The Artist

Portinari's awards and decorations

1922

  • Honorable Mention at the Contemporary Art Exhibition of the National School of Fine Arts (ENBA)

First distinction awarded to the artist

Portrait of Dr. I. F. 1922

1923

  • Bronze Medal at the 30th General Fine Arts Exhibition of the ENBA
  • Animation Award* from the Jorge Gallery
  • Cash prize

These were his first awards

*artistic incentive award at the time

Composition in ochre, gray, green and earthy. Smooth texture. Portrait of Paul Mazzucchelli, occupying the center of the composition, in his sculpture studio. The composition shows depicted halfway the legs. He is standing, facing, face 3/4 facing right, has long face, dark hair combed back, very wide forehead, almond-shaped eyes turned to the right, sharp nose, thin and closed lips, long chin and rounded . wears a buttoned gray smock in front with open collar looking up of the shirt and tie. Arm bent on the right with thumb resting on the belt duster and on the left arm bent almost horizontally supported on a high stool that is to your on the left, the on the left hand holds a chisel. That bank sees sculpture of half-bust of front woman. In the background, on the left, large rectangular marble plate, upon the right, leaning against a wall with carved figure profile of naked woman to the left; the center and on the right, another rectangular marble plate horizontally as if hung on the wall, the height of the sculptor's back.
Portrait of Sculptor Paulo Mazzucchelli 1923

1924

  • Small Silver Medal from the XXXI General Exhibition of Fine Arts of ENBA

Composition in tones earthy, ochre, rose, blue, black and white. Smooth texture. Bust of a man portrait occupying almost the entire support area against plain background in earthy tones. The portrayed is slightly front facing left, has rectangular face, dark hair split down the middle, combed to the side, with a small "tip-of-widow" in the center of the forehead, which is very wide; only suggested eyebrows, almond-shaped eyes turned to the left, short nose, well defined lips, closed and upon the right chin. wear suit with vest in earthy tone with two black buttons, white shirt with blue brushstrokes suggesting shading and reddish-brown tie with blue diagonal list, with skewered pearl suggestion. The depicted has the narrow shoulders of which is cut by the on the right side edge of the support. Might falling from through the center of the composition creating shaded area on the right side of the portrayed.
Portrait of Antônio Grellet 1924

Composition in the earthy and ochre (predominant), black, white, rose, red and blue. Smooth and thick texture in white. Picture of Manoel Santiago, against plain background. The profile depicted seems to be on the left with the head facing forward, 3/4 to on the right. It has an oval face, black hair combed back, the forehead high and broad, dark and thick eyebrows, eyes facing forward, squinting behind the round and wire-rimmed glasses. Rose nose and thin lips closed. Thick white Pincelada involves the neck in thick texture. Plain background in earthy tone and light falling from the left.
Portrait of Manoel Santiago 1923

Composition unidentified tones. Texture unidentified. Portrait of half-length woman sitting, occupying the entire height of the composition. The figure is slightly turned to the left, has voluminous short hair, covering his ears and part of his forehead. Bushy eyebrows, round eyes, long nose, a little off; closed thin lips, oval face and neck seen by canoe and rectangular collar dress. wears particularly high collar covering part of the dress and put over his shoulder, hiding her on the right arm. The on the left arm is on display, as if leaning on chair arm. On the left hand resting on the left knee, fingers stretched down. Undefined background.
Portrait of Woman 1924

Composition unidentified tones. Texture unidentified. Portrait of woman half-bust, occupying almost the entire stand area. The figure is from the front, slightly turned to the left, you have short hair, covering his ears and part of his forehead. Arched eyebrows, almond-shaped eyes, small nose and lips closed. Wear clothes-neck "V", seeming to cover with turtleneck over. Plain background.
Portrait of Cândida de Gusmão Cerqueira 1924

Portrait of Attílio M. Alves 1924

Portrait of Maria Lydia 1924

Composition in black and gray. Contour lines and shading. Portrait of woman half-bust, occupying almost the entire stand area. Woman faces, has hair split down the middle and tied back, covering his ears, thick eyebrows arched, almond-shaped eyes, looking forward, with dark shadows, small nose, well defined lips closed and long neck choker . Wear clothes-neck "V", outlined by voluminous draping. Plain background.
Portrait of Edith de Aguiar 1924

1925

  • Small Silver Medal at the 32nd General Exhibition of Fine Arts of the ENBA

Composition in green tones, blue, ochre, white, rose, and red earthy. Smooth texture, marked and thick brush strokes in the tie, shirt collar and the balls of dirty brushes paint of various shades. Portrait almost entire body of Paul Gagarin, sitting in profile to the left and head 3/4 facing forward. The portrayed is slim, has an oval face, brown hair with pronounced entrance to the right, cut short and close to the ear. High and broad forehead, straight eyebrows, almond-shaped eyes in blue-gray tone, nose bulge in the center, closed thin lips and pointed chin with pit center. Wears white collar shirt with bluish and greenish reflections, blue tie represented by large and thick brushstrokes and trousers in ochre tones. Arms resting on the lap, and on the right hand holds the cable a handful of nine brushes, the ends of which contain colored inks in thick texture. The back of the chair and is seated, is covered by drapery in shades rose, ochre and white. Background with rugged mountains in greenish tones, higher and dark on the left. The lanscape is diluted to the bottom, bluish and greenish tones, interspersed with ochre tones. Clear blue sky. Might falling from the right, leaving part of the grim face.
Portrait of Paulo Gagarin 1924

1926

  • Animation Award from the Jorge Gallery
  • Cash prize

Composition in tones earthy, green, blue, ochre, red and rose. Smooth texture. Full-length portrait of Roberto Rodrigues occupying the entire height of the composition against outdoor lanscape in the background. The pictured are standing, 3/4 facing the on the left, slightly to the right of the composition. It has long face, wear felt hat covering most of the forehead, very thick eyebrows and straight, very large dark eyes turned to the left, slightly hooked nose, and full lips closed and square chin. wears suit on earthy tone and especially the shoulders in dark green. Arm folded to on the right hand on a stick with cord in the form of a semicircle, on the left arm, also folded between the fingers holding a cigar. Background with outdoor lanscape with hills in the background, on the right, sky with clouds. On the right side margin of the composition, of the head of the depicted part of the top of a tree with leaves.
Portrait of Painter Roberto Rodrigues 1926

Composition in dark shades of earthy, ochre, black and white. Smooth texture (pictorial layer darkened by varnish). Portrait of almost whole body of the poet Olegário Mariano occupying almost the entire support area, and in the background a landscape, sky and clouds, almost imperceptible due to the darkening of the varnish. The portrayed is standing, facing front, has black hair combed back, with fallen tuft on the left side of his forehead, thin face, straight eyebrows, almond-shaped eyes, long nose, thin closed lips and small rounded chin. Wears white shirt collar, tie with horizontal clear stripes stuck with pin with pearl, dark jacket crossed on the front with four buttons and clear scarf on the left pocket at chest level. He has over to the right shoulder what seems to be a cover, in earthy tone lighter than the jacket and falling to the height of the legs. Tight hand is leaning on the waist, with the pink and ring fingers bent and middle and indicator, stretched. The left hand is inside the jacket pocket, suggested by a white band that indicates the cuff. Almost invisible because of the varnish, in the background, we distinguish a marine landscape with hills against the sky marked by clouds.
Portrait of Poet Olegário Mariano 1926

1927

  • Grand Silver Medal at the XXXIV General Exhibition of Fine Arts of the ENBA

Composition in gray, lilac, rose, blue, ochre, earthy, white and red. Smooth texture. Portrait of man half-length, sitting against roseish gray background. The pictured 3/4 is facing left, with hands together resting on the right leg. It has long thin face, dark hairstyles on the left hair, broad forehead, almond-shaped eyes turned to the right, seen through round glasses of transparent lenses and thin rim; red nose straight, well-designed rose lips and chin too straight. Wears blue-gray suit, white shirt and blue tie with diagonal stripes in red. Background in shades of gray and violet.
Portrait of Dr. Antônio Ferreira dos Santos 1927

1928

  • Foreign Travel Award granted by the ENBA Superior Council of Fine Arts

This award enabled the artist to spend about two years studying in Paris

Composition in black tones, ochre, rose, yellow, gray, earthy and lilac. Smooth texture. Portrait Olegário Mariano, standing, occupying almost the entire area of ​​the composition against ochre background. The picture is cut off at the middle of the legs. The body has portrayed 3/4 back to the left and head almost in front; oval face, dark hair combed back with fallen part on the left side of the forehead is wide, straight eyebrows, almond-shaped eyes facing forward, sharp nose, thin lips and closed, long chin, straight to the pit in the center. Fardão wears of the Brazilian Academy of Letters, dark, collar standing at the suggestion chest acanthus leaves. Arm bent on the right holding hat with white plume against the body, slightly bent on the left arm with hand in his pants pocket, seeing up close sword attached to his waist. At the upper right corner, a shield with weapons. Fund ochre, light on the left, darkening to the right.
Portrait of Olegário Mariano 1928

1935

  • 2nd Honorable Mention from the Carnegie Institute (Pittsburgh, PA)

First foreign award for the artist

Composition in earthy, green, ochre, gray, white, black, yellow and rose tones. Smooth texture. Coffee harvest scene. In the foreground, on the left, settler sitting on the floor in profile to the right, barefoot, wearing a dress and rag on her head. In the center, two coffee carriers with bags in their heads, wearing shirts and pants, one facing forward and the other in profile to the left, cut off at the legs by the bottom edge of the support. On the right, behind an open coffee bag, man figure facing 3/4 to the left wearing hat, neckerchief, shirt and pants, holding a bucket in his left hand. In the background, from the left to the right: nine bags of coffee stacked, several mounds of coffee and a figure, almost opposite, leaning forward, seemingly rolling up his pants. In the third plan, from left to the right: profile of a foreman figure to the right wearing boots with an outstretched right arm pointing forward, toward various inclined men bagging coffee; a palm tree; several mounds of coffee and working men. In the background, from the left to the right: several carriers with coffee bags in their head; coffee plantation with figures harvesting coffee; and man climbing a ladder.
Coffee 1935

1950

  • Gold Medal of Peace at the 2nd World Congress of Peace Supporters in Warsaw, Poland

Composition in blue, violet, lilac, gray, white, earthy, ochre, rose, yellow, green, red, black and orange tones. Smooth texture. Elements of the composition constructed by overlapping and juxtapositions of colored geometric shapes, regular and irregular. Misshapen stains of color, transparencies contrasting with compact colored and opaque areas, bright light even in the darkest areas characterizes the composition. At some points, the light tones, carefully distributed, alleviate the weight of dark shades. In others, the light shades are used in striking contrast to the dark. Additional features: verticality obtained by standing figures, arranged side by side, forming blocks; distributed poles; division of the three screens; vertical color areas. Absence of contour lines and movement, with static pictures arranged in groups that make up forms. The subject of the development is carried visually in the same spatial plane, with temporal and spatial scenes taking place at distinct times and places; it is all represented side by side. Narrative and didactic composition. In addition to knowledge of historical fact, which makes it possible to identify the scenes as distinct and temporal succession, there is the sharply diagonal composition of each of them and the colors change from one scene to the other. First scene: the conspirators plotting and chained women symbolizing the Brazilian nation under the reign of the metropolis. At the center, a group of men standing and facing forward, we see the whole body of the two in front and, behind them, four faces with defined facial features. The first on the left is Tiradentes, represented with the lieutenant's uniform of the 6th Dragoon Regiment of Vila Rica. He has no beard and no mustache, hair up and hands on the waist holding a thick chain. To the right is José Álvares Maciel reading a book held in front of his face. The group forms a triangular area whose upper vortex is formed by the heads of the other components. To the left of the group, cut at the side edge of the support, group of women standing, facing right, looking up. Two are represented in whole body facing forward, hands on face and hair forward, wth a chain hanging from hands of one of them. Of the other group members, we see only the heads. Following the diagonal line that delineates the first scene, another group of chained women with hands on faces and long hair hanging forward. Beside them, four black children, also wrapped in chains and a small chest t on the ground. Behind the first two groups, three high poles and representation of mountains in the background. Second scene: it separates the previous scenes by pointing diagonally to the left, this scene is the reading of the sentence of the conspirators. The conspirators group is concentrated on the left, with facial features slightly indicated, heads and bright faces in light shades of rose, blue, yellow and green. Ahead of the old group is Rezende Costa, chained, head down, held by his son, who holds him. In the center, Tiradentes with mustache, beard and long hair, violet shirt, dark-colored pants and boots. Standing with arms crossed, face lit on the right and dark on the left, head turned 3/4 to the right, toward group composed of bailiffs, headed by Judge Francisco Luiz Alves da Rocha, represented by the first figure of the group, almost back, in tails and holding in his hands a paper with the court's ruling. This scene takes place in the chapel room of the chain, whose walls are represented by geometrical colored shapes. That's the only scene with no poles represented. Third scene is the hanging of Tiradentes in the Field of Saint Domingo on April 21st, 1792. Serving as background for the scene the body of Tiradentes hanging on the gallows, mounted on high quadrangular gallows, with stairs on the right. Around the jib, regiment forming triangular area, with the figures that make up the base of the front triangle wearing the Moura regiment uniform. Representation of different groups attending the hanging: the bottom, forming a human wall, is a crowd represented in bright shades of rose, blue, green, gray and white; on the left, in front, a group of people standing, wearing costumes of the nobility of the time, with two thirds of this group in the shade, indicated by two triangles in dark tones and the remaining group under triangularly-lit area, with some emphasis on heads, one facing the gallows and the other looking back. To the right of this group, two women kneeling in front: one crying, hands on face and hair hanging forward and the other looking to comfort her. Behind the women, group of men standing back, facing the gallows, also wearing noble costumes. Fourth scene represents the quartering of Tiradentes and is separated from the previous scenes by diagonal dial to the right. In the center foreground, the dismembered body of Tiradentes, held by thick rope to a pole stuck in dais. The head is on the dais, facing below the spoils and blood stains around it. Around the dais, figures of people with expressive face, alternating in areas of light and shadow. On the second and third planes, on the left and on the right groups of people who build areas in rose and blue and on the left areas in blue and, on the right, in white. High poles scattered among the crowd and mountains in the background. Fifth scene: shows the distribution of Tiradentes quarters. Amid the representation of the hilly landscape of Minas, four poles arranged in front of the diagonal to the bottom and from the left to the right, with the body parts of the martyr nailed on top. Compounding the rest of the scene: geometrized floor in bright color, with stylized vegetation; five vultures on wooden log and three other resting on the ground; dispossessed group between the second and third poles and further back, smaller group of people, only indicated. Sixth scene is the emancipation of the Brazilian nation, through the group of women raising broken chains. To the left of center of the scene is a high pole, on which there is a niche with the head of Tiradentes. To the left of the pole, a group of five people embraced, conveying pain, lead a woman sitting with a child on her lap. Behind the pole, a group of people only outlined make up an area in blue. On the far right of the composition, a group of women standing and facing with heads represented like the personification of freedom; the figure in front has arms raised, suggesting to have broken a chain whose links fall to the ground, symbolizing the motto "Freedom, even late."
Tiradentes 1949

1956

  • Guggenheim National Award

Composition unidentified tones. Texture unidentified. It depicts four women crying, occupying the entire stand area. The figures are kneeling in front, they have long hair and wear dresses with full skirts, cloths with parallel and transverse lines of light and dark tones in irregular geometric shapes. On the left, front woman with her hands covering her face. Beside her, woman also covering his face with his hands. Among them behind, one sees the head of another woman, covering her face with her hands. On the right, almost behind the second woman, another woman with his face up and his on the left hand on his on the left cheek. Background in irregular geometrical areas.
Women Crying 1955

1957

  • Honorable Mention at the 4th Hallmark International Art Competition

Composition in yellow tones, ochre, earthy, gray, white and black. Smooth texture and contour lines. It depicts carnival with various figures and geometrized background. From the left to the right, three men dancing frevo, the first of which is directed to the left, crouching and leaning on the right foot with arms and on the left leg stretched forward. The second man is in the same position, facing. The third man faces, standing with crossed legs and secure an umbrella with both hands. Alongside this figure, man standing from the front, on the left of center of the composition, with the on the right arm raised, holding a sort of shotgun in his on the left hand and wearing clothing and bandit hat. Beside him, boyish face, resting on the floor with his on the right hand and body lifted into the air, stretched to the bottom and to the right. He has suggested facial features. Behind this boy, man facing left, wearing fancy Bumba-meu-boi, straw hat with flaps and is with outstretched arms and open hands. More to the left and forward, boy planting banana, hands and head on the floor. On the third level, to the left, sketch of a man playing clarinet and wearing a hat; on the right, outline of a group with several people. Background with irregular geometrical areas in various shades.
Carnival 1957

1958

  • Award-winning work at the 50 Ans d’Art Moderne exhibition in Brussels, Belgium

Composition in gray, black, ochre, white, earthy, green, rose, red, blue, lilac and yellow tones. Smooth and thick texture, and marked brushstrokes. Figures outlined in black and deliberate significant deformation. Funeral procession scene with two men carrying a hammock and pleading women. In the center of the composition, woman kneeling with her back turned, arms straight up and open hands with fingers ending abruptly. suggesting desperate attitude. She has dark hair falling back, wears shirt with patches, wide skir and is barefoot. Ahead, we see a hammock that crosses almost the entire width of the support, tied in a trunk, with the ends supported under the right shoulders of two men standing in profile to the right. They have deformed, indicated facial features, wear long-sleeved shirts, pants rolled up showing the legs and are barefoot. They have slightly bent legs, apart. The figure on the left has the right arm along the body with his fist closed and the one on the right has his hand resting on the trunk that supports the hammock. The figure on the right is bent with the right hand holding the trunk. On the right behind this last figure, kneeling woman in profile to the right with folded hands near her face. She wears a dress and is barefoot. People seem to be moving along a path where we see a few scattered stones as well as the projection of the figures' shadows. At the bottom, geometrical areas suggesting hills, continuing until the upper edge of the support.
Burial in a Hammock 1944

 
Lei de Incentivo à Cultura - Lei Rouanet
APOIO
PUC Rio Portinari
PATROCÍNIO
Enauta Itau
REALIZAÇÂO
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