José Pancetti

José Pancetti (Campinas, SP, 1902 - Rio de Janeiro, RJ, 1958)

José Pancetti was a painter, known primarily for his seascapes, although his work also includes landscapes, portraits, self-portraits, and still lifes. His seascapes, initially analytically crafted with smooth, stroked brushstrokes organized into geometric planes, without waves or wind, became cleaner over time, approaching abstraction, reduced to sand, light, and the sea.

From the age of 11 to 16, at his father's behest, Giuseppe Gianinni Pancetti lived in Italy, under the care of his uncle and grandparents. Before becoming a sailor, he worked as an apprentice carpenter in bicycle and military equipment factories. In 1919, he joined the Italian merchant navy, traveling for three months in the Mediterranean. The following year, he returned to Brazil and, in Santos, held various positions, including textile worker, goldsmith's assistant, sewer worker, and hotel cleaner. In 1921, in São Paulo, he worked at Oficina Beppe, a workshop specializing in wall decoration, working as a poster designer, wall painter, and assistant to painter Adolfo Fonzari. In 1922, he enlisted in the Brazilian Navy, where he remained until his retirement in 1946, with the rank of 2nd Lieutenant. In 1925, while serving on the battleship Minas Gerais, he created his first paintings. The following year, to advance his career, he joined the painting staff of the "Companhia de Praticantes e Especialistas em Convés" (Company of Deck Practitioners and Specialists). In 1933, he joined the Bernardelli Center, where he received guidance from Manoel Santiago, Edson Motta, Rescála and, especially, the Polish painter Bruno Lechowski, acquiring technique and artistic maturity.

Critical Commentary

The son of Italian immigrants, José Pancetti was born in Campinas, São Paulo, and traveled to Italy as a child in 1913 due to his family's financial difficulties. He lived with an uncle, a marble dealer, in the Tuscany region, in Massa-Carrara, and later in Pietra Santa, with his grandparents. He worked in various jobs until joining the Merchant Navy. He returned to Brazil in 1920, working at various jobs until joining the Navy two years later, where he remained until 1946. His constant travel prevented him from pursuing a regular artistic education. In 1933, he joined the Bernardelli Nucleus, a group of young people fighting for the reform of art education at the National School of Fine Arts (ENBA). He was mentored in oil painting by the Polish artist Bruno Lechowski (1887-1941).

Portrait painting was a constant in his career. They are mostly simplified compositions, with few elements. The subjects often reveal a sense of despondency, as in "A Sad and Sick Girl" (1940) or "Portrait of Lourdes" (undated). He also dedicated himself to self-portraits, in which he shows his admiration for Vincent van Gogh (1853-1890) and Paul Gauguin (1848-1903). He frequently depicts himself as a manual laborer, as if to recall his humble origins. In his self-portraits, he generally rejects frontality. The somber expression, the head and bust treated with geometric care (a procedure derived from Cubism), and the interplay of chiaroscuro structure these compositions, highly representative of his output, of which over 40 works are known.

In the 1940s, he painted urban landscapes, mostly in dark colors, with a predominance of ochre tones and marked by great melancholy. Examples include *O Chão* (1941) and *Pátio da Rua de Santana* (1944). In these landscapes, and also in some still lifes, he reveals an interest in the works of Paul Cézanne (1839-1906) and Henri Matisse (1869-1954). In other paintings, such as Campos de Jordão (1944), he uses slightly brighter shades of green and blue, albeit in muted tones, and explores the verticality of the tree trunks.

Seascapes are the best-known aspect of his work; they reflect his experience as a sailor and his love for the various corners of the coast: Itanhaém, Mangaratiba, Cabo Frio, and Arraial do Cabo. His paintings are conceived with great formal simplification, such as Cabo Frio (1947). In it, Pancetti uses zigzag lines, diagonals that run through the pictorial space and are a constant feature in his works. In Landscape with Dunes (1947) or Beach in Cabo Frio (1947), the unusual framing stands out. The artist created a series of paintings of Arraial do Cabo, in which the viewer's gaze wanders over the humble fishermen's houses, the white sand, and the colorful canoes.

In 1950, he traveled to Bahia, where he settled. There, his work changed, his palette acquiring warm, bold colors. His seascapes became filled with light. He painted the city of Salvador and its surroundings in the 1950s: Itapoã Beach, the Barra Lighthouse, and the Abaeté Lagoon. The latter is represented in many paintings, which focus on the contrast between the dark waters, the white sand, and the colorful fabrics of the washerwomen. In some Bahian landscapes, he explored the consistency, luminosity, and golden color of the sand, as seen, for example, in *Farol da Barra* (1954). In paintings from the end of his career, he approaches abstraction, as in *Itapoã* (1957), in which the landscape is conceived through bands of vibrant, luminous colors.

José Pancetti, even in his early works, produces "off-center compositions," developing unusual framing angles. Thus, he revitalizes not only seascape painting but also other landscape compositions and portraits. Known as one of the great Brazilian marine painters, he creates images of great poetic intensity, revealing a profound sensitivity in his use of color.

Reviews

"A man of the people, Pancetti seeks in the people the great inspiring force of his art. The Brazilian landscape is the synthesis of his nativist sentiment. I imagine him as a rough, poetic, and violent man, perhaps sad, perhaps nostalgic for the old ports of the world, where he saw life up close. He transferred this human experience to paintings, with an admirable and at times pathetic lyricism. He is not a freshwater painter. He is a remarkable oceanic artist."
Luis Martins
PANCETTI, José. Exhibition of paintings by José Pancetti. São Paulo: Instituto dos Arquitetos, 1945. 7 p., ill. b&w. p. 6.

"The sailor Pancetti is Brazil's greatest modern landscape painter. His paintings create the image of nature après-le-rêve and composition by reconstructing the lines of objective perception, but with color, they infuse the merely sensorial drawing with imagination. In all of Pancetti's landscapes, a bluish and somber atmosphere reigns, a dense, mysterious, and sad blue, the sailor's emotional constant. If there is a poet painter, it is this one. Between his award-winning painting and the two seascapes, it is difficult to establish a preference. The spiritual density is the same. The most that can be said is that the landscape of the mainland offered a theme for the painter to demonstrate the variety and richness of his gifts as a colorist."
Ruben Navarra
PANCETTI, José. Exhibition of paintings by José Pancetti. São Paulo: Institute of Architects, 1945. 7 p., ill. b&w. p. 6.

"A work that aimed to be simultaneously intuitive and refined, for which the experience of the sea—eyes surrendered to the distance of endless horizons or to the immersion in inner solitude—would have contributed very directly to his preference for maritime landscapes and self-portraits. In either case, the willingness to gradually simplify and summarize the details of reality to be recorded on the surface of the painting, as well as the ability to give color, in broad sweeps or almost instantaneous marks, a powerful suggestive function, always determined Pancetti's evolution. His work remains one of the rare demonstrations, in Brazilian art, of accuracy in recording the coastal landscape, especially of Rio and Bahia, capturing its precise luminosity and the balance between restraint and exuberance. A balance that his portraits also managed to achieve, although tending more toward withdrawal and introspection."
Roberto Pontual
PONTUAL, Roberto. José Pancetti. In: ___. Contemporary Brazilian Art: Gilberto Chateaubriand Collection. Rio de Janeiro: Jornal do Brasil, 1976. p. 115.

"Pancetti simplifies his seascapes as much as possible. He reduces the colors to two or three hues, which he plays with masterful confidence. His spirit of synthesis thus becomes one of great refinement and, at the same time, of a rare purity in modern Brazilian painting."
Antônio Bento
BENTO, Antônio. Pancetti. In: LEITE, José Roberto Teixeira. Pancetti: The Seafaring Painter. Rio de Janeiro: Conquista, 1979. p. 99.

"What is permanent in him is the artist, the painter, the greatest marine painter Brazil has ever had and the interiorized landscaper of the most beautiful tonal grays we know of Campos do Jordão, and a rival to the greats like Segall, Volpi, and Guignard. (...)

His painting was always an image of fundamental colors, of fundamental landscapes, people's faces, mountains, the sea, seen through a direct, first, almost childlike perception. Hence the unparalleled freshness of his best canvases. He was always a machine for seeing, for lovingly seeing natural external things, even when those natural things were boats, because, for a sailor, a boat, no matter how large or small, is always a work of nature, part of the sea, creator of everything, of things and men.

Old Pancetti, in his later years, cannot be old. And even on his bed of pain, he is young, has the soul of a boy. His diary is very revealing in this sense. A boy sees everything with wide eyes, as if for the first time. And he sees everything from the outside, such is the attraction that the spectacle of life exerts on him. For this is how our dear, great Pancetti acts: even his treatment, he views it from the outside, as 'customary formalities: injections, medicine, temperature, blood pressure.'"
Mário Pedrosa
PEDROSA, Mário. Pancetti and his diary. In: PEDROSA, Mário; AMARAL, Aracy (Org.). From Portinari's murals to the spaces of Brasília. São Paulo: Perspectiva, 1981. p. 165-166. (Debates, 170).

"Pancetti is part of the group of artists who, through this act of volition, determined more by intuition than by knowledge, embarks on the almost heroic task of modernizing the Brazilian art scene. And the effort of this modernization would correspond to the effort to achieve the flatness of space, the object of the entire modern pictorial process. Embracing this flat, superficial space, however, had several implications. It signified a break with the illusionistic perspective of representation in depth, a rupture with old conventional geometric schemes that had accompanied the discovery of Newtonian physics that all space is flat. It also signified painting's quest to establish itself as an autonomous and self-critical field, recognizing two-dimensionality as its exclusive component. The European artist thus deconstructed the monolithic idea of ​​space in fixed perspective, began to juxtapose and articulate multiple planes without violating the surface of the canvas, and created heterogeneous and fragmented images that sought to express the very dismemberment of the world. This would ultimately be the Cubist operation. The progressive and radical process of conquering the plane, from Cézanne to Mondrian, thus involves these two determining factors: first, it opposes the stability of the perspectival Renaissance image as a way of declaring the instability of the modern world, and second, it seeks a rationalization of forms and spaces to utopianly restore this world to order. Certainly, Pancetti's search for the superficiality of painting does not involve such clarifications. He probably 'intuited' rather than recognized modern qualities. But we know of his admiration for Cézanne. An admiration that connected Cézanne with this desire, also his, for the geometrization and planning of spaces. Brazilian modernist affinities with Cézanne and Pancetti are rare, by the way.
Ligia Canongia
CANONGIA, Ligia. Pancetti: The Still Sea. In: PANCETTI, José. Pancetti - The Lonely Sailor. [Salvador]: Bahia Museum of Art, 2000. p. 20-21.

Why stop?

Nonconformity was the hallmark of José Pancetti, born in Campinas, São Paulo State, on June 18, 1902, and who died at the Central Navy Hospital in Rio de Janeiro on February 10, 1958. In those nearly 56 years, due to circumstances and his own temperament, he never stopped.

He moved constantly from one place to another, trying various jobs, without settling in any of them, except in the Navy, where he participated as a simple professional in the suppression of the revolutions of 1922 (Revolt of Fort Copacabana), 1924 (São Paulo Revolution), 1930 (end of the First Republic), 1932 (Constitutionalist Revolution), and 1935 (Communist Intentona).

Lost illusions

Along with his restless and fickle temperament, which he had since childhood, were the difficulties his parents, Giovani and Corina, had in providing for their family. Giovani, a construction foreman and bricklayer, came from Italy hoping to make it in America with his knowledge and experience, but he was soon disappointed. Waves of immigrants arrived here with similar qualifications, whose pressure for work was driving down the value of labor and causing persistent unemployment.

Pancetti was ten years old when the family moved from Campinas to São Paulo. A year later, seeking a better future for their son, his parents sent him to Italy, where he lived, first with his aunt and uncle, then with his grandparents. He apprenticed as a carpenter, worked as a simple laborer, and moved from factory to factory until he joined the Italian merchant navy. At 17, unable to settle down, he returned to Brazil.

In Brazil, a new odyssey: in Santos, he worked as a laborer in a textile factory, a hotel cleaner, a goldsmith's assistant, a waiter, and even a manual laborer building sewers on public roads. In 1921, he came to São Paulo, where an Italian professional gave him work as a house and poster painter.

Three Loves and a Cross

Finally, that same year, he met the painter Adolfo Fonzari (1880-1959), who offered him a job as an assistant on the decoration work being done at the home of Commander Pugliese in Guarujá.

It was the encounter with his first eternal love: painting. The other would come the following year: in 1922, he enlisted in the Brazilian Navy, where he remained until 1946, when he was discharged as a 2nd lieutenant for health reasons. His third and also lasting love was Anita Caruso, whom he married on April 27, 1935, and with whom he had two children.

The greatest cross he bore was tuberculosis, which he contracted at a young age, a victim of the precarious living conditions he always experienced. It followed him until the end of his life, forcing him to periodically change climates.

His painting can be classified into three well-defined phases: from 1925 to 1941, his apprenticeship from 1941 to 1950, his peak from then on, and a continued decline, a consequence mainly of the illnesses that afflicted him.

The Caravan Passes

He was a self-taught painter and, as such, was received with reservations, if not hostility, by his colleagues. In an article published on October 19, 1941, in the "Gazeta Magazine," a certain Villeroy-França, mentioning Pancetti, put it this way: "He is a painter without symbols and without fatalities, a victim of the terrible complex of the pre-professional rank, who was unable to reach the ranks."

No one can stop the rotation of the earth. One day follows another. The year 1941, precisely the year in which this virtually unknown critic's article was published, marked Pancetti's meteoric rise, gaining prestige and respectability in the market. Likewise, the years that followed were years of glory and recognition for his work as an artist.

Recalling an old Arabic saying, "the dogs bark while the caravan passes by." Unperturbed, oblivious to criticism, and confident in his artistic ability, Pancetti continued painting until 1958, when he lost his first and final battle with the disease that, like a sinister shadow, followed him everywhere throughout his life.

Solo Exhibitions

1945 - São Paulo SP - Solo exhibition at the Instituto dos Arquitetos do Brasil - IAB/SP
1946 - Rio de Janeiro RJ - Solo exhibition at Galeria Montparnasse
1946 - São Paulo SP - Solo exhibition at Galeria Itapetininga
1950 - Recife PE - Solo exhibition at Sindicato dos Empregados do Comércio
1952 - Salvador BA - Solo exhibition at Galeria Oxumaré
1955 - Rio de Janeiro RJ - Solo exhibition at the Museu de Arte Moderna do Rio de Janeiro - MAM/RJ
1958 - Recife PE - Solo exhibition at the Instituto de Arquitetos do Brasil - IAB/PE

Group Exhibitions

1933 - Rio de Janeiro RJ - 40th General Exhibition of Fine Arts, School of Fine Arts
1934 - Rio de Janeiro RJ - National Salon of Fine Arts, School of Fine Arts - honorable mention
1936 - Rio de Janeiro RJ - 42nd National Salon of Fine Arts, Institute of Social Security - bronze medal
1937 - São Paulo SP - 5th São Paulo Salon of Fine Arts
1939 - Rio de Janeiro RJ - 45th National Salon of Fine Arts, National Museum of Fine Arts - MNBA - silver medal
1939 - São Paulo SP - 6th São Paulo Salon of Fine Arts
1940 - Rio de Janeiro RJ - 46th National Salon of Fine Arts, MNBA
1941 - New York (USA) - Contemporary Art of the Western Hemisphere, sponsored by IBM Corporation
1941 - Rio de Janeiro RJ - 47th National Salon of Fine Arts, MNBA - travel award abroad
1943 - London (UK) - Brazilian Art Exhibition, in tribute to the RAF - Royal Air Force, Burlington House
1944 - Belo Horizonte MG - Modern Art Exhibition, Edifício Mariana
1944 - Belo Horizonte MG - Modern Art Exhibition, Museum of Art of Pampulha - MAP
1944 - London (UK) - Exhibition of Modern Brazilian Paintings, Royal Academy of Arts
1944 - Norwich (UK) - Exhibition of Modern Brazilian Paintings, Norwich Castle and Museum
1945 - Bath (UK) - Exhibition of Modern Brazilian Paintings, Victory Art Gallery
1945 - Bristol (UK) - Exhibition of Modern Brazilian Paintings, Bristol City Museum & Art Gallery
1945 - Buenos Aires (Argentina) - 20 Brazilian Artists, National Exhibition Halls
1945 - Edinburgh (UK) - Exhibition of Modern Brazilian Paintings, National Gallery
1945 - Glasgow (UK) - Exhibition of Modern Brazilian Paintings, Kelvingrove Art Gallery
1945 - La Plata (Argentina) - 20 Brazilian Artists, Provincial Museum of Fine Arts
1945 - Manchester (UK) - Exhibition of Modern Brazilian Paintings, Manchester Art Gallery
1945 - Montevideo (Uruguay) - 20 Brazilian Artists, Municipal Commission of Culture
1945 - Rio de Janeiro RJ - Plastic Artists of the Communist Party, Casa do Estudante
1945 - São Paulo SP - Alfredo Volpi, Bonadei, Carlos Prado, Quirino da Silva, Francisco Rebolo, Mario Zanini, José Pancetti, Galeria Benedetti
1945 - São Paulo SP - Anita Malfatti, Virgínia Artigas, Clóvis Graciano, Mick Carnicelli, Oswald de Andrade Filho, José Pancetti, Carlos Prado, Francisco Rebolo, Quirino da Silva, Alfredo Volpi, Mario Zanini, Galeria Itapetininga
1946 - Rio de Janeiro RJ - The Painters Go to the People's School, National School of Fine Arts - ENBA
1947 - Rio de Janeiro RJ - 53rd National Salon of Fine Arts, MNBA - national travel award
1948 - Rio de Janeiro RJ - 54th National Salon of Fine Arts, MNBA - gold medal
1949 - São Paulo SP - 15th São Paulo Salon of Fine Arts, Galeria Prestes Maia
1950 - Rio de Janeiro RJ - A Century of Brazilian Painting: 1850-1950, MNBA
1950 - Rome (Italy) - Brazilian Art Group Exhibition
1950 - Venice (Italy) - 25th Venice Biennale
1951 - São Paulo SP - 1st São Paulo International Biennial, Trianon Pavilion
1952 - Feira de Santana BA - 1st Modern Art Exhibition of Feira de Santana, Banco Econômico
1952 - Rio de Janeiro RJ - Exhibition of Brazilian Artists, Museum of Modern Art of Rio de Janeiro - MAM/RJ
1953 - Paris (France) - Brazilian Art Group Exhibition
1954 - Salvador BA - 4th Bahia Salon of Fine Arts, Hotel Bahia - gold medal
1954 - São Paulo SP - Contemporary Art: exhibition of the Museum of Modern Art of São Paulo collection, MAM/SP
1955 - Santiago (Chile) - Brazilian Art Group Exhibition
1955 - São Paulo SP - 3rd São Paulo International Biennial, MAM/SP

Posthumous Exhibitions

1958 - São Paulo SP - 7th São Paulo Salon of Modern Art, Galeria Prestes Maia
1959 - Rio de Janeiro RJ - 30 Years of Brazilian Art, Galeria Macunaíma
1960 - São Paulo SP - Leirner Collection, Galeria de Arte das Folhas
1962 - Rio de Janeiro RJ - José Pancetti: Retrospective, Museum of Modern Art of Rio de Janeiro - MAM/RJ
1963 - Belo Horizonte MG - Exhibition at the Rectorate of the Federal University of Minas Gerais - UFMG
1963 - Campinas SP - Contemporary Painting and Sculpture, Museu Carlos Gomes
1963 - Rio de Janeiro RJ - 1st JB Art Summary, Jornal do Brasil
1963 - Rio de Janeiro RJ - Landscape as Theme, Galeria Ibeu Copacabana
1965 - Maceió AL - José Pancetti: Retrospective, Galeria Rosalvo Ribeiro
1965 - Rio de Janeiro RJ - Solo Exhibition, Stand of Edifício Pancetti, Avenida Vieira Souto, 416
1966 - Rio de Janeiro RJ - Self-Portraits, Galeria Ibeu Copacabana
1966 - Salvador BA - 1st National Biennial of Visual Arts - special room
1966 - São Paulo SP - Half a Century of New Art, Museum of Contemporary Art, University of São Paulo - MAC/USP
1973 - Rio de Janeiro RJ - José Pancetti, Bolsa de Arte do Rio de Janeiro
1974 - São Paulo SP - José Pancetti: Retrospective, Galeria de Arte Ipanema
1980 - Buenos Aires (Argentina) - Eighty Years of Brazilian Art, Banco Itaú
1980 - Rio de Janeiro RJ - Tribute to Mário Pedrosa, Galeria Jean Boghici
1980 - Rio de Janeiro RJ - Solo Exhibition, Christina Faria de Paula Galeria de Arte
1980 - Rio de Janeiro RJ - Permanence in Pancetti, Acervo Galeria de Arte
1980 - Santiago (Chile) - 20 Brazilian Painters, Chilean Academy of Fine Arts
1982 - Bauru SP - 80 Years of Brazilian Art
1982 - Lisbon (Portugal) - Brazil: 60 Years of Modern Art – Gilberto Chateaubriand Collection, José de Azeredo Perdigão Center for Modern Art
1982 - London (UK) - Brazil: 60 Years of Modern Art – Gilberto Chateaubriand Collection, Barbican Art Gallery
1982 - Marília SP - 80 Years of Brazilian Art, Museu de Arte Brasileira - MAB
1982 - Salvador BA - Brazilian Art from the Odorico Tavares Collection, Museu Carlos Costa Pinto
1982 - São Paulo SP - 80 Years of Brazilian Art, Museum of Brazilian Art
1982 - São Paulo SP - From Modernism to the Biennial, Museum of Modern Art of São Paulo - MAM/SP
1982 - São Paulo SP - Núcleo Bernardelli Exhibition: Brazilian Art in the 1930s and 40s, Acervo Galeria de Arte
1982 - São Paulo SP - Seascapes and Riverside Scenes, Museu Lasar Segall
1983 - Belo Horizonte MG - 80 Years of Brazilian Art, Fundação Clóvis Salgado - Palácio das Artes
1983 - Campinas SP - 80 Years of Brazilian Art, José Pancetti Museum of Contemporary Art
1983 - Campinas SP - Solo Exhibition, José Pancetti Museum of Contemporary Art - MACC
1983 - Curitiba PR - 80 Years of Brazilian Art, Museum of Contemporary Art
1983 - Ribeirão Preto SP - 80 Years of Brazilian Art
1983 - Rio de Janeiro RJ - 6th National Salon of Visual Arts, Museum of Modern Art
1983 - Rio de Janeiro RJ - Brazilian Self-Portraits, Galeria de Arte Banerj
1983 - Santo André SP - 80 Years of Brazilian Art, Municipal Government of Santo André
1983 - São Paulo SP - José Pancetti Bahia 50-57, São Paulo Museum of Art
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait in Brazilian Art, MAM/SP
1984 - São Paulo SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, Bienal Foundation
1985 - Rio de Janeiro RJ - Six Decades of Modern Art: Roberto Marinho Collection, Paço Imperial
1985 - São Paulo SP - 100 Works Itaú, São Paulo Museum of Art - Masp
1986 - Curitiba PR - José Pancetti: Retrospective, Museu da Gravura
1986 - Rio de Janeiro RJ - Seven Decades of Italian Presence in Brazilian Art, Paço Imperial
1987 - Paris (France) - Modernity: Brazilian Art of the 20th Century, Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, MAM/RJ
1987 - Rio de Janeiro RJ - Rio de Janeiro, February, March: from Modernism to the 1980s generation, Galeria de Arte Banerj
1987 - São Paulo SP - Brazil Painted by National and Foreign Masters: 18th-20th centuries, Masp
1987 - São Paulo SP - The Craft of Art: Painting, Sesc
1988 - São Paulo SP - MAC 25 Years: Highlights from the Initial Collection, MAC/SP
1988 - São Paulo SP - Modernity: Brazilian Art of the 20th Century, MAM/SP
1989 - Fortaleza CE - Brazilian Art of the 19th and 20th Centuries in Cearense Collections: Paintings and Drawings, Espaço Cultural Unifor
1989 - Lisbon (Portugal) - Six Decades of Brazilian Modern Art: Roberto Marinho Collection, José de Azeredo Perdigão Center for Modern Art
1989 - São Paulo SP - Brazilian Painting 19th and 20th Century: Works from the Banco Itaú Collection, Itaugaleria
1991 - Curitiba PR - Municipal Museum of Art: Collection, Municipal Museum of Art
1991 - Rio de Janeiro RJ - Aloysio de Paula Collection Exhibition, Galeria de Arte Ipanema

1992 - Rio de Janeiro RJ - Nature: Four Centuries of Art in Brazil, at Centro Cultural do Banco do Brasil
1992 - São Paulo SP - Sérgio’s Gaze on Brazilian Art: Drawings and Paintings, at Biblioteca Municipal Mário de Andrade
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1993 - Rio de Janeiro RJ - Brazil: 100 Years of Modern Art, at Museu Nacional de Belas Artes
1993 - Rio de Janeiro RJ - José Pancetti: Retrospective, at MAM/RJ
1993 - São Paulo SP - 100 Masterpieces from the Mário de Andrade Collection: Painting and Sculpture, at Instituto de Estudos Brasileiros - IEB/USP
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1993 - São Paulo SP - Modernism at the Museum of Brazilian Art: Painting, at MAB
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - São Paulo SP - Brazilian Modern Art: A Selection from the Roberto Marinho Collection, at Museu de Arte de São Paulo
1994 - São Paulo SP - 20th Century Brazil Biennial, at Fundação Bienal
1996 - Rio de Janeiro RJ - Visions of Rio, at MAM/RJ
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920–1970, at MAC/USP
1996 - São Paulo SP - Figure and Landscape in the MAM Collection: Tribute to Volpi, at MAM/SP
1996 - São Paulo SP - The World of Mario Schenberg, at Casa das Rosas
1997 - Porto Alegre RS - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1997 - Porto Alegre RS - Parallel Exhibition, at Museu da Caixa Econômica Federal
1997 - São Paulo SP - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1997 - São Paulo SP - The Revealing Touch: Portraits and Self-Portraits, at MAC/USP
1997 - São Paulo SP - Pancetti, a Painter Painter, at Galeria de Arte do Brasil
1998 - Brasília DF - Brazilian Like Me, Like Who?, at Ministry of Foreign Affairs
1998 - Curitiba PR - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Rio de Janeiro RJ - Brazilian Art in the MAM São Paulo Collection: Recent Donations 1996–1998, at Centro Cultural Banco do Brasil - CCBB
1998 - Rio de Janeiro RJ - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Rio de Janeiro RJ - Seascapes in Major São Paulo Collections, at Museu Naval e Oceanográfico
1998 - São Paulo SP - The Art of Exhibiting Art, at MAM/SP
1998 - São Paulo SP - MAM Bahia Collection: Paintings, at MAM/SP
1998 - São Paulo SP - Paulista Iconography in Private Collections, at Museu da Casa Brasileira
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - Modern and Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MAM/SP
1999 - Salvador BA - 60 Years of Brazilian Art, at Caixa Cultural
1999 - São Paulo SP - Brazilian Like Me, Like Who?, at Museu de Arte Brasileira, Salão Cultural
1999 - São Paulo SP - Works on Paper: From Modernism to Abstraction, at Dan Galeria
1999 - São Paulo SP - Italians and Brazilians in Interwar Art, at Pinacoteca do Estado
2000 - Lisbon (Portugal) - 20th Century: Art from Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
2000 - Porto Alegre RS - National Library: Rare Works, at Museu de Arte do Rio Grande do Sul
2000 - Rio de Janeiro RJ - Pancetti: The Lonely Sailor, at MNBA
2000 - Rio de Janeiro RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro, 1905–1960, at Paço Imperial
2000 - Salvador BA - Pancetti: The Lonely Sailor, at MAM/BA
2000 - São Paulo SP - The Human Figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition: Modern Art, at Fundação Bienal
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition: Black in Body and Soul, at Fundação Bienal
2000 - São Paulo SP - Brazil on Paper: Hues and Experiences, at Espaço de Artes Unicid
2000 - Valencia (Spain) - From Anthropophagy to Brasília: Brazil 1920–1950, at IVAM. Centre Julio Gonzáles
2001 - Rio de Janeiro RJ - Carioca Art Collection, at Galeria de Arte Ipanema
2001 - Rio de Janeiro RJ - Brazilian Watercolors, at Centro Cultural Light
2001 - São Paulo SP - 30 Masters of Painting in Brazil, at MASP
2001 - São Paulo SP - 4 Decades, at Nova André Galeria
2001 - São Paulo SP - Aldo Franco Collection, at Pinacoteca do Estado
2001 - São Paulo SP - Museum of Brazilian Art: 40 Years, at MAB
2001 - São Paulo SP - Pancetti: The Lonely Sailor, at MAB
2002 - Campinas SP - 100 Years of Pancetti, at MACC
2002 - Ribeirão Preto SP - 100 Years of Pancetti, at Museu de Arte de Ribeirão Preto
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From the Restlessness of Modernism to the Autonomy of Language, at CCBB
2002 - Rio de Janeiro RJ - Identities: The Brazilian Portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From the Restlessness of Modernism to the Autonomy of Language, at CCBB
2002 - São Paulo SP - From Anthropophagy to Brasília: Brazil 1920–1950, at MAB
2002 - São Paulo SP - Wild Mirror: Modern Art in Brazil, First Half of the 20th Century, Nemirovsky Collection, at MAM/SP
2002 - São Paulo SP - Image and Identity: A Look at History in the Museum of Fine Arts Collection, at Instituto Cultural Banco Santos
2002 - São Paulo SP - Modernism: From the 1922 Week to Sérgio Milliet’s Art Section, at Centro Cultural São Paulo - CCSP
2002 - São Paulo SP - Landscapes of the Imagination, at Nova André Galeria
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From the Restlessness of Modernism to the Autonomy of Language, at CCBB
2003 - Rio de Janeiro RJ - Brazilian Art: From the 1930 Revolution to the Postwar Period, at MAM/SP
2003 - Rio de Janeiro RJ - Art in Motion, at Espaço BNDES
2003 - Rio de Janeiro RJ - Autonomy of Drawing, at MAM/RJ
2003 - Rio de Janeiro RJ - Treasures of Caixa: Brazilian Modern Art in the Caixa Collection, at Caixa Cultural
2003 - São Paulo SP - The Art Behind Art: Where Artworks Reside and How They Travel, at Espaço MAM - Villa-Lobos
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2003 - São Paulo SP - José Pancetti (1902–1958): Sailor, Painter, and Poet, at Pinakotheke
2003 - São Paulo SP - Solo Exhibition, at Pinakotheke
2003 - São Paulo SP - Portraits, at MAB
2004 - Brasília DF - JK’s Modernist Gaze, at Ministry of Foreign Affairs, Palácio do Itamaraty
2004 - Rio de Janeiro RJ - A Brazilian Century: Roberto Marinho Collection, at Paço Imperial
2004 - São Paulo SP - Paper Cabinet, at CCSP
2004 - São Paulo SP - New Acquisitions: 1995–2003, at MAB
2005 - Belo Horizonte MG - 40/80: An Exhibition of Brazilian Art, at Léo Bahia Arte Contemporânea
2005 - Fortaleza CE - Brazilian Art: In Ceará’s Public and Private Collections, at Espaço Cultural Unifor
2005 - São Paulo SP - Homo Ludens: From Pretending to Vertigo, at Itaú Cultural
2005 - São Paulo SP - A Brazilian Century: Roberto Marinho Collection, at MAM/SP
2005 - São Paulo SP - Odorico Tavares: My Bahian Home—Dreams and Desires of a Collector, at Galeria de Arte do Sesi
2006 - Rio de Janeiro RJ - Brazilian Modern Drawing 1917–1950, at MAM/RJ
2006 - Rio de Janeiro RJ - A Century of Brazilian Art: Gilberto Chateaubriand Collection, at MAM/RJ
2006 - São Paulo SP - Brasiliana MASP: Modern and Contemporary, at MASP
2006 - São Paulo SP - A Century of Brazilian Art: Gilberto Chateaubriand Collection, at Pinacoteca do Estado
2007 - Curitiba PR - A Century of Brazilian Art: Gilberto Chateaubriand Collection, at Museu Oscar Niemeyer
2007 - Salvador BA - A Century of Brazilian Art: Gilberto Chateaubriand Collection, at MAM/BA
2007 - São Paulo SP - Art-Anthropology, at MAC/USP
2007 - São Paulo SP - Brazil, Modern Many Times, at Espaço Arte Morumbi Shopping
2007 - São Paulo SP - Negotiated Modernity: A Glimpse of Brazilian Art in the 1940s, at MAM/SP
2008 - São Paulo SP - Strategies to Enter and Exit Modernity in the Itaú Moderno Collection, at Museu de Arte de São Paulo