Cultural Institute
1971 - São Paulo, SP - Solo exhibition at the Cosme Gallery Velho
1972 - Rio de Janeiro, RJ - Solo exhibition, at the Bonino Gallery
1973 - São Paulo, SP - Solo exhibition, at the Cosme Velho Gallery
1974 - Washington, D.C. (United States) - Solo exhibition, at the Brazilian-American Cultural Institute
1974 - Washington, D.C. (United States) - Solo exhibition, at the Brazilian-American Cultural Institute
1975 - Rio de Janeiro, RJ - Solo exhibition, at the Ipanema Art Gallery
1977 - Mexico City, Mexico - Solo exhibition, at the Museo de Arte Moderno
1977 - Lima, Peru - Solo exhibition, at the Petroperu Art Room
1977 - San Salvador, El Salvador) - Solo exhibition, at the National Exhibition Hall (San Salvador, El Salvador)
1977 - São Paulo, SP - Ianelli, at the Cosme Velho Gallery
1978 - São Paulo, SP - From Figurative to Abstract: 36 Years of Painting, at MAM/SP - Best Exhibition of the Year Award and Gonzaga Duque Award, from ABCA - Best Exhibition of the Year Award, from APCA
1980 - Porto Alegre RS - Solo show, at Cambona Art Gallery
1984 - Rio de Janeiro RJ - Ianelli: 40 Years of Painting, at MAM/RJ
1985 - São Paulo SP - Solo show, at the São Paulo Museum of Art - MASP
1986 - Barranquilla (Colombia) - Solo show, at the Avianca Cultural Room
1986 - Bogotá (Colombia) - Solo show, at the Luis Ángel Arango Library
1986 - Cali (Colombia) - Solo show, at the La Tertulia Museum of Modern Art
1987 - São Paulo SP - Solo show, at the São Paulo Art Gallery
1988 - Berlin (Germany) - Arcangelo Ianelli: retrospective, at the Staatliche-Kunsthalle
1989 - San José (Costa Rica) - Solo show, at the Atma Gallery
1990 - Curitiba, PR - Arcangelo Ianelli: retrospective, at the Museum of Contemporary Art of Paraná
1990 - Curitiba, PR - Ianelli in the Cultural Context of Latin American Art
1990 - São Paulo, SP - Solo show, at the Paço das Artes
1991 - Rio de Janeiro, RJ - Ianelli, at the MAM/RJ
1991 - São Paulo, SP - Ianelli, at the Montesanti Roesler Gallery
1992 - Quito, Ecuador - Ianelli: retrospective, at the Casa de la Cultura Ecuatoriana
1992 - Quito, Ecuador - Retrospective, at the Museo do Monasterio de la Concepción
1992 - São Paulo, SP - Solo exhibition, at the Museum of Contemporary Art of the University of São Paulo - MAC/USP
1993 - Rio de Janeiro, RJ - Ianelli: 50 Years of Painting, at MAM/RJ
1993 - São Paulo, SP - Ianelli: 50 Years of Painting, at Masp
1998 - São Paulo, SP - Ianelli: Formal Rigor and Chromatic Subtlety, at Galeria Nara Roesler
1999 - Curitiba, PR - Ianelli: The Trajectory of an Artist, at Casa Andrade Muricy
1999 - Fortaleza, CE - Ianelli: Formal Rigor and Chromatic Subtlety, at MAM/CE
1999 - Recife, PE - Ianelli: Formal Rigor and Chromatic Subtlety, Aloísio Magalhães Museum of Modern Art - MAM (Recife, PE)
1999 - Salvador, BA - Ianelli: Formal Rigor and Subtlety chromatic, at the Museum of Modern Art of Bahia - MAM/BA
1999 - São Paulo SP - Solo show, at MAM/SP
2002 - São Paulo SP - Arcangelo Ianelli: retrospective, at the Pinacoteca do Estado
2002 - São Paulo SP - Solo show, at the BM&F Cultural Space
2004 - São Paulo SP - Ianelli: the paths of figuration, at MAB/Faap
2006 - Curitiba PR - Ianelli: the paths of figuration, at the Oscar Niemayer Museum
Group Exhibitions
1947 - São Paulo, SP - 13th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1948 - Casa Branca, SP - 4th Official Fine Arts Salon
Rio de Janeiro, RJ - 54th National Fine Arts Salon, at Museu Nacional de Belas Artes
São Paulo, SP - 14th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1949 - São Paulo, SP - 15th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1950 - Santos, SP - 1st Santos Fine Arts Salon
1950 - São Paulo, SP - 1st Grupo Guanabara Exhibition, at Galeria Domus
1951 - Curitiba, PR - 8th Paraná Fine Arts Salon, at the Department of Culture Exhibition Hall
Salvador, BA - 3rd Bahia Fine Arts Salon, at Galeria Belvedere da Sé
São Paulo, SP - 2nd Grupo Guanabara Exhibition, at Instituto de Arquitetos do Brasil, São Paulo Department
São Paulo, SP - 16th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1952 - São Paulo, SP - 17th São Paulo Fine Arts Salon, at Trianon Halls
1953 - Curitiba, PR - 10th Paraná Fine Arts Salon, at Curitiba International Coffee and Trade Fair - Tarumã
Porto Alegre, RS - 4th Salon of the Rio Grande do Sul Institute of Fine Arts
São Paulo, SP - 18th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1954 - Juiz de Fora, MG - Municipal Fine Arts Salon
Piracicaba, SP - 2nd Piracicaba Fine Arts Salon, at Externato São José
Porto Alegre, RS - 5th Salon of the Rio Grande do Sul Institute of Fine Arts
Salvador, BA - 4th Bahia Fine Arts Salon, at Hotel Bahia
São Paulo, SP - 19th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1955 - Porto Alegre, RS - 6th Salon of the Rio Grande do Sul Institute of Fine Arts
1956 - São Paulo, SP - 20th São Paulo Fine Arts Salon
1957 - Curitiba, PR - 14th Paraná Fine Arts Salon, at Biblioteca Pública do Paraná
São Paulo, SP - 21st São Paulo Fine Arts Salon
1958 - Piracicaba, SP - 6th Piracicaba Fine Arts Salon
Rio de Janeiro, RJ - Art Salon “A Mãe e a Criança”
Rio de Janeiro, RJ - Salon do Mar
São Paulo, SP - 4th Grupo Guanabara Exhibition, at ACM
1959 - Rio de Janeiro, RJ - Brazilian Painting, at the United States Embassy
São Paulo, SP - 5th Grupo Guanabara Exhibition, at ACM
São Paulo, SP - 8th São Paulo Modern Art Salon, at Galeria Prestes Maia - bronze medal
São Paulo, SP - 24th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1960 - Rio Grande do Sul - Official Salon of Rio Grande do Sul - gold medal and acquisition prize
São Paulo, SP - 9th São Paulo Modern Art Salon, at Galeria Prestes Maia
Curitiba, PR - 2nd Paraná Modern Art Salon - gold medal and Paraná University Prize
New York, USA - New York World’s Fair
Santos, SP - 8th Official Fine Arts Salon of the City of Santos
São Paulo, SP - 10th São Paulo Modern Art Salon, at Galeria Prestes Maia - State Governor’s Prize
São Paulo, SP - 6th São Paulo International Biennial, at Pavilhão Ciccilo Matarazzo Sobrinho
São Paulo, SP - Leirner Contemporary Art Prize, at Galeria de Arte das Folhas - 1st prize in painting
1962 - Curitiba, PR - Curitiba Modern Art Salon - Best National Artist Prize
Curitiba, PR - Paraná Salon, at Biblioteca Pública do Paraná
Rio de Janeiro, RJ - 11th National Modern Art Salon - jury exemption
São Paulo, SP - 11th São Paulo Modern Art Salon, at Galeria Prestes Maia - small gold medal
São Paulo, SP - Leirner Contemporary Art Prize, at Galeria de Arte das Folhas
Rio de Janeiro, RJ - Landscape as a Theme, at Galeria Ibeu Copacabana
Rio de Janeiro, RJ - 12th National Salon of Modern Art
São Paulo, SP - 7th São Paulo International Biennial, at Fundação Bienal
Paris, France - Salon Comparaisons, at Musée d'Art Moderne de la Ville de Paris
Rio de Janeiro, RJ - 13th National Salon of Fine Arts - travel award abroad
Rio de Janeiro, RJ - 2nd The Face and the Work, at Galeria Ibeu Copacabana
São Paulo, SP - 10 Artists, at Instituto de Arquitetos do Brasil, São Paulo Department
1965 - Lisbon, Portugal - Brazilian Painters, at Museu Gulbenkian, Fundação Calouste Gulbenkian
London, United Kingdom - Brazilian Art Today, at the Royal Academy of Arts
São Paulo, SP - 8th São Paulo International Biennial, at Fundação Bienal - acquisition prize
Vienna, Austria - Brazilian Art Today, at Museum für Angewandte Kunst
Belo Horizonte, MG - 2nd Traveling Exhibition of Works from the MAC/USP Collection, at Museu de Arte da Prefeitura de Belo Horizonte
Bonn, Germany - Brazilian Art Today, at Beethovenhalle
1966 - Curitiba, PR - 2nd Traveling Exhibition of Works from the MAC/USP Collection
Porto Alegre, RS - 2nd Traveling Exhibition of Works from the MAC/USP Collection, at Museu de Arte do Rio Grande do Sul
Switzerland - International Painting Prize
São Paulo, SP - Half a Century of New Art, at MAC/USP
São Paulo, SP - Three Premises, at MAB/Faap
1967 - São Paulo, SP - 9th São Paulo International Biennial, at Fundação Bienal
1968 - Rio de Janeiro, RJ - 17th National Salon of Modern Art, at MAM/RJ
São Paulo, SP - 17th Paulista Salon of Modern Art - Grand Gold Medal
Rio de Janeiro, RJ - Yesterday and Today, at Galeria do Instituto Brasil-Estados Unidos – Ibeu Copacabana
Salvador, BA - 2nd National Biennial of Bahia - 1st Painting Prize
Santos, SP - 1st Official Salon of Modern Art
São Paulo, SP - Twelve of Merit, at Galeria da USIS
1969 - São Paulo, SP - 1st Panorama of Contemporary Brazilian Art, at MAM/SP
São Paulo, SP - 1st Paulista Salon of Contemporary Art, at MASP - 1st Special Prize from the State Government
São Paulo, SP - Yellow in Painting, at Galeria Cosme Velho
1970 - Medellín, Colombia - 2nd Medellín Art Biennial - invited artist, at Museo de Antioquia
Rio Grande do Sul - 1st Visual Arts Salon, at UFRGS - special prize for best collection of works
São Paulo, SP - 2nd Panorama of Contemporary Brazilian Art, at MAM/SP
São Paulo, SP - 4 Abstract Artists, at Galeria Astréia
São Paulo, SP - Pinacoteca do Estado de São Paulo 1970
São Paulo, SP - Wakabayashi, Ianelli, Mabe, and Fukushima, at Galeria Astréia
1970 - Santos, SP - Wakabayashi, Ianelli, Mabe, and Fukushima, at Centro Cultural Brasil-Estados Unidos
1971 - New York, United States - Contemporary Art from Brazil
Paris, France - Salon d'Automne
1972 - Curitiba, PR - 29th Paraná Salon, at Fundação Teatro Guaíra
São Paulo, SP - Arte/Brasil/Hoje: 50 Years Later, at Galeria Collectio
São Paulo, SP - Waldemar da Costa Retrospective: Tribute to the Master, at MAM/SP
1973 - São Paulo, SP - 12th São Paulo International Biennial - Constructed Art, at Fundação Bienal
São Paulo, SP - 5th Panorama of Contemporary Brazilian Art, at MAM/SP
1974 - Bogotá, Colombia - 28 Artists from Brazil, at Museo de Arte Moderno de Bogotá
Cagnes-sur-Mer, France - International Painting Festival
Cali, Colombia - 28 Artists from Brazil, at Museo de Arte Moderno La Tertulia
Caracas, Venezuela - 28 Artists from Brazil
Rio de Janeiro, RJ - 21 Years of the National Salon: The Awardees, at Instituto Brasil-Estados Unidos – Ibeu
Santiago, Chile - 28 Artists from Brazil, at Museo de Arte Moderno
1975 - Buenos Aires, Argentina - 28 Contemporary Artists, Museu de Artes Visuais
Lima, Peru - 28 Contemporary Artists
Quito, Ecuador - 28 Contemporary Artists
São Paulo, SP - Antonio Gomide, Bonadei, Flávio de Carvalho, Carlos Scliar, Maria Bonomi, José Antônio da Silva, Ernesto de Fiori, Arcangelo Ianelli, at Galeria Cosme Velho
São Paulo, SP - 13th São Paulo International Biennial, at Fundação Bienal
São Paulo, SP - 2nd Brazil-Japan Fine Arts Exhibition, at São Paulo State Legislative Assembly
Tokyo, Japan - Brazilian Collective Exhibition
Kyoto, Japan - Brazilian Collective Exhibition
1976 - Belo Horizonte, MG - Non-Figurative Art Today, at Palácio das Artes
Paris, France - 10 Brazilian Artists
São Paulo, SP - 8th Panorama of Contemporary Brazilian Art, at MAM/SP
1977 - El Salvador (San Salvador) - Festival and Tribute to Latin American Painting
Madrid, Spain - Contemporary Ibero-American Art, at Instituto de Cultura Hispánica
São Paulo, SP - 9th Panorama of Contemporary Brazilian Art, at MAM/SP
1978 - Caracas, Venezuela - 1st Latin American Art Biennial - invited artist
Mexico City, Mexico - 1st Ibero-American Art Biennial - 1st Prize
Mexico City, Mexico - 1st Ibero-American Painting Biennial
Rio de Janeiro, RJ - 3rd Arte Agora: Latin America, Sensitive Geometry, at MAM/RJ
1979 - São Paulo, SP - 11th Panorama of Contemporary Brazilian Art, at MAM/SP
1980 - Berlin, Germany - Four Artists from Brazil: twelve large-format canvases
Bonn, Germany - Four Artists from Brazil, at Kultur-Forum Bonn Center
Frankfurt, Germany - Four Artists from Brazil: twelve large-format canvases
Lisbon, Portugal - Four Artists from Brazil, at Museu Gulbenkian, Fundação Calouste Gulbenkian
Porto (Portugal) - Four Artists from Brazil, at the Junta Comercial
Santiago (Chile) - Four Artists from Brazil: twelve large-scale paintings, at the National Museum of Fine Arts
São Paulo SP - Masters of Lyrical Abstraction in Brazil, at Galeria Eugenie Villien
São Paulo SP - Four Artists from Brazil: twelve large-scale paintings, at MAM/SP
Stuttgart (Germany) - Four Artists from Brazil: twelve large-scale paintings
Vienna (Austria) - Four Artists from Brazil: twelve large-scale paintings
1981 - Curitiba PR - 38th Paraná Salon, at Teatro Guaíra
Guarujá SP - 4 Painters, at Hotel Jequitimar
Medellín (Colombia) - 4th Medellín Art Biennial - invited artist
Osaka (Japan) - Latin American Contemporary Art Exhibition Brazil/Japan, at National Museum of Art
São Paulo SP - 3 Artists at the Medellín Biennial, at Grifo Art Gallery
São Paulo SP - Arcangelo Ianelli, Tomie Ohtake, and Cláudio Tozzi, at Grifo Art Gallery
São Paulo SP - Contemporary Brazilian Artists, at Escritório de Arte São Paulo
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at José de Azeredo Perdigão Modern Art Center
London (United Kingdom) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
New York (USA) - Brazilian Painters, at Kouros Gallery
Penápolis SP - 5th Northwest Visual Arts Salon, at Penápolis Educational Foundation, Faculty of Philosophy, Sciences and Letters of Penápolis
Recife PE - 1st Latin Art Exhibition, at Galeria Lula Cardoso Ayres
Rio Claro SP - 2nd Rio Claro Visual Arts Salon, at Roberto Palmari Cultural Center
São Paulo SP - Seascapes and Riverside Scenes, at Museu Lasar Segall
Rio de Janeiro RJ - Modernism and New Directions, from the Sul-América collection
1983 - Buenos Aires (Argentina) - 1st Colored Arts Cruise
Lisbon (Portugal) - The Color and Drawing of Brazil
Madrid (Spain) - The Color and Drawing of Brazil
Paris (France) - The Color and Drawing of Brazil
Rio de Janeiro RJ - 6th National Salon of Visual Arts, at MAM/RJ
Rome (Italy) - The Color and Drawing of Brazil
Santos SP - 1st Colored Arts Cruise
São Paulo SP - Colors and Forms, at MASP
São Paulo SP - 14th Panorama of Contemporary Brazilian Art, at MAM/SP
São Paulo SP - Color in Brazilian Painting, at MAM/SP
1984 - Buenos Aires (Argentina) - Masters of Brazilian Abstraction
The Hague (Netherlands) - Masters of Brazilian Abstraction
Madrid (Spain) - Masters of Brazilian Abstraction
Lisbon (Portugal) - The Great Masters of Abstraction
London (United Kingdom) - The Great Masters of Abstraction
Milan (Italy) - The Great Masters of Abstraction
New York (USA) - The Great Masters of Abstraction
Paris (France) - The Great Masters of Abstraction
Rio de Janeiro RJ - Active Brazilian Painting, at Espaço Petrobrás
Rome (Italy) - The Great Masters of Abstraction
São Paulo SP - The Great Masters of Abstraction, MAM/SP
São Paulo SP - The Color and Drawing of Brazil, at MAM/SP
São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal Washington (USA) - The Great Masters of Abstraction
1985 - Brasília DF - Active Brazilian Painting
Curitiba PR - Four Masters: Four Visions, at Simões de Assis Art Gallery
Rio de Janeiro RJ - Six Decades of Modern Art in the Roberto Marinho Collection, at Paço Imperial
São Paulo SP - 100 Works Itaú, at MASP
São Paulo SP - Highlights of Contemporary Brazilian Art, at MAM/SP
1986 - Rio de Janeiro RJ - Seven Decades of Italian Presence in Brazilian Art, at Paço Imperial
São Paulo SP - Before and Now: 8 Painters, at Fundação Cásper Líbero
São Paulo SP - Volpi: Permanence and Matrix – 7 São Paulo Artists, at Montesanti Roesler Gallery
1987 - Brasília DF - São Paulo Artists in Brasília, at Museu de Arte de Brasília
Buenos Aires (Argentina) - Roberto Marinho Collection, at National Museum of Buenos Aires
Lisbon (Portugal) - Roberto Marinho Collection, at Calouste Gulbenkian Foundation
Paris (France) - Modernity: 20th Century Brazilian Art, at Musée d´Art Moderne de la Ville de Paris
Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
São Paulo SP - 20th Contemporary Art Exhibition, at Chapel Art Show
São Paulo SP - The Craft of Art: Painting, at Sesc
São Paulo SP - 19th São Paulo International Biennial, at Fundação Bienal – special room
1988 - Paris (France) - 20th Century Brazilian Art, at Musée d’Art Moderne
Rio de Janeiro RJ - 2nd Geometric Abstraction, at Funarte
São Paulo SP - 15 Years of Brazil-Japan Fine Arts Exhibition, at Fundação Mokiti Okada M.O.A.
São Paulo SP - Italian Artists and Descendants in Brazil, at Banco Sudameris
São Paulo SP - MAC 25 Years: Highlights of the Initial Collection, at MAC/USP
São Paulo SP - Modernity: 20th Century Brazilian Art, at MAM/SP
São Paulo SP - Rhythms and Forms: Contemporary Brazilian Art, at Sesc/Pompéia
1989 - Copenhagen (Denmark) - Rhythms and Forms: Contemporary Brazilian Art, at Charlottenborg Museum
Cuenca (Ecuador) - 2nd Cuenca International Biennial – 1st Prize
Juiz de Fora MG - Every Head a Sentence, at Mariano Procópio Museum
Lisbon (Portugal) - Six Decades of Brazilian Modern Art: Roberto Marinho Collection, at José de Azeredo Perdigão Modern Art Center
Rio de Janeiro RJ - Viva France, at GB ARTe
San Jose (Costa Rica) - Tribute to Latin American Abstract Art
São Paulo SP - 20th Panorama of Contemporary Brazilian Art, at Museu de Arte Moderna
São Paulo SP - São Paulo Art Gallery Collection, at Escritório de Arte São Paulo
São Paulo SP - 20th São Paulo International Biennial, at Fundação Bienal
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
Brasília DF - 9th Brazil-Japan Contemporary Art Exhibition
Osaka (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
Kyoto (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
Rio de Janeiro RJ - 9th Brazil-Japan Art Exhibition
São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition
Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition, at Brazil-Japan Foundation
Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1991 - Cuenca (Ecuador) - 3rd Cuenca International Biennial – special room
Juiz de Fora MG - Poetry and Rigor, at Escritório de Arte da Casa de Papel
Rio de Janeiro RJ - Recent Works, at MAM/RJ
São Paulo SP - Synchronies
1992 - Americana SP - Reopening Exhibition of the Contemporary Art Museum of Americana, at MAC/Americana
Poços de Caldas MG - Brazilian Modern Art: Collection of the Museum of Contemporary Art of the University of São Paulo, at Casa de Cultura
Rio de Janeiro RJ - 1st On the Way to Niterói: João Sattamini Collection, at Paço Imperial
Rio de Janeiro RJ - Eco Art, at MAM/RJ
Santo André SP - Lithography: Methods and Concepts, at Paço Municipal
São Paulo SP - Dominant White, at Galeria de Arte São Paulo
São Paulo SP - 10th Brazil-Japan Contemporary Art Exhibition, at Brazil-Japan Foundation
São Paulo SP - Guanabara Group: 1950-1959, at Renato Magalhães Gouvêa Art Office
1993 - Porto Alegre RS - Arcangelo Ianelli, Antonio Henrique Amaral, and Francisco Stockinger, at Porto Art Exchange
1994 - São Paulo SP - Flags: 60 Artists Honor the 60th Anniversary of USP, at MAC/USP
São Paulo SP - Brazil 20th Century Biennial, at Fundação Bienal
1995 - Curitiba PR - 52nd Paraná Salon, at MAC/PR
Curitiba PR - Group Exhibition, at Waldir Assis Art Gallery
São Paulo SP - Brazil-Japan Art, at Fundação Mokiti Okada
São Paulo SP - Projeto Contato, at Galeria Sesc Paulista
São Paulo SP - United Artists I, at Casa das Rosas
1996 - Barra Mansa RJ - 12 Nomes da Pintura Brasileira, at Centro Universitário de Barra Mansa
Campinas SP - Geometric Abstraction, at MACC
Osasco SP - Expo FIEO: donation Luiz Ernesto Kawall, at FIEO
Rio de Janeiro RJ - Constructive Trends in the MAC/USP Collection: construction, measurement and proportion, at CCBB
São Paulo SP - 1st Off Biennial, at MuBE
São Paulo SP - Geometric Abstraction, at Museu Banespa
São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920-1970, at MAC/USP
São Paulo SP - Bandeiras, at Sesi Art Gallery
São Paulo SP - Six Timeless Artists, at Múltipla de Arte
1997 - Brasília DF - Poets of Space and Color, at MAB/DF
Curitiba PR - Casa Cor Sul - Simões de Assis Art Gallery
Madrid (Spain) - Group Exhibition, at Museo de La Ciudad
Rio de Janeiro RJ - Poets of Space and Color, at MAM/RJ
Santos SP - 6th National Biennial of Santos, at Fundação Pinacoteca Benedito Calixto - special room
São Paulo SP - Great Names of Brazilian Painting, at Jo Slaviero Art Gallery
São Paulo SP - Poets of Space and Color, at MASP
1998 - Belém PA - 2nd Art Electromídia: virtual exhibition, at the intersection of Rua Boaventura da Silva x Avenida Doca de Souza Franco
Belo Horizonte MG - 2nd Art Electromídia: virtual exhibition, at the intersection of Avenida Contorno x Avenida Amazonas
Porto Alegre RS - Collection: 90 Years of the Institute of Arts, at UFRGS, Institute of Arts
Rio de Janeiro RJ - Brazilian Art in the Collection of the Museum of Modern Art of São Paulo: recent donations 1996-1998, at CCBB
São Paulo SP - MAM Bahia Collection: paintings, at MAM/SP
São Paulo SP - Eletro Mídia Art Show, at Museu da Casa Brasileira
São Paulo SP - 2nd Art Electromídia: virtual exhibition, at intersections Avenida Cidade Jardim x Avenida Brigadeiro Faria Lima; Avenida Brigadeiro Faria Lima x Avenida Rebouças; Avenida Morumbi x Avenida Luis Carlos Berrini; Rua Vergueiro x Avenida Paulista; Avenida Juscelino Kubitschek x Avenida Brigadeiro Faria Lima; Avenida Paulista x Alameda Campinas
São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
São Paulo SP - Lines and Forms, at Jo Slaviero Art Gallery
Curitiba PR - Highlights of Brazilian Painting, at Simões de Assis Art Gallery
Fortaleza CE - Inaugural Exhibition at Centro Dragão do Mar de Arte e Cultura
1999 - Rio de Janeiro RJ - Rio Gravura Exhibition: Modern Brazilian Printmaking, at Museu Nacional de Belas Artes
São Paulo SP - The Female Figure in the MAB Collection, at MAB/FAAP
São Paulo SP - The Resacralization of Art, at Sesc/Pompéia
São Paulo SP - Lithography: fidelity and memory, at Espaço de Artes Unicid
2000 - Belém PA - Arte Pará 2000, at Museu de Arte Sacra
São Paulo SP - The Female Figure in the MAB Collection, at MAB/FAAP
2001 - Brasília DF - Collections of Brazil, at CCBB
Porto Alegre RS - Liba and Rubem Knijnik Collection: contemporary Brazilian art, at MARGS
São Paulo SP - Aldo Franco Collection, at Pinacoteca do Estado
São Paulo SP - Museum of Brazilian Art: 40 Years, at MAB/FAAP
São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
Belém PA - 21st Arte Pará Salon, at Museu do Estado do Pará
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: from modern restlessness to linguistic autonomy, at Centro Cultural Banco do Brasil
São Paulo SP - 10th São Paulo Contemporary Art Salon, special room
São Paulo SP - 28 (+) Painting (2002 : São Paulo, SP) - Espaço Virgílio
São Paulo SP - Brazilian Art in the Fadel Collection: from modern restlessness to linguistic autonomy, at CCBB
São Paulo SP - Metrópolis Contemporary Art Collection, at Pinacoteca do Estado
São Paulo SP - Map of the Now: recent Brazilian art in the João Sattamini Collection of the Niterói Contemporary Art Museum, at Instituto Tomie Ohtake
São Paulo SP - The Plan as Form Structure, at Espaço MAM - Villa-Lobos
São Paulo SP - Gate 2, at Nara Roesler Gallery
2003 - Brasília DF - Brazilian Art in the Fadel Collection: from modern restlessness to linguistic autonomy, at Centro Cultural Banco do Brasil
Ipatinga MG - Brazilian Art in the MAP Collection, at Centro Cultural Usiminas
Recife PE - Seeing Again/Seeing the New, at MAMAM
Rio de Janeiro RJ - Brazilianart Project, at Almacén Art Gallery
São Paulo SP - Painted Bodies at Oca, at Oca
São Paulo SP - The Art Behind Art: where and how artworks travel, at Espaço MAM-Villa-Lobos
São Paulo SP - MAC USP 40 Years: contemporary interfaces, at MAC/USP
2004 - Campinas SP - Metrópolis Contemporary Art Collection, at Espaço Cultural CPFL
Niterói RJ - Transitive Modernity, at MAC/Niterói
São Paulo SP - Brazilian, Brazilians, at Museu Afro-Brasil
São Paulo SP - Gesture and Expression: informal abstraction in the JP Morgan Chase and MAM collections, at MAM/SP
São Paulo SP - New Acquisitions: 1995-2003, at MAB/FAAP
Rio de Janeiro RJ - The Century of a Brazilian: Roberto Marinho Collection, at Paço Imperial
2005 - São Paulo SP - Art in the Metropolis, at Instituto Tomie Ohtake
São Paulo SP - Small Great Works, at Cultural Blue Life
São Paulo SP - 100 Years of Pinacoteca: building a collection, at Sesi Art Gallery
São Paulo SP - Ship of Fools, at MAC/USP
Fortaleza CE - Brazilian Art: in Ceará’s public and private collections, at Espaço Cultural Unifor
Curitiba PR - Art in the Metropolis, at Museu Oscar Niemeyer
Curitiba PR - 10 Brazilian Painters, at Simões de Assis Art Gallery
2006 - Belém PA - Lines and Transitions of Contemporary Brazilian Art, at Espaço Cultural Casa das Onze Janelas
Rio de Janeiro RJ - Modern Art in Context: ABN AMRO Real Collection, at MAM/RJ
São Paulo SP - Brushstroke – Painting and Method: 1950s projections, at Instituto Tomie Ohtake
Recife PE - Modern Art in Context: ABN AMRO Real Collection, at Instituto Cultural Banco Real
São Paulo SP - Brasiliana MASP: modern contemporary, at Museu de Arte de São Paulo
São Paulo SP - Modern Art in Context: ABN AMRO Real Collection, at Banco Santander
São Paulo SP - MAM at Oca, at Oca São Paulo SP - Viva Cultura Viva do Povo Brasileiro, at Museu Afro-Brasil
2007 - São Paulo SP - Itaú Contemporary: Art in Brazil 1981-2006, at Instituto Itaú Cultural
Americana SP - ... limits ..., at Casa de Cultura Hermann Müller
Curitiba PR - Color and Form, at Simões de Assis Art Gallery
São Paulo SP - Panorama of Panoramas, at MAM/SP
São Paulo SP - Brazilian Brazil, at CCBB
São Paulo SP - BM&F BOVESPA Collection, at Espaço Cultural BM&F BOVESPA
2009 - Rio de Janeiro RJ - Brazilian Brazil, at CCBB
São Paulo SP - Latitudes: Latin American Masters in the Fensa Collection, at Instituto Tomie Ohtake.
Posthumous Exhibitions
2009 - São Paulo SP - Critics' Gaze: Awarded Art from ABCA and the Artistic Collection of the Palaces, at Palácio dos Bandeirantes
São Paulo SP - Featured Papers: 20th Century Masters, at Dan Galeria
São Paulo SP - Treasures from the Roberto Marinho Collection, at BM&F Bovespa Cultural Space
Milan (Italy) - Small Great Works – Brazilian Contemporary Art, at Istituto Brasile – Italia
2010 - Curitiba PR - Color and Form II, at Simões de Assis Art Gallery
2011 - São Paulo SP - Modernisms in Brazil, at Museum of Contemporary Art, University of São Paulo
São Paulo SP - Artist’s Donation, at Pinacoteca do Estado
São Paulo SP - Obsessions of Form – Sculptures from the MASP Collection, at São Paulo Museum of Art
São Paulo SP - Collection Highlights, at Ricardo Camargo Gallery
Belo Horizonte MG - 1911–2011: Brazilian Art and Beyond in the Itaú Collection, at Fundação Clóvis Salgado, Palácio das Artes
Ipatinga MG - Country Landscape, at Usiminas Cultural Center
Bibliography
ALMEIDA, Paulo Mendes de. Ianelli: from Figurative to Abstract. Presentation by Aracy Amaral; text by Aracy Amaral, Juan Acha, Marc Berkowitz, Jacob Klintowitz. São Paulo: [s. n.], 1978.
Bardi, PM; ART in Brazil. Preface by Pietro Maria Bardi; introduction by Pedro Manuel. São Paulo: Abril Cultural, 1979.
IANELLI, Arcangelo. Ianelli: from Figurative to Abstract; MAM-SP, 1978.
IANELLI, Arcangelo. Ianelli. Translated by Izabel Murat Burbridge. São Paulo: Galeria de Arte São Paulo, 1987.
KLINTOWITZ, Jacob. Color in Brazilian Art: 27 Representative Artists. São Paulo: Volkswagen do Brasil, 1982.
LEITE, José Roberto Teixeira. 500 Years of Brazilian Painting. [s.l.]: Log On Informática, 1999. 1 Audio CD-ROM.
LEITE, José Roberto Teixeira. Critical Dictionary of Painting in Brazil. Rio de Janeiro: Artlivre, 1988.
LEIRNER, Sheila. Art as Measure: Selected Critiques. São Paulo: Perspectiva, 1982.
MORAIS, Frederico. Ianelli: Form and Color. Preface by Juan Acha. São Paulo: Artestilo, 1984.
PONTUAL, Roberto. Art/Brazil/Today: 50 Years Later. São Paulo: Collectio, 1973.
PONTUAL, Roberto. Between Two Centuries: 20th-Century Brazilian Art in the Gilberto Chateaubriand Collection. Preface by Gilberto Chateaubriand; presentation by M. F. do Nascimento Brito. Rio de Janeiro: JB, 1987.
[1] "Critical Dictionary of Painting in Brazil"; José Roberto Teixeira Leite; Artlivre, Sept. 1988.
[2] The Guanabara Group was formed in 1950 by Tikashi Fukushima (Japan, 1920 – Brazil, 2001), who opened a frame-making workshop in the former Largo Guanabara (near Rua Vergueiro and Av. Bernardino de Campos). It became a space where artists could discuss their work while preserving the diversity of their members’ styles. Founders: Alzira Pecorari, Armando Pecorari, Arcangelo Ianelli, Marjô, Takeshi Suzuki, Tikashi Fukushima, Tomoo Handa, Yoshiya Takaoka, Tamaki. Participants: many, including Hideomi Ohara, Ismenia Coaracy, Takahashi, Manabu Mabe, Masanosuke Hashimoto, Massao Okinaka, Thomaz, Tsukika Okayama, and Wega Nery. Over its existence, the group held five exhibitions, the first in 1950 and the last in 1959. Shortly afterward (ca. 1960), the group disbanded.
[3] The Seibi Group (1935–1972) brought together Japanese artists interested in creating a space for discussion to enhance technical skills and promote their work. Attending life drawing classes at the São Paulo School of Fine Arts, its members came into contact with the Santa Helena Group, sharing similar artistic approaches. Besides the Salons, another key development was the formation of associations such as the Guanabara Group and the Grupo dos 15, emerging from Seibi’s activities. Founders/Organizers: Hajime Higaki, Shigeto Tanaka, Takahashi, Tamaki, Tomoo Handa, Yoshiya Takaoka. Some Members: Flávio-Shiró, Manabu Mabe, Massao Okinaka, Shigeo Nishimura, Tadashi Kaminagai, Takeshi Suzuki, Tikashi Fukushima, and Tomie Ohtake.
[4] Kant uses the term as a “principle” freely chosen by the subject to serve as a guideline or standard of conduct.
[5] In "Ianelli – Form and Color"; Frederico Morais; São Paulo, 1984. Book published on the occasion of the exhibition “Ianelli, 40 Years of Painting” at MAM-RJ, Sept. 1984.
[6] "Angelo Simeone (1899–1974) came to Brazil as a child. His parents were immigrants from Capua. He arrived in Brazil in 1901 and from 1916 attended the Liceu de Artes e Ofícios de São Paulo as a student of José Perissinoto. Years later (1936), he participated in forming the Union of Plastic Artists – São Paulo and was posthumously honored in 1974 at the 39th São Paulo Fine Arts Salon. Paulo Mendes de Almeida wrote: 'In Simeone, traits of this southern sensibility seem to flourish. Early on, he was a wall painter. Other colleagues also practiced this craft and were admirable. Angelo Simeone is truly an opposite example to the rampant careerism around… One day, like Volpi and others, he transitioned from wall painting to easel painting, igniting the flame of his spirit.'"
In "BARDI AND THE FORGOTTEN PAINTERS," Folha de S. Paulo, Sunday, June 29, 1975.
Source: Itaú Cultural Encyclopedia – Visual Arts. [Exhibitions]