Ivan Serpa: The Lyrical Abstraction of Brazilian Modernism

In the annals of Brazilian art, few names evoke the spirit of avant-garde innovation and poetic abstraction quite like Ivan Serpa. Born in 1923 in the city of Rio de Janeiro, Serpa’s artistic journey was one of constant exploration, a lifelong quest to push the boundaries of modern art and unlock new realms of visual expression.

From an early age, Serpa displayed a unique talent and an insatiable curiosity, traits that would come to define his artistic career. His formative years were spent immersed in the vibrant intellectual circles of Rio, where he engaged with the ideas of modernist thinkers and artists, laying the foundation for his own distinctive style.

It was in the 1950s that Serpa’s art began to take shape, as he emerged as a leading figure in the Brazilian abstract art movement. Rejecting the constraints of traditional representation, Serpa embraced a language of pure form and color, creating works that were at once visually striking and deeply personal.

His canvases from this period are a symphony of geometric shapes, bold brushstrokes, and vibrant hues, each element carefully orchestrated to evoke a sense of movement, rhythm, and emotion. Serpa’s works were not mere exercises in abstraction but rather lyrical explorations of the human experience, inviting viewers to engage with the work on a visceral, intuitive level.

One of Serpa’s most celebrated series, “Metaesquemas,” exemplifies his mastery of abstraction and his ability to imbue his works with a profound sense of poetry. These paintings, with their intricate compositions and masterful use of color, are like visual poems, inviting viewers to embark on a journey of personal interpretation and emotional resonance.

But Serpa’s legacy extends far beyond his artistic output; he was also a dedicated educator and mentor, influencing generations of Brazilian artists through his teachings at the Museum of Modern Art in Rio de Janeiro. His impact can be seen in the works of countless students who were inspired by his innovative approaches, his unwavering commitment to artistic exploration, and his belief in the transformative power of art.

Throughout his career, Serpa remained a tireless advocate for the Brazilian avant-garde, championing the works of his contemporaries and fostering a vibrant artistic community that challenged the status quo and pushed the boundaries of creative expression. His influence transcended borders, inspiring artists around the world to embrace the language of abstraction and to explore the endless possibilities of the canvas.

Today, Ivan Serpa’s works adorn the walls of prestigious museums and private collections, serving as a testament to the enduring power of Brazilian modernism and the genius of one of its most iconic figures. His canvases continue to captivate audiences, inviting them to embark on a journey of visual poetry and to experience the world through the lens of his boundless imagination.

In the rich tapestry of Brazilian art, Ivan Serpa stands as a true master, a lyrical abstractionist whose works have left an indelible mark on the history of modern art. His legacy serves as a reminder of the transformative power of creativity and the enduring human quest for artistic expression.

Décio Vieira: Capturing the Essence of Brazil Through Vibrant Brushstrokes

In the vibrant tapestry of Brazilian art, the name Décio Vieira stands out as a beacon of color, energy, and cultural expression. Born in 1922 in the city of Rio de Janeiro, Vieira’s artistic journey was one of unwavering dedication to capturing the essence of his homeland, immortalizing the people, landscapes, and traditions that make Brazil a land of unparalleled beauty and diversity.

From an early age, Vieira displayed a natural talent for drawing and painting, honing his skills through self-study and a deep appreciation for the works of masters like Cândido Portinari and Tarsila do Amaral. It was during his formative years that he developed a profound connection to the rich cultural heritage of Brazil, a connection that would become the driving force behind his artistic endeavors.

Vieira’s canvases are a celebration of Brazilian life, a vivid portrayal of the country’s diverse regions, from the sun-drenched beaches of Rio de Janeiro to the lush rainforests of the Amazon. His brushstrokes are bold and confident, capturing the energy and vibrancy of his subjects with a master’s touch. Whether depicting the lively rhythms of a samba dance or the serene beauty of a rural landscape, Vieira’s works are imbued with a sense of authenticity and a deep reverence for the people and traditions he portrays.

One of Vieira’s most celebrated series, “Cenas Brasileiras” (Brazilian Scenes), exemplifies his ability to capture the essence of Brazil in all its complexity and diversity. These paintings, rich in color and detail, offer a window into the daily lives of Brazilians, from the bustling markets of São Paulo to the quiet fishing villages that dot the country’s coastline. Each canvas is a symphony of light, movement, and emotion, inviting viewers to immerse themselves in the vibrant tapestry of Brazilian culture.

But Vieira’s art transcends mere representation; it is a profound celebration of the human spirit, a testament to the resilience and joy that permeates Brazilian society. His depictions of carnival celebrations, religious festivals, and traditional dances are not simply visual spectacles but rather explorations of the cultural fabric that binds Brazilians together, a celebration of their shared identity and their unwavering spirit.

Throughout his career, Vieira remained a tireless ambassador for Brazilian art, exhibiting his works around the world and inspiring generations of artists to embrace their cultural roots and celebrate the richness of their heritage. His influence can be seen in the works of countless contemporary Brazilian painters, who have been inspired by his bold use of color, his mastery of composition, and his unwavering commitment to capturing the essence of their homeland.

Today, Décio Vieira’s legacy endures, his canvases adorning the walls of prestigious museums and private collections around the world. His vibrant brushstrokes continue to captivate audiences, transporting them to the heart of Brazil and inviting them to experience the country’s vibrant spirit through the lens of his artistic genius. In the annals of Brazilian art, Vieira’s name shines as a beacon of cultural pride and artistic excellence, a true master whose works will continue to inspire and delight for generations to come.

Por Paulo Varella

The Neo-Concrete Movement (1959–61) was a Brazilian art movement, a group that splintered off from the larger Concrete Art movement prevalent in Latin America and in other parts of the world. The Neo-Concretes emerged from Rio de Janeiro’s Grupo Frente. They rejected the pure rationalist approach of concrete art and embraced a more phenomenological and less scientific art. Ferreira Gullar inspired Neo-Concrete philosophy through his essay “Theory of the Non-Object” (1959) and wrote the “Neo-Concrete Manifesto” (1959) which outlines what Neo-Concrete art should be. Lygia Clark, Hélio Oiticica, and Lygia Pape were among the primary leaders of this movement.

The Neo-Concrete Manifesto and the push against Concretism

Brazilian poet and writer Ferreira Gullar wrote the Neo-Concrete Manifesto in 1959 and described a work of art as “something which amounts to more than the sum of its constituent elements; something which analysis may break down into various elements but which can only be understood phenomenologically.” 

In contrast to the Concrete Art movement, Gullar was calling for an art that was not based upon rationalism or in pursuit of pure form. He sought works of art that became active once the viewer was involved. Neo-concrete art must disassemble the limitations of the object and “express complex human realities.”

While Concretism built its art upon the basis of logic and objective knowledge with color, space, and form conveying universalism and objectivity, the Neo-Concrete artists saw colors, space, and form as “not [belonging] to this or that artistic language, but to the living and indeterminate experience of man.”

Though Neo-Concrete Art still maintained Concretism as the foundation for their ideas, Neo-Concretists believed objectivity and mathematical principles alone could not accomplish the Concretist goal of creating a transcendental visual language.

Neo-Concretists believed that artworks were not simply static representations or forms; rather “art should be like living organisms”  

In Lygia Clark’s theoretical statement written to address the intentions of the Neo-Concrete artists, she explains that as artists they wish to “found a new, expressive ‘space’.” 

This movement believed that through a direct relationship between the artwork and the viewer this “new, expressive ‘space’” could be constructed. 

Neo-Concrete artists sought to create a multi-sensorial space which caused the spectator to feel more acutely their own body and existence.

Clark also wrote of how Neo-Concretism sought to decipher the nature of humanity by creating a “medium of expression” which allowed people to “become aware of unity as an organic, living whole.” It was not just restoring an awareness of the spectator’s body but also of humanity’s communal existence.

The first Neo-Concrete Exhibition was held in Rio de Janeiro in March 1959, and the exhibiting artists were Amilcar de Castro, Ferreira Gullar, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Jardim, and Theon Spanudis.

Hércules Barsotti, 1914 – 2010, São Paulo

“When I touch one color to another, I realize the relationship between them; at that moment, it is my eye and not my head that decides.” (Hercules Barsotti)

Barsotti’s compositions fascinate firstly because of the optical experience that the colors suggest, and then they invite us to reflect. The artist explores the color and dynamism that each one offers, creating an illusion of three-dimensionality from geometric shapes such as diamonds, pentagons and circles. At the invitation of Ferreira Gullar, he became part of the Neoconcreto Group in Rio de Janeiro, and in 2004 the São Paulo Museum of Modern Art organized a retrospective of his works celebrating its 90th anniversary.

Lygia Clark (1920 – 1988), Minas Gerais

Pseudonym for Lygia Pimentel Lins, Lygia Clark, when establishing that “art is your act”, founded participatory, interactive and shared art, exchanging paintings for the experience with three-dimensional objects. In her innovative works, she encourages the viewer to participate in the work through sensory experiences, changing the configuration and resulting in a shared work.

She dedicates herself to the therapeutic art, because by participating in the works, it is possible to open the way to the unconscious and reach the primitive interior, the self, resulting in a revealing self-knowledge, therefore, liberating.

Hélio Oiticica (1937–1980), Rio de Janeiro

The works of Hélio Oiticica, a performance artist, painter and sculptor, range from theoretical-artistic elaborations with the presence of texts, comments and poems, to experiments that require the participation of the public, as Lygia Clark did.

It makes the observer an integral part of his work, acquiring a new dimension and creating the concept of “suprassensory, which proposes experiences with the spectator’s sensorial capacity and dilating it, as well as hallucinogenic drugs.

According to Oiticica, the suprasensorial would lead the individual “to the discovery of his inner creative center, of his dormant expressive spontaneity, conditioned to everyday life”.

Décio Vieira, (1922-1988), Rio de Janeiro

Décio Vieira participates, in the 1950s, in Grupo Frente, made up of artists with constructive-geometric tendencies. At that time, he articulated space through variations of shapes and colors and distortions of perspective, as in Espaço Constructed, 1954.

In his paintings, he reconciles the geometric construction with the research of chromatic nuances and the use of sfumato, thus creating a game between the definite and the indefinite.

Ivan Serpa (1923–1973), Rio de Janeiro

He was a painter, drawer, teacher, and Brazilian engraver. Since the beginning of his career, Ivan Serpa’s work has oscillated between figurative art and concrete art.

Between the late 1950s and early 1960s, his work took on new contours, starting to incorporate less determined elements such as gestures, stains and splashes of paint.

In 1960, influenced by children’s drawing, he built images between abstraction and figurative. At that time, he worked as a book restorer at the National Library of Brazil, a work that served as inspiration for the “Anóbios” series, made between 1961 and 1962.

From 1963 onwards, his interest in figuration intensified, producing works such as the Black Series and the Bichos and Mulheres com Bichos series. Some works incorporated lettering and the overlapping of geometric shapes. The production was exhibited in important exhibitions, such as Opinião 65, Opinião 66 and Nova Objetividade Brasileira.

In 1967 he started the Erotic Op series, which marked his return to constructive language. Interested in op art, he returned to geometric construction and well-defined elements, having developed other series with this characteristic, such as Mangueira and Amazônicas.

These works led him to the Arcas, furniture with white shapes inside which, in turn, gave rise to the Geomantic paintings, starting in 1969. He worked on these paintings until 1973, when he died, aged just 49.