Alberto da Veiga Guignard

Alberto da Veiga Guignard (Nova Friburgo, RJ, 1896 - Belo Horizonte, MG, 1962)

Alberto da Veiga Guignard was a Brazilian painter, teacher, draftsman, illustrator, and engraver, known for his sensitive depiction of Minas Gerais landscapes and his fundamental contribution to art education in Brazil. Born in Nova Friburgo, RJ, on February 23, 1896, he was of Portuguese and French descent and was born with a cleft lip, a condition that marked his childhood and social relationships. Orphaned as a boy, he moved to Europe in 1907 with his mother and stepfather—an impoverished German baron—where he remained until the age of 33.

His artistic training was grounded in European culture, as he lived in Europe from the ages of 11 to 33. He studied at the Königliche Akademie der Bildenden Künste in Munich, with renowned masters such as Hermann Groeber and Adolf Hengeler, between 1917–1918 and 1921–1923. He also attended the Fine Arts academies in Florence and participated in important exhibitions, such as the Salon d'Autumn in Paris.

Upon returning to Brazil in 1929, Guignard settled in Rio de Janeiro, integrating into the artistic world and becoming acquainted with names such as Ismael Nery, Cândido Portinari, and Cícero Dias. He set up his studio in the Botanical Gardens, a landscape that would become one of his recurring themes. In 1931, he stood out at the Revolutionary Salon, being recognized by Mário de Andrade as one of the exhibition's great revelations.

From 1931 to 1943, he taught drawing and engraving at the Osório Foundation in Rio de Janeiro. During this period, he lived in a hotel in Itatiaia between 1940 and 1942, where he produced works inspired by the local landscape and decorated rooms within the hotel. In 1941, he served on the Organizing Committee of the Modern Art Division of the National Salon of Fine Arts, alongside Oscar Niemeyer and Aníbal Machado.

In 1943, he founded the Guignard Group, mentoring a group of artists that included Iberê Camargo, Vera Mindlin, and Alcides da Rocha Miranda. This group was important for modern art in Brazil, and Guignard played a significant role in its formation and guidance. The following year, at the invitation of the then mayor of Belo Horizonte, Juscelino Kubitschek, he moved to Minas Gerais to found and direct the free drawing and painting course at the Institute of Fine Arts. There, he was responsible for the training of important Brazilian artists, such as Amilcar de Castro, Farnese de Andrade, and Lygia Clark.

Passionate about the historic cities of Minas Gerais, Guignard moved to Ouro Preto in 1960. In 1961, he received a commission from Juscelino Kubitschek, then president of Brazil, to create his only historical work, entitled "The Execution of Tiradentes." However, due to his great affection for Ouro Preto, Guignard set the hero's execution in the Minas Gerais city, when in reality the event took place in Rio de Janeiro. The painting is marked by a strong symbolic charge, with Tiradentes depicted with black hair and a blue tunic, already on the gallows, surrounded by soldiers, people, and religious figures. The work, which is part of the Sergio Fadel Collection, is notable for its dramatic and detailed atmosphere. Despite depicting the episode with significant symbolic charge, set in Ouro Preto, the event occurred in Rio de Janeiro—which reveals either poetic license or a geographical error. The painting currently belongs to the Sergio Fadel Collection.

His work encompasses a wide range of themes: landscapes, still lifes, portraits, religious, allegorical, and even political scenes, always with technical delicacy and singular lyricism. Guignard was widely recognized during his lifetime, with important exhibitions held at various institutions. In 1953, a retrospective of his work was held at the Museum of Modern Art in Rio de Janeiro. In 1992, the Lasar Segall Museum also hosted a significant exhibition of his art. In 2000, the National Museum of Fine Arts in Rio de Janeiro organized a major retrospective curated by art dealer Jean Boghici, a personal friend of Guignard's, and the exhibition had the character of a mega-international exhibition.

Guignard's legacy is immortalized at the Guignard School, named in 1962 in honor of the artist, as well as at the Guignard House Museum in Ouro Preto. His body is buried in the Church of São Francisco de Assis in the same city. In 2007, the city of Nova Friburgo, where Guignard was born, unveiled a monument in his honor, designed by artist Felga de Moraes. The monument, located in Santa Elisa Park, consists of a stylized watercolor in concrete, part of the cultural tourism circuit project of the Grupo de Arte Movimento e Ação (Gama).

Guignard was, above all, a complete artist and passionate about Minas Gerais, whose landscape and people profoundly shaped his aesthetic and his trajectory as a master of Brazilian modernism.

Critical Commentary

Alberto da Veiga Guignard began his artistic studies at the Königliche Akademie der Bildenden Künste in Munich, attending from 1917–1918 and 1921–1923. He studied with Hermann Groeber and Adolf Hengeler, absorbing influences from graphic design and academic painting. During this period, he delved deeper into the study of Flemish art at the Munich Pinacoteca. Between 1925 and 1928, he continued his training in Florence, identifying with the works of Botticelli and Raoul Dufy, and marking his transition to modernism.

With his technical training consolidated, Alberto da Veiga Guignard returned permanently to Brazil in 1929 and settled in Rio de Janeiro. He painted with soft colors and delicate brushstrokes, highlighting the Botanical Garden, where he established his studio. His work Bamboo (1937), awarded at the Official Salon in Buenos Aires, is an example of this phase. According to critic Frederico Morais, the work's light and structure evoke the Orientalism present in the "imaginary landscapes" that the artist would later develop in Minas Gerais.

Versatile, Guignard explored multiple genres—portraits, self-portraits, still lifes, florals, religious scenes, and genre scenes—often combining them in a single composition. His still lifes, although fewer in number, reveal imagination and fantastical settings.

Portraits are considered the most prolific part of Alberto da Veiga Guignard's output, depicting family members, friends, intellectuals, and himself. The artist frequently included his cleft lip as an element in his works, including religious figures. Of particular note is "The Twins" (1940), which won him a trip to Brazil at the National Salon of Fine Arts, depicting the sisters Léa and Maura against the backdrop of the Laranjeiras neighborhood.

Critic José Roberto Teixeira Leite associates Guignard's work with the new objectivity, comparing him to Henri Rousseau, especially in works such as "Casamento na Roça" (1960), "Family of a Marine" (c. 1937), and "Family in the Square." Rodrigo Naves, on the other hand, observes a decorative character in his painting, visible in works such as "Os Noivos" (1937), replete with ornaments, floral patterns, and arabesques.

As a teacher, Alberto da Veiga Guignard stood out for his innovative and informal method. He taught military orphans at the Osório Foundation from 1931 and, in 1936, at the Federal District Institute of Arts. In 1943, he founded the Guignard Group at ENBA, mentoring artists such as Iberê Camargo and Waldemar Cordeiro. Upon moving to Belo Horizonte, he took over as director of the Escola do Parque, later known as the Guignard School, where he adopted an intuitive and democratic approach to teaching. His students included Amilcar de Castro, Mary Vieira, and Farnese de Andrade.

In the 1960s, Alberto da Veiga Guignard developed his "imaginary landscapes," marked by grayish tones and a suspended atmosphere. According to Rodrigo Naves, these works reveal a world without physical support, paths, or a defined geography—cloudy and melancholic spaces that reflect the artist's singular poetics.

Notes
1 MORAIS, Frederico. In: FROTA, Lélia Coelho. Guignard: art, life. Rio de Janeiro: Campos Gerais, 1997. p. 55.
2 LEITE, José Roberto Teixeira. Critical Dictionary of Painting in Brazil. Rio de Janeiro: Artlivre, 1988. p. 240.
3 NAVES, Rodrigo. Brazil in the Air. In: ______. The Difficult Form: Essays on Brazilian Art. São Paulo: Ática, 1996.
4 Idem. Ibid.

Criticism

"Nothing is more justifiable than to speak of Guignard's Mozartian vocation: clarity, finesse, precision, suaveness, and wit are constants in his work. A monster of delicacy, he cultivated a few chosen myths; even in his most serious work, he was, as they say, playful. (This may even be the fundamental aspect of his invention, an invisible thread connecting the primary mode of being of his personality.) Hence, an instinctive modesty leading him to transform all that in his work would be poignant, and therefore perhaps uncomfortable, into enchanting atmospheres and secret humor without any label. Perhaps for this reason he hid in a fantasy of cities and more lands, and people, saints, plants, as if disguising: sometimes only the dark name remained, Beco da Sombra; or it was the balloon catching fire in the luminous afternoon, while fireworks, Tall daisies burned around tiny Minas Gerais churches in a dreamlike lowland, earth and sky conflated.

Often incisive, he was never vehement, not even in the paintings that sparkled. The strong milk of Expressionism, which drank from the Germanic source, passed through him through the most diverse metamorphoses. A spirit open to direct contact with things, he had been preserved by what Bernanos liked to call the genius of childhood.

Internally available, he was, however, of rare inner coherence. (...)

His excellent education, from the old, traditional European school (Munich, Florence), guaranteed him the safe and candid cultivation of his garden; from it came sunflowers, municipal parks, still lifes; in it he managed to cultivate the miraculous sabará green, infallible for melancholy. During the period of rediscovery of Brazil, and later, in an effort to renew himself, he became a street poster, "photographing" modest families, marines, and workers. This Sunday folklore blossomed during the illuminated Noites de São João, which ultimately symbolize his work, all of it ascending on a night illuminated by windows and lit balloons. From there, he would move on to a Minas Gerais landscape, whose atmosphere, both interior and exterior, he knew how to interpret better than anyone else.
Alexandre Eulalio
EULALIO, Alexandre. Guignard, the Meek. Jornal das Letras, Rio de Janeiro, Oct. 1962, p. 3.

"From a wealthy family (...), Guignard had a peaceful childhood and youth from a financial standpoint. He lived in Petrópolis and Friburgo, summer resorts, and was educated in Europe, completing his studies in private schools. He therefore had a thorough education and a comfortable life until the moment he returned to Brazil. From then on, however, always living alone and with his meager resources, he lived, at first, in rooms and boarding houses, never staying long in any of them. (...) Guignard always painted what was close by, the reality around him. He painted the fruit on the table, the flowers by the window, he portrayed friends and visitors, he painted the work tools in his studio, the music he listened to, he designed the table at the bar he frequented, and on restaurant menus, he painted the landscape. In Itatiaia, he painted the mountains and the valley, in Ouro Preto, the mountain and the houses. What's more, he transformed this very reality. Like a demiurge, he sought to strip objects of their banality and prosaicism by deciding to transform them. Objects and, above all, environments. (...) He marked with extreme sensitivity and tenderness the places where he was or lived. (...)"
Frederico Morais
MORAIS, Frederico. Alberto da Veiga Guignard. Rio de Janeiro: Monteiro Soares, 1979.

"One could say that Guignard painted the visible as if immersed in a dream state. His entire ethereal universe of landscapes, portraits, self-portraits, scenes with figures posed photographically, flowers, still lifes, religious themes, and others reveals this. He relies on an insinuating and graceful drawing style, which emphasizes color, applied in light doses to the medium. (...) He characterized himself primarily as a landscape artist, inspired by certain sites and regions, from his early return to Rio, when he painted paintings depicting the Botanical Garden. Much later, tender aerial views of the baroque cities of Minas Gerais, shrouded in a veil of fantasy, stand out. The balloons of the June festivities take over the sky behind the mountains. With his highly precise lines and nuanced tones, he always used a keen decorative sense."
Walter Zanini
ZANINI, Walter (org.). General History of Art in Brazil. São Paulo: Instituto Walther Moreira Salles: Fundação Djalma Guimarães, 1983. 2 v.

"What is surprising about Guignard is that the modern attitude, which mobilizes the production of his painting in a very special way, does not derive from the programmatic effort present in most of our modernists. On the contrary, what enchants and complicates the examination of this work is the fact that a modern spatiality emerges from it naturally, in its raw state, shaped by the friction with the objective conditions of a cultural environment like Brazil's. Therein lies, in our view, the problematizing performance of Guignard's work, delivered with disconcerting candor to the reconciliation of two worlds: the cultured learning of European tradition and the intuitive and unreserved adherence to a typology of the Brazilian landscape, with its June festivals, its popular figures, a taste for the whimsical and the decorative. In this way, the refined elaboration of what had been absorbed from the best modern European painting (he cites Dufy, but there is also a bit of Van Gogh, Cézanne, Matisse...) acts and reacts to a pre-figurative, pre-modern innocence, which even allows us to consider the possible resonance of 15th-century Flemish painting in work of the artist. (...)".
Sônia Salzstein
SALZSTEIN, Sônia. A singular point of view. In: GUIGNARD. A selection of the artist's work. São Paulo: Centro Cultural São Paulo, 1992. p. 17.

"The great achievement of his journey, of his work, will be in the so-called imaginary landscapes, which I prefer to call imaginative, which coincide with the final six or seven years of his life. Imaginative because they are the synthesis, the fusion in permanent transformation of his experience in the historic towns of Minas Gerais, where mountains, churches, and groups of people celebrating are transformed by him into signs that punctuate the representation of his metaphysical perspective on the world. Added to these signs are the balloons of his father's June festivals, which in his childhood certainly passed on to him, in the company of his family, a strong and positive experience of affection.
The 'Leonardesque' landscapes, as he called them in his writings to Lúcia Machado de Almeida, are no longer unpopulated lunar deserts, like Guignard's own surrealist/expressionist landscapes of the 1930s. They now bear the presence of man, permanently.
The artist knew how to maintain his courage in the face of the countless setbacks that life threw at him—a cleft lip, the tragic loss of his father, his stepfather's persecution, poverty, the frustration of his most cherished dream, marriage—and built, through successive frustrations, a continuous creation of extraordinary works of drawing and painting, always in progress, whose totality places him among the important masters of our time. Furthermore, his work brings together, as seen in this book, legacies of Western and Eastern cultures."
Lélia Coelho Frota
FROTA, Lélia Coelho. A solitary vision. In: ______. Guignard: art, life. Rio de Janeiro: Campos Gerais, 1997. p. 227-230.

Depoimentos

"Nasceu em Nova Friburgo, em 25 de fevereiro de 1896, feio como todo recém-nascido.
Estudou em Munique, na Real Academia de Belas Artes, onde aprendeu desenho e amou.
De acadêmico passou a moderno, após ter visto uma exposição de arte moderna alemã: o modernismo o fascinou.
Em 1930 veio para o Brasil, onde teve um choque com o ambiente artístico, bem atrasado em relação à Europa. Abriu seu ateliê no Jardim Botânico, entre a vegetação e milhares de mosquitos.
Veio para Belo Horizonte, a chamado do então prefeito Juscelino Kubitschek, e daqui se enamorou desde o primeiro dia da paisagem.
Fundou a Escolinha de Guignard, que tem vivido por milagre e amor de alunos e mestres, e aqui ensinou arte a diversas gerações de jovens. Adora ser cercado pela juventude, principalmente moças bonitas, e Ouro Preto é a sua cidade amor-inspiração".
Guignard
(Guignard por ele mesmo. Pequeno texto autobiográfico no catálogo da exposição Guignard, no Museu de Arte da Prefeitura de Belo Horizonte. Junho de 1961.)
FROTA, Lélia Coelho. Anexo 5. In: ___. Guignard: arte, vida. Rio de Janeiro: Campos Gerais, 1997. p. 302.

Solo Exhibitions

1930 - Buenos Aires, Argentina - Solo
1931 - Rio de Janeiro, RJ - Solo
1934 - Buenos Aires, Argentina - Solo
1934 - Rio de Janeiro, RJ - Solo, at Pró-Arte
1935 - Pittsburgh, United States - Solo, at the Carnegie Institute
1936 - Rio de Janeiro, RJ - Solo, at the Palace Hotel
1937 - Rio de Janeiro, RJ - Solo, at the New Art Gallery
1938 - Berlin, Germany - Solo - sponsored by the Association of Brazilian Artists, Pró-Arte Society, and the German-Brazilian Institute
1938 - Rio de Janeiro, RJ - Solo, at the Palace Hotel
1942 - Rio de Janeiro, RJ - Solo, at Enba
1953 - Rio de Janeiro, RJ - Alberto da Veiga Guignard Exhibition, at MAM/RJ
1956 - São Paulo SP - Guignard: retrospective, at IAB/SP
1959 - Belo Horizonte MG - Guignard: retrospective, at the Automobile Club
1959 - Rio de Janeiro RJ - Solo show, at Jorge Montmartre Gallery
1960 - Rio de Janeiro RJ - Solo show, at Petite Galerie - ABCA Award
1961 - Belo Horizonte MG - Guignard: retrospective, at MAP
1962 - São Paulo SP - Solo show, at Petite Galerie

Group Exhibitions

1923 - Munich (Germany) - Group Exhibition, at the Glass Palace
1924 - Rio de Janeiro RJ - 31st General Exhibition of Fine Arts - General Division, at ENBA - honorable mention
1927 - Paris (France) - 20th Autumn Salon, at the Grand Palais
1928 - Paris (France) - Autumn Salon, at the Grand Palais
1928 - Venice (Italy) - 16th Venice Biennale
1929 - Paris (France) - 40th Salon des Indépendants, at the Société des Artistes Indépendants
1929 - Rio de Janeiro RJ - 36th General Exhibition of Fine Arts - General Division, at ENBA - bronze medal
1929 - Rosario (Argentina) - 11th Rosario Art Salon, at the Municipal Commission of Fine Arts of Rosario
1930 - New York (United States) - The First Representative Collection of Paintings by Brazilian Artists, at the Nicholas Roerich Museum
1930 - Rio de Janeiro RJ - 37th General Exhibition of Fine Arts, at ENBA
1931 - Rio de Janeiro RJ - 1st Pró-Arte Salon, at ENBA
1931 - Rio de Janeiro RJ - Revolutionary Salon, at ENBA
1932 - Rio de Janeiro RJ - 2nd Pró-Arte Salon, at ENBA
1933 - Rio de Janeiro RJ - 3rd Pró-Arte Salon, at ENBA
1933 - Rio de Janeiro RJ - Social Art Exhibition, at the Municipal Club
1933 - São Paulo SP - 1st Modern Art Exhibition of SPAM, at Palacete Campinas
1933 - São Paulo SP - 2nd Modern Art Exhibition of SPAM, at Palacete Campinas
1934 - Rio de Janeiro RJ - 4th Pró-Arte Salon
1934 - São Paulo SP - 1st Paulista Salon of Fine Arts, at Rua 11 de Agosto
1935 - Pittsburgh (United States) - 1935 International Exhibition of Painting, at the Carnegie Institute
1935 - Rio de Janeiro RJ - Social Art Exhibition, at the Modern Culture Club of Rio de Janeiro
1935 - Rio de Janeiro RJ - Self-Portrait Salon, at the Association of Brazilian Artists
1936 - Rio de Janeiro RJ - 42nd National Salon of Fine Arts, at the Institute of Social Security
1936 - Toledo (United States) - 1935 International Exhibition of Painting, at the Toledo Museum of Art
1936 - Cleveland (United States) - 1935 International Exhibition of Painting
1937 - Buenos Aires (Argentina) - Official Salon of Buenos Aires - 2nd prize
1937 - São Paulo SP - 1st May Salon, at Esplanada Hotel
1937 - São Paulo SP - 5th Paulista Salon of Fine Arts
1938 - Rio de Janeiro RJ - 44th National Salon of Fine Arts, at MNBA
1938 - Rio de Janeiro RJ - Pró-Arte Society Exhibition
1938 - São Paulo SP - 2nd May Salon, at Esplanada Hotel
1939 - Rio de Janeiro RJ - 45th National Salon of Fine Arts, at MNBA
1940 - Rio de Janeiro RJ - 46th National Salon of Fine Arts - Modern Division, at MNBA - travel award and silver medal
1941 - Rio de Janeiro RJ - 47th National Salon of Fine Arts, at MNBA
1942 - Rio de Janeiro RJ - 48th National Salon of Fine Arts - Modern Division, at MNBA - gold medal
1943 - Rio de Janeiro RJ - 49th National Salon of Fine Arts, at MNBA
1943 - Rio de Janeiro RJ - Anti-Axis Exhibition, at the Historical and Diplomatic Museum, Palácio Itamaraty
1943 - Rio de Janeiro RJ - Grupo Guignard, at ENBA
1944 - Belo Horizonte MG - Modern Art Exhibition, at Mariana Building
1944 - London (England) - Exhibition of Modern Brazilian Paintings, at the Royal Academy of Arts
1944 - Norwich (England) - Exhibition of Modern Brazilian Paintings, at Norwich Castle and Museum
1945 - Bath (England) - Exhibition of Modern Brazilian Paintings, at Victory Art Gallery
1945 - Bristol (England) - Exhibition of Modern Brazilian Paintings, at Bristol City Museum & Art Gallery
1945 - Buenos Aires (Argentina) - 20 Brazilian Artists, at the National Exhibition Rooms
1945 - Edinburgh (Scotland) - Exhibition of Modern Brazilian Paintings, at the National Gallery
1945 - Glasgow (Scotland) - Exhibition of Modern Brazilian Paintings, at Kelvingrove Art Gallery
1945 - La Plata (Argentina) - 20 Brazilian Artists, at the Provincial Museum of Fine Arts
1945 - Manchester (England) - Exhibition of Modern Brazilian Paintings, at Manchester Art Gallery
1945 - Montevideo (Uruguay) - 20 Brazilian Artists, at the Municipal Culture Commission
1945 - Rio de Janeiro RJ - 51st National Salon of Fine Arts, at MNBA
1945 - Rio de Janeiro RJ - Plastic Artists of the Communist Party, at the Casa do Estudante
1945 - Santiago (Chile) - 20 Brazilian Artists, at the University of Santiago de Chile
1946 - Rio de Janeiro RJ - Guignard and his Students, at ABI
1947 - Rio de Janeiro RJ - 53rd National Salon of Fine Arts, at MNBA
1948 - Rio de Janeiro RJ - 54th National Salon of Fine Arts - Modern Division, at MNBA - gold medal
1949 - Rio de Janeiro RJ - 55th National Salon of Fine Arts, at MNBA
1950 - Bahia - A Century of Brazilian Painting: 1850–1950, organized by MNBA
1950 - Belo Horizonte MG - Guignard and his Students, at Financial Building
1950 - Paraíba - A Century of Brazilian Painting: 1850–1950, organized by MNBA
1950 - Pernambuco - A Century of Brazilian Painting: 1850–1950, organized by MNBA
1950 - Rio de Janeiro RJ - 56th National Salon of Fine Arts, at MNBA
1950 - Rio de Janeiro RJ - A Century of Brazilian Painting: 1850–1950, at MNBA
1951 - Rio de Janeiro RJ - 57th National Salon of Fine Arts - Modern Division, at MNBA - honorary medal
1951 - São Paulo SP - 1st São Paulo International Biennial, at Trianon Pavilion
1952 - Belo Horizonte MG - International Art Exhibition, at Dantés Building
1952 - Rio de Janeiro RJ - 1st National Salon of Modern Art
1952 - Rio de Janeiro RJ - Exhibition of Brazilian Artists, at MAM/RJ
1952 - Venice (Italy) - 26th Venice Biennale
1953 - Rio de Janeiro RJ - 2nd National Salon of Modern Art, at MNBA
1954 - São Paulo SP - Contemporary Art: Exhibition of the São Paulo Museum of Modern Art Collection, at MAM/SP
1957 - Buenos Aires (Argentina) - Modern Art in Brazil, at the Museum of Modern Art
1957 - Lima (Peru) - Modern Art in Brazil, at the Lima Art Museum
1957 - Rosario (Argentina) - Modern Art in Brazil, at Juan B. Castagnino Municipal Museum of Fine Arts
1957 - Santiago (Chile) - Modern Art in Brazil, at the Museum of Contemporary Art
1958 - Rio de Janeiro RJ - 7th National Salon of Modern Art, at MAM/RJ
1959 - Rio de Janeiro RJ - 30 Years of Brazilian Art, at Galeria Macunaíma
1960 - São Paulo SP - Leirner Collection, at Galeria de Arte das Folhas
1962 - Córdoba (Argentina) - 1st American Art Biennial
1962 - Rabat (Morocco) - Exhibition of Brazilian Artists
1962 - Casablanca (Morocco) - Exhibition of Brazilian Artists
1962 - Tangier (Morocco) - Exhibition of Brazilian Artists

Posthumous Exhibitions

1962 - Belo Horizonte MG - Solo Exhibition, at MAP
1962 - Rio de Janeiro RJ - The Portrait as Theme, at Galeria do Ibeu
1963 - Belo Horizonte MG - Exhibition at the Rectory of the Federal University of Minas Gerais, UFMG
1963 - Campinas SP - Contemporary Painting and Sculpture, at Museu Carlos Gomes
1963 - Rio de Janeiro RJ - 1st JB Art Summary, at Jornal do Brasil
1963 - Rio de Janeiro RJ - Landscape as Theme, at Galeria Ibeu Copacabana
1966 - Rio de Janeiro RJ - Self-Portraits, at Galeria Ibeu Copacabana
1966 - São Paulo SP - Half a Century of New Art, at MAC/USP
1970 - Belo Horizonte MG - Exhibition at the ICBEU Art Gallery
1970 - Belo Horizonte MG - The Evolutionary Process of Art in Minas: 1900–1970, at Fundação Palácio das Artes
1972 - Belo Horizonte MG - Guignard 1896-1962, at MAP
1972 - São Paulo SP - The Week of ’22: Antecedents and Consequences, at MASP
1974 - Niterói RJ - 3rd Niterói Visual Arts Exhibition
1974 - Rio de Janeiro RJ - Guignard: Retrospective, at MAM/RJ
1974 - São Paulo SP - Solo Exhibition, at Centro de Artes Novo Mundo
1975 - São Paulo SP - Modernism from 1917 to 1930, at Museu Lasar Segall
1975 - São Paulo SP - SPAM and CAM, at Museu Lasar Segall
1976 - São Paulo SP - 20th Century Brazilian Art: Paths and Trends, at Galeria de Arte Global
1976 - São Paulo SP - The Salons: Família Artística Paulista, May Salon, and São Paulo Plastic Artists Union, at Museu Lasar Segall
1977 - Belo Horizonte MG - The Minas Landscape, at Paço das Artes
1980 - Rio de Janeiro RJ - Tribute to Mário Pedrosa, at Galeria Jean Boghici
1980 - Santiago (Chile) - 20 Brazilian Painters, at Chilean Academy of Fine Arts
1980 - São Paulo SP - The Brazilian Landscape: 1650–1976, at Paço das Artes
1980 - São Paulo SP - Contemporary Masters, at Fundação Maria Luisa e Oscar Americano
1981 - Belo Horizonte MG - 8th Winter Global Salon, at Fundação Palácio das Artes
1981 - Rio de Janeiro RJ - 8th Winter Global Salon, at MAM/RJ
1981 - Rio de Janeiro RJ - From Modern to Contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
1981 - Rio de Janeiro RJ - Guignard as Draftsman, at Galeria Gravura Brasileira
1981 - São Paulo SP - 8th Winter Global Salon, at MASP
1982 - Belo Horizonte MG - Guignard: Documental Exhibition Commemorating the 20th Anniversary of Death, at Palácio das Artes
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - Lisbon (Portugal) - From Modern to Contemporary: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (England) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - Rio de Janeiro RJ - Alberto da Veiga Guignard 1896–1962: Paintings and Drawings, at Galeria de Arte Banerj
1982 - Rio de Janeiro RJ - Fluminense Painters, at MAM/RJ
1982 - Salvador BA - Brazilian Art from the Odorico Tavares Collection, at Museu Carlos Costa Pinto
1982 - São Paulo SP - From Modernism to the Biennial, at MAM/SP
1983 - Caracas (Venezuela) - Painting in Brazil from the 1600s to Modernism, at Museo de Bellas Artes
1983 - Olinda PE - 2nd Exhibition of the Abelardo Rodrigues Collection of Visual Arts, at MAC/Olinda
1983 - Rio de Janeiro RJ - 6th National Salon of Visual Arts, at MAM/RJ
1983 - Rio de Janeiro RJ - Modern Art at the National Salon: 1940–1982, at Funarte. Centro de Artes
1983 - Rio de Janeiro RJ - Brazilian Self-Portraits, at Galeria de Arte Banerj
1983 - São Paulo SP - Alberto da Veiga Guignard: 1896–1962, at Espaço Plano
1984 - Fortaleza CE - 7th National Salon of Visual Arts
1984 - Rio de Janeiro RJ - Salon of ’31, at Funarte
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - Porto Alegre RS - Iberê Camargo: Trajectory and Encounters, at MARGS
1985 - Rio de Janeiro RJ - The Collector in His Collection, at Galeria de Arte Banerj
1985 - Rio de Janeiro RJ - Rio: Surrealist Current, at Galeria de Arte Banerj
1985 - Rio de Janeiro RJ - Six Decades of Modern Art: Roberto Marinho Collection, at Paço Imperial
1985 - São Paulo SP - 100 Works Itaú, at MASP
1985 - São Paulo SP - 18th São Paulo International Biennial, at Fundação Bienal
1986 - Belo Horizonte MG - Modernism in Minas: The 1936 Salon, at Espaço Cultural Casa do Baile
1986 - Brasília DF - Iberê Camargo: Trajectory and Encounters, at Teatro Nacional Cláudio Santoro
1986 - Porto Alegre RS - Paths of Brazilian Drawing, at MARGS
1986 - Rio de Janeiro RJ - The New Avocado Flower, Guignard Group-1943 and The Dissidents-1942, at Galeria de Arte Banerj
1986 - Rio de Janeiro RJ - Iberê Camargo: Trajectory and Encounters, at MAM/RJ
1986 - São Paulo SP - Iberê Camargo: Trajectory and Encounters, at MASP
1987 - Paris (France) - Modernity: 20th Century Brazilian Art, at Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - Rio de Janeiro RJ - Guignard/Marcier, at Galeria Jean Boghici
1987 - Rio de Janeiro RJ - Rio de Janeiro, February–March: From Modernism to the 80s Generation, at Galeria de Arte Banerj
1987 - São Paulo SP - 19th São Paulo International Biennial, at Fundação Bienal
1987 - São Paulo SP - Brazil Painted by National and Foreign Masters: 18th–20th Centuries, at MASP
1987 - São Paulo SP - The Craft of Art: Painting, at Sesc
1988 - Rio de Janeiro RJ - Hedonism: Gilberto Chateaubriand Collection, at Galeria Edifício Gilberto Chateaubriand
1988 - São Paulo SP - MAC 25 Years: Highlights of the Initial Collection, at MAC/USP
1988 - São Paulo SP - Modernity: 20th Century Brazilian Art, at MAM/SP
1989 - Fortaleza CE - 19th and 20th Century Brazilian Art in Cearense Collections: Paintings and Drawings, at Espaço Cultural da Unifor
1989 - Lisbon (Portugal) - Six Decades of Brazilian Modern Art: Roberto Marinho Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1989 - São Paulo SP - Brazilian Painting 19th and 20th Century: Works from Banco Itaú Collection, at Itaugaleria
1991 - Curitiba PR - Municipal Museum of Art: Collection, at Museu Municipal de Arte
1992 - Belo Horizonte MG - Guignard: Daily Passion, at Itaugaleria
1992 - Belo Horizonte MG - Guignard Portraits, at MAP
1992 - Paris (France) - Latin American Artists of the Twentieth Century, at Centre Georges Pompidou
1992 - Poços de Caldas MG - Brazilian Modern Art: Collection of the Museum of Contemporary Art of the University of São Paulo, at Casa da Cultura
1992 - Rio de Janeiro RJ - Nature: Four Centuries of Art in Brazil, at CCBB
1992 - São Paulo SP - Guignard: A Selection of the Artist's Work, at Museu Lasar Segall
1992 - Seville (Spain) - Latin American Artists of the Twentieth Century, at Estación Plaza de Armas
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1993 - Cologne (Germany) - Latin American Artists of the Twentieth Century, at Kunsthalle Cologne
1993 - New York (USA) - Latin American Artists of the Twentieth Century, at MoMA
1993 - Rio de Janeiro RJ - Brazil 100 Years of Modern Art, at MNBA
1993 - São Paulo SP - 100 Masterpieces from the Mário de Andrade Collection: Painting and Sculpture, at IEB/USP
1993 - São Paulo SP - Brazilian Art in the World, A Trajectory: 24 Brazilian Artists, at Dan Galeria
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Sesi Art Gallery
1993 - São Paulo SP - Modernism at the Museum of Brazilian Art: Painting, at MAB/Faap
1994 - Poços de Caldas MG - Unibanco Collection: Commemorative Exhibition for Unibanco's 70th Anniversary, at Casa da Cultura
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 MASP
1994 - São Paulo SP - 20th Century Brazilian Biennial, at Fundação Bienal
1995 - Brasília DF - Collections of Brasília, at Ministry of Foreign Affairs, Palácio do Itamaraty
1995 - Rio de Janeiro RJ - Unibanco Collection: Commemorating 70 Years of Unibanco, at MAM/RJ
1996 - Belo Horizonte MG - 100 Years of Guignard, at MAP
1996 - Belo Horizonte MG - The City and the Artist: Two Centenaries, at BDMG Cultural
1996 - Belo Horizonte MG - Images of Modernity, at MAP
1996 - Belo Horizonte MG - Improvisation for Guignard, at Espaço Cultural Bamerindus Seguros
1996 - Rio de Janeiro RJ - Guignard: The Artist’s Choice, at Paço Imperial
1996 - Rio de Janeiro RJ - Solo Exhibition, at MNBA
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 - Guignard/Volpi: Centenary of Birth, at IEB/USP
1996 - São Paulo SP - Guignard: Exhibition in Honor of the Centenary of His Birth, at Galeria de Arte do Brasil
1997 - Barra Mansa RJ - The Museum Visits the Gallery, at Centro Universitário de Barra Mansa
1997 - Curitiba PR - Contemporary Printmaking, at Museu Metropolitano de Arte de Curitiba
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 - Rio de Janeiro RJ - Air: Exhibition of Visual Arts, Toys, Objects, and Models, at Paço Imperial
1997 - Rio de Janeiro RJ - Petite Galerie 1954–1988: A View of Brazilian Art, at Paço Imperial
1997 - São Paulo SP - Anthropophagic Appropriations, at Itaú Cultural
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
1998 - Curitiba PR - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Rio de Janeiro RJ - Brazilian Art in the Collection of the São Paulo Museum of Modern Art: Recent Donations 1996–1998, at CCBB
1998 - Rio de Janeiro RJ - Brazilian Art in the Collection of the São Paulo Museum of Modern Art: Recent Donations 1996–1998, at CCBB
1998 - Rio de Janeiro RJ - Caixa Collection Exhibition, at Conjunto Cultural da Caixa
1998 - Rio de Janeiro RJ - Negotiated Images: Portraits of the Brazilian Elite, at CCBB
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - Highlights from the Unibanco Collection, at Instituto Moreira Salles
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - Modern and Contemporary Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1999 - Rio de Janeiro RJ - Rio Print Exhibition. Mônica and George Kornis Collection, at Espaço Cultural dos Correios
1999 - Salvador BA - 60 Years of Brazilian Art, at Espaço Cultural da Caixa Econômica Federal
1999 - São Paulo SP - Brazilian Art, 20th Century: Dialogues with Dufy, at MAM/SP
1999 - São Paulo SP - Works on Paper: From Modernism to Abstraction, at Dan Galeria
2000 - Caxias do Sul RS - Traveling Exhibition from the MARGS Collection
2000 - Curitiba PR - 12th Curitiba Print Exhibition. Marks of the Body, Folds of the Soul
2000 - Lisbon (Portugal) - 20th Century: Art from Brazil, at Fundação Calouste Gulbenkian, Centro de Arte Moderna José de Azeredo Perdigão
2000 - Passo Fundo RS - Traveling Exhibition from the MARGS Collection
2000 - Pelotas RS - Traveling Exhibition from the MARGS Collection
2000 - Porto Alegre RS - Biblioteca Nacional: Rare Works, at MARGS
2000 - Rio de Janeiro RJ - The Lyrical Humanism of Guignard, at MNBA
2000 - Rio de Janeiro RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro, 1905–1960, at Paço Imperial
2000 - Santa Maria RS - Traveling Exhibition from the MARGS Collection
2000 - São Paulo SP - Brazil + 500: Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Brazil on Paper: Hues and Experiences, at Espaço de Artes Unicid
2000 - São Paulo SP - The Lyrical Humanism of Guignard, at MASP
2000 - São Paulo SP - The Angels Are Back, at Pinacoteca do Estado
2000 - São Paulo SP - A Certain Point of View: Pietro Maria Bardi 100 Years, at Pinacoteca do Estado
2000 - Valencia (Spain) - From Anthropophagy to Brasília: Brazil 1920–1950, at IVAM, Centre Julio Gonzáles
2001 - Belo Horizonte MG - Modernism in Minas: Referential Icons, at Itaú Cultural
2001 - Brasília DF - Collections of Brazil, at CCBB
2001 - New York (USA) - Brazil: Body and Soul, at Solomon R. Guggenheim Museum
2001 - Penápolis SP - Modernism in Minas: Referential Icons, at Galeria Itaú Cultural
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - Rio de Janeiro RJ - Modern Collections: Hecilda and Sergio Fadel at Chácara do Céu, at Museus Castro Maya, Museu da Chácara do Céu
2001 - Rio de Janeiro RJ - Surrealism, at CCBB
2001 - São Paulo SP - 30 Masters of Painting in Brazil, at MASP
2001 - São Paulo SP - Aldo Franco Collection, at Pinacoteca do Estado
2001 - São Paulo SP - Figures and Faces, at A Galeria
2001 - São Paulo SP - Museum of Brazilian Art: 40 Years, at MAB/Faap
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2002 - Brasília DF - JK: An Aesthetic Adventure, at Conjunto Cultural da Caixa
2002 - Mariana MG - Traveling with Guignard, at Centro de Cultura do Sesi
2002 - Niterói RJ - Brazilian Art on Paper: 19th and 20th Centuries, at Solar do Jambeiro
2002 - Porto Alegre RS - Appropriations and Collections, at Santander Cultural
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From Modernist Restlessness to 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 Modernist Restlessness to Autonomy of Language, at CCBB
2002 - São Paulo SP - From Anthropophagy to Brasília: Brazil 1920–1950, at MAM/SP
2002 - São Paulo SP - Wild Mirror: Modern Art in Brazil from the 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
2003 - Belém PA - 22nd Arte Pará Salon, at Museu do Estado do Pará
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From Modernist Restlessness to Autonomy of Language, at CCBB
2003 - Rio de Janeiro RJ - Autonomy of Drawing, at MAM/RJ
2003 - Rio de Janeiro RJ - Caixa Treasures: Brazilian Modern Art in the Caixa Collection, at Conjunto Cultural da Caixa
2003 - São Paulo SP - Tomie Ohtake in the Spiritual Fabric of Brazilian Art, at Instituto Tomie Ohtake
2004 - Belo Horizonte MG - Pampulha, Collected Work: 1943–2003, at MAP
2004 - Rio de Janeiro RJ - Tomie Ohtake in the Spiritual Fabric of Brazilian Art, at MNBA
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, at Itaú Cultural
2005 - Belo Horizonte MG - 40/80: An Exhibition of Brazilian Art, at Léo Bahia Arte Contemporânea