#PinacotecadeSãoPaulo
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visaooeste.com.br
Pinacoteca tem entrada grátis para passageiros do metrô até 29 de dezembro
#cultura #EntradaGratuita #exposição #Linha_4Amarela #Linha_5Lilás #metrô #PinacotecaDeSãoPaulo
https://visaooeste.com.br/pinacoteca-tem-entrada-gratis-para-passageiros-do-metro-ate-29-de-dezembro/
Pinacoteca tem entrada grátis para passageiros do metrô até 29 de dezembro
Pinacoteca oferece entrada gratuita para usuários do metrô até 29/12. Veja como retirar ingressos para visitar os três prédios e exposições em cartaz.
visaooeste.com.br
December 18, 2025 at 4:19 PM
mdstamper.bsky.social
“Tropical” by Anita Malfatti (Brazilian) - Oil on canvas / 1917 - Pinacoteca do Estado de São Paulo (Brazil) #WomenInArt #WomensArt #WomanArtist #WomenArtists #AnitaMalfatti #Malfatti #arte #PinacotecaDeSaoPaulo #BrazilianArtist #BrazilianModernism #Modernism #art #artText #1910s #WomenPaintingWomen
Painted as Brazilian artist Anita Malfatti returned to São Paulo after study in Berlin and New York, Tropical sits at a key moment in Brazilian modernism navigating how to be local without surrendering the formal freedom of the avant-garde. A brown-skinned adult woman fills the center of the painting, as if watching something just beyond the frame. Her dark hair is gathered into a low bun while her eyes are large and shadowed, and her lips soft. She wears a simple white V-neck top that catches warm light along the shoulder and neckline. One arm stretches across the foreground, the hand resting near a dense pile of tropical produce including a pineapple, a bunch of bananas, and rounded yellow-orange fruits; a green papaya or gourd sits alongside them. The fruit presses against a woven basket whose grid pattern tilts toward us. Broad banana leaves or palm fronds arc in from both sides, framing her like a curtain. Malfatti’s brushwork stays visible as dark contours break and rejoin, skin tones move through browns and reds, and the background shifts between peach and mossy green. The sitter reads as an individual who is self-possessed, unsmiling, and psychologically present, yet she is surrounded by signs of place like fruit, basketry, and dense foliage. Those emblems can feel celebratory (a generous harvest), but her sidelong gaze complicates any easy narrative. Malfatti reinforces that refusal through structure with the strong diagonal of the arm, the compressed space, and contour lines that keep the figure from dissolving into décor. Color does the rest as warm earth tones pushed against sharp greens and yellows, insisting on sensation over polish. In 1917–18, when her one-woman exhibition in São Paulo drew harsh criticism for being “too modern,” her work became a public argument about who gets to define taste. Seen in that context, Tropical reads as a modern portrait that keeps “Brazil” anchored in the lived presence of a woman at its center.
December 17, 2025 at 1:07 AM
gaybrunch.bsky.social
#PinacotecadeSãoPaulo showcasing the complexity of Brazil from the Empire, the plantations, the expansion to modernity. Can highly recommend for your next visit :)
October 21, 2025 at 7:27 PM
mdstamper.bsky.social
Mulher de turbante (Young Woman with a Turban) by Oscar Pereira da Silva (Brazilian) - Oil on cardboard / 1930 - Pinacoteca de São Paulo (Brazil) #WomenInArt #art #ArtText #oilpainting #joy #womensart #portraitofawoman #OscarPereiradaSilva #PereiradaSilva #BrazilianArt #smile #PinacotecadeSãoPaulo
Brazilian painter, draftsman, designer, and instructor Oscar Pereira da Silva’s "Mulher de Turbante" is a vivid "contemporary portrait" of an unidentified effervescent young woman in a bright yellow turban, capturing her vivacious joy and a sense of optimism at the dawn of the 1930s. With a radiant smile, her light skin is depicted in varying shades of light, almost glowing in her face and neck, creating warmth and vibrancy. She is wearing a large, mustard turban, its texture implied through Pereira da Silva's brushstrokes. The turban's color contrasts sharply with the dramatic, reddish-brown background of earth tones, purple, and maroon. The joyous woman's dark hair peeks from under the turban to frame her face. Her eyes are large and expressive, with dark pupils, conveying a sense of happiness and confidence. Her lips are parted in a smile, revealing healthy teeth. She wears a black, sleeveless garment with only its straps visible at the neckline. The woman's shoulders and upper torso are exposed, leading to a feeling of casual elegance and intimacy. Born in 1865 in Rio de Janeiro, Pereira da Silva began his artistic career as a student at the Imperial Academy of Fine Arts in 1880. Due to the rigor and quality of his work -- he won several prizes during his life -- Emperor Dom Pedro II himself paid for his studies in Paris, giving to the artist a monthly stipend up until a few days before the proclamation of the Republic. Pereira da Silva also dedicated himself to drawing throughout his life, becoming well-known for his great quality work. It is in painting, however, that many critics declare his masterpiece: Sansão e Dalila (Samson and Delilah) from 1893. He returned to Brazil in 1896 and soon moved to São Paulo, where he remained until his death. He taught at the Lyceum of Arts and Crafts and gave private classes to multiple recognized artists. Pereira da Silva passed away almost a decade after this painting on January 13, 1939.
June 7, 2025 at 4:38 PM
mdstamper.bsky.social
Catarina Cassange by Panmela Castro (Brazilian) - Oil on canvas / 2020 - Pinacoteca de São Paulo (Brazil) #womeninart #art #womanartist #oiilpainting #femaleartist #fineart #BrazilianArtist #artwork #BrazilianArt #PanmelaCastro #PinacotecadeSãoPaulo #herstory #womenpaintingwomen #AnarkiaBoladona
Brazilian artist Panmelo Castro depicts the well-known enslaved saleswoman Catarina Cassange who, during the late 1830s, ran away while pregnant to ensure that her newborn would live in freedom. During this era, head garments began to signify the promise of liberty as the means to carry their few, but essential belongings and turbans were transformed into symbols of women's participation in rebellions and insurrections ... or in search of a new beginning in another place. In Brazil, many enslaved black women chose to escape when they were pregnant, in an attempt both to have a more peaceful birth and to prevent their offspring from remaining enslaved or even being separated for sale. Catarina Cassange was one of them. Between 1838 and 1839. Her owner, Manoel da Rosa, announced in the "Diário do Rio de Janeiro" that she was four months pregnant with descriptions of her body and behavior. The first announcement of her escape was followed by at least three more in the space of four months. Even without being able to capture her, information was obtained about her whereabouts. Known as "preta ao ganho", a saleswoman in the area near Valongo beach and Rua do Livramento, where many Africans concentrated. A month after the first ad, another was published saying that Catarina was being helped by "seducers" to leave and a third ad said she was spending the nights hiding in anchored boats. Catariana managed to remain a refugee for a year, only to be captured at the end of 1839. She revealed that she had been to many places in the city and in the Guanabara region. The person who helped her the most was the freedman Aleixo, a Mina African who worked as a barber. For a long time, he hid Catarina in his house in Rua dos Ferradores. With the support and temporary protection of several helpers, Catarina managed to have her son - named José - who was taken to live in the "quilombo of Laranjeiras" settlement of runaway slaves in Bahia.
April 21, 2025 at 10:47 PM
mdstamper.bsky.social
A moura (aka Moorish Woman) by Dario Villares Barbosa (Brazilian) - Oil on canvas / 1919 - Pinacoteca de São Paulo (Brazil) #womeninart #art #oilpainting #pintura #DarioVillaresBarbosa #barbosa #artwork #womensart #potraitofawoman #BrazilianArtist #bskyart #DarrioBarbosa #eyes #PinacotecadeSãoPaulo
This portrait signed by Brazilian artist Darrio Barbosa as Tanger (now Morocco) - 1919, presents a captivating depiction of a light-skinned young Moorish woman, reflecting Barbosa’s intricate style and attention to detail. Her dark eyes penetratingly stare directly at us and are the only visible feature of her face because she is draped in a large, cream-colored cover pulled up by her left hand to obscure most of her body. The painting highlights the cultural and historical elements stereotypically associated with Moorish figures during this era, showcasing the artist’s skillful use of color and texture. Twin brother of Mario Villares Barbosa, Dario was born in Campinas, São Paulo. While in Brazil, he was a pupil of the painter Oscar Pereira da Silva, whose works are also part of Pinacoteca's collection in São Paulo. Barbosa traveled to Paris thanks to a scholarship from the government of São Paulo. He is known for paintings that depict the people and landscapes of Spain and North Africa, which he encountered during his travels. His works are distinguished from other painters of the time because they show early hints of modernity through bold colors and strong brushwork, which gave his works a sense of liveliness and vitality. After his death, Barbosa's work was donated to the Museu Nacional de Belas Artes do Rio de Janeiro and to the Pinacoteca do Estado de São Paulo.
March 28, 2025 at 10:42 PM
ronoc04.bsky.social
"Muhipu Saãrô" [Pôr do sol], da série "Kahpi Hori"
Daiara Tukano
Acervo da #PinacotecaDeSãoPaulo (pinacoteca.org.br)
acervo.pinacoteca.org.br/online/ficha...

#Art #Arte #Artsky #DailyArt #Museus #Museums #ArtistasBrasileiros #BrazilianArtists
September 10, 2024 at 8:41 PM