Carybé

Carybé (Lanús, Argentina 1911 - Salvador, BA 1997)

Carybé was a painter, engraver, draftsman, illustrator, mosaicist, ceramist, woodcarver, and muralist. He frequented the ceramics studio of his older brother, Arnaldo Bernabó, in Rio de Janeiro around 1925. Between 1941 and 1942, he traveled to several South American countries. Upon returning to Argentina in 1943, he translated Mário de Andrade's book "Macunaíma" into Spanish, alongside Raul Brié. That same year, he presented his first solo exhibition at the Nordiska Kompainiet Gallery in Buenos Aires.

In 1944, he visited Salvador, where he was enchanted by the local religion and culture. Back in Rio de Janeiro, he collaborated on the creation of the newspaper Diário Carioca in 1946. Between 1949 and 1950, he was invited by journalist Carlos Lacerda to work at the newspaper Tribuna da Imprensa. In 1950, he moved permanently to Salvador to create panels for the Carneiro Ribeiro Educational Center, following a recommendation from writer Rubem Braga to the Bahia Secretary of Education, Anísio Teixeira.

In the Bahian capital, he joined the movement for the renewal of the visual arts, alongside names such as Mario Cravo Júnior, Genaro, and Jenner Augusto. In 1957, he became a naturalized Brazilian citizen. In 1981, he published the book *Iconografia dos Deuses Africanos no Candomblé da Bahia*, published by Editora Raízes. Throughout his career, he illustrated works by important authors such as Gabriel García Márquez, Jorge Amado and Pierre Verger, establishing himself as a prominent figure in Brazilian art and culture.

Carybé

Born on February 7, 1911, in the small town of Lanús, a suburb of Buenos Aires, the painter lived in Genoa and Rome (Italy) from the age of 6 months to 8. In 1919, he came to live in Brazil, where he completed his secondary education in Rio de Janeiro and studied at the National School of Fine Arts.

In 1927, he returned to Argentina, where he worked for various newspapers, until the periodical "Prégon" hired him to travel to several countries, creating and sending drawings and reports from wherever he went. Through this, Carybé began to experience various cultures and different forms of artistic expression, which influenced his work as a painter. On one of these trips, he visited Salvador, where he began to experience Bahian culture.

Until the mid-1940s, Carybé lived in several countries, always returning to Brazil. During this period, he worked as a literary illustrator and translated Mário de Andrade's book "Macunaíma" into Spanish. That same year, he won the First Prize from the Argentine Book Chamber for his illustration of Miguel Cané's book "Juvenília." In 1943, he held his first solo exhibition and illustrated Bernardo Kordan's book "Macumba, Tales of the Green Earth."

Hector Julio Páride Bernabó

In 1946, he married Nancy in the Argentine province of Salta, with whom he had two children, the artist Ramiro and the biologist Solange. After several trips to Salvador, in 1950 he settled permanently in the Bahian capital, where, through a letter of recommendation from Rubem Braga, he was hired to paint murals on buildings and public works.

During the nearly 50 years he lived in Bahia, Carybé developed a deep connection with the culture and artists of Salvador. Local cultural expressions, such as Candomblé, capoeira, and samba de roda, became defining elements of his work. Alongside other visual artists such as Jenner Augusto, Mário Cravo, and Genaro de Carvalho, he actively participated in the movement to revive the visual arts in the state.

Quite eclectic, Carybé experimented throughout his life with many known artistic techniques, such as watercolors, drawings, sculptures, carvings, ceramics, and others. In addition to these works, he also distinguished himself by creating several murals around the world, including one at New York Airport.

Pierre Verger, Jorge Amado, and Hector Carybé

In 1955, he won the award for best artist at the III São Paulo Biennial. His work totaled five thousand works, including paintings, drawings, sculptures, and initial sketches of some works. His illustrations enriched publications by famous writers, including Jorge Amado and Gabriel García Márquez.

In 1957, the artist became a naturalized Brazilian citizen. Among his close friends in the country was the writer Jorge Amado, who wrote, in his honor, "The Devil Carybé." In the work, the artist was defined as "made of mistakes, confusion, absurd stories, apparent contradictions, and, at the same time, he is simplicity itself." Carybé drew numerous works by Amado, as well as illustrating works for books by other prominent authors, such as Mário de Andrade, Gabriel García Márquez, and Pierre Verger.

The artist also wrote books such as "Olha o Boi" and co-authored the work "Bahia, Boa Terra Bahia" with Jorge Amado. In 1981, after 30 years of research, he published *Iconografia dos Deuses Africanos no Candomblé da Bahia*. He also created graphic scripts, artistic direction, and costumes for theater and film.

Hector Carybé - Bahia

Due to his works focusing on Afro-Brazilian culture, focusing on its rites and orishas, ​​particularly in the early 1970s, he earned an important honorary title from Candomblé: the obá of Xangô. Part of his work is now housed in the Afro-Brazilian Museum in Salvador, comprising 27 cedar wood panels symbolizing the Bahian orishas.

For almost his entire life, the painter believed that his nickname, Carybé, came from a bird of the Brazilian fauna. Only many years later, through his friend Rubem Braga, did he discover that his nickname meant "thin porridge," which led to numerous jokes.

A frequenter of the Candomblé temple Ilê Axé Opô Afonjá, Carybé died at the age of 86, on October 1, 1997, in Salvador, during a ceremony at the temple itself. The artist left behind a legacy of more than 5,000 works, including paintings, drawings, sculptures, and sketches.

Education

1925 - Began artistic activities by attending the ceramics studio of his older brother, Arnaldo Bernabó, in Rio de Janeiro.
1927-1929 - Attended the National School of Fine Arts (ENBA), in Rio de Janeiro.
1958 - Received a scholarship to study in New York, United States of America.

Critical Commentary

Since 1950, when he settled permanently in Salvador, Carybé has been particularly interested in religion and local customs, as well as the daily lives of humble people, such as fishermen, street vendors, capoeira practitioners, washerwomen, and prostitutes, themes that are constant in his work. As critic Flávio de Aquino points out, the artist presents, in his watercolors, more muted and faded colors, which are revived in the oil paintings, such as those in which he depicts the popular fairs of the interior of Bahia.

For art historian José Roberto Teixeira Leite, Carybé is a draftsman with agility of execution and manages to capture the essence of a form or movement in his works. The artist also creates several panels, such as the one at J. F. Kennedy Airport in New York, in which he works with various materials, and the one created for the Bank of Bahia, composed of 27 carved cedar panels representing the orixás of Candomblé.

Criticism

"There are times when I would like to return to art criticism. When I encounter a true talent, averse to the concessions that contribute so much to the glory of the moment. This business of the moment is not a pun; it is truly momentous. Of all the moments in the history of art and art criticism. A theory is devised, a climate for it is created, and woe betide anyone who doesn't submit! They will be called obsolete and worse. And since no one is made of iron, everyone wants to live, and formulas are easy, there goes the artist, sometimes even believing in what he does. Fortunately, even in these moments of (paradoxically) subversion and submission, there are those who resist and stubbornly insist on not betraying themselves, as Vigny's verse says, 'faire sa longue e lourde tâche'. It is certain that one day they will be rewarded, but few console themselves with the belated recognition of their worth, because 'it is better to be a living conformist, and well-paid at that, than a posthumously glorified resister'. These reflections, quite common in truth, I make while leafing through the Carybé collection, published by Livraria Martins Fontes. (...) I was certainly thinking of a Carybé, an emulator of Carybé, conveying his message with ease, in a spontaneity of line of great expressive power, going straight to the exteriorization of his emotions, without literariness, without theoretical concerns, without inquiring about the fashion of the day. Carybé, who draws as he writes and writes as he draws, would not need to give us the captions for his works. drawings. The text undoubtedly serves to guide the layman in some way, just as the theme serves as a point of contact for the painting enthusiast to more quickly perceive the artistic values ​​of the painting. They could, however, be omitted without in any way disturbing the emotional and aesthetic communication. It matters little that the fishermen are fishing for jack mackerel, that the spectacle is capoeira; the scenes would live equally well under other names, within the same intensity, the same movement, the same rhythm."
Sérgio Milliet - 1962
Carybé's ARTS: painting, drawing, engraving, sculpture. Salvador: Núcleo de Artes do Desenbanco, 1986, [p. 17].

"A principal element in Carybé's painting is movement, rhythm, and surprise, which he wants to coexist with a requirement of his spirit: that of nothing left undone, that of nothing ambiguous, barely recognizable, of the definition of detail, as if uniting the serenity of classical work with the multiplicity of suggestions and the uncompromising nature of the sketch. The entry of reliefs and inlays—bringing to light another facet, that of the experimentalist—stimulates the growing tension, which begins to be noticed as his painting moves away from pen and ink, gouache, and watercolor and moves toward the larger formats of murals and sculpture proper. (...) Like the Mexican muralists, Carybé, one might say, never painted landscapes (...). It is true that in his paintings he does not emphasize social injustice nor preach revolution, and his shirtless figures are not there to show 'a skeletal flaccura' or threaten the bourgeoisie with 'thick abdomen': Carybé does not believe in social painting. He does not believe in the social aspect of any art. (...) But his greatest and most declared influence when he was drawing for newspapers was George Grosz (...) 'Four names influenced my art: Van Gogh, Gauguin, Modigliani, Grosz and my brother Bernabó, who taught me the basics of drawing'".
José Cláudio da Silva
FURRER, Bruno. Carybé. Salvador: Emílio Odebrecht Foundation, 1989.

Testimonials

"(...) In 1938, I came to Salvador. They had founded a newspaper and gave me the best job in the world—traveling and sending drawings. But when I arrived in Salvador, the newspaper had gone bankrupt. I stayed here for six months, living in poverty, but a poverty without drama. I just had to send a letter to Rubem Braga in Rio and he'd send me a ticket. But I enjoyed myself. Since I didn't know anyone important, I ended up sleeping on a warehouse at the beginning of Avenida do Contorno. That's how it was until I said: enough. But then Bahia stayed in my mind. I returned in 1940, in 1942, and always the Bahia thing. My friends were already fed up, and one day Rubem wrote a letter to Anísio Teixeira, he was Secretary of Education and Culture, and said to me: go see this man and he'll give you a job in Bahia. I looked at the letter and was dying of I was ashamed of all the praise he was giving me. So I came. I gave it to Anísio. He read it and said, "Let's see, I'm building some schools, a kind of popular university, and I'd like to do a panel, and I even have a clipping of an illustration about Bahia." He sent his secretary to get it. He had no more topics when the secretary came back, and it was an almanac I had made. There you go. He said to me, "Come next year and we'll get it sorted." On December 31st, I left, arriving on January 1st. And he said, "What now? It's something for the middle of the year." It was 1950. Since I was already here, I stayed. I managed."
Carybé
PORTUGAL, Claudius. Outras cores: 27 artistas da Bahia - relatogens plásticos. Salvador: Fundação Casa de Jorge Amado, 1994, pp. 15-16.

Collections

Itaú ​​Bank Collection - São Paulo, SP
Center for Modern Art of the Calouste Gulbenkian Foundation - Lisbon (Portugal)
Raymundo de Castro Maya Foundation - Rio de Janeiro, RJ
MAM/BA - Salvador, BA
MAM/SP - São Paulo, SP
MoMA - New York (United States)
Afro-Brazilian Museum of the Federal University of Bahia - Salvador, BA
City Museum - Salvador, BA
Museum of Contemporary Art - Lisbon (Portugal)
Museum of Art of Bahia - Salvador, BA
Manchete Museum - Rio de Janeiro, RJ
Rade Museum - Reinbek (Germany)
Desenbanco Arts Center - Salvador, BA
Pinacoteca Ruben Berta - Porto Alegre RS

Solo Exhibitions

1943 - Buenos Aires (Argentina) - First solo exhibition, at Galeria Nordiska
1944 - Salta (Argentina) - Solo exhibition, at Consejo General de Educacion
1945 - Buenos Aires (Argentina) - Motivos de América, at Galeria Amauta
1945 - Rio de Janeiro RJ - Solo exhibition, at IAB/RJ
1945 - Salta (Argentina) - Solo exhibition, at Amigos del Arte
1947 - Salta (Argentina) - Solo exhibition, at Agrupación Cultural Feminina
1950 - Salvador BA - First solo exhibition in Bahia, at Bar Anjo Azul
1950 - São Paulo SP - Solo exhibition, at MASP
1952 - São Paulo SP - Solo exhibition, at MAM/SP
1954 - Salvador BA - Solo exhibition, at Galeria Oxumaré
1957 - Buenos Aires (Argentina) - Solo exhibition, at Galeria Bonino
1957 - New York (United States) - Solo exhibition, at Bodley Gallery
1958 - New York (United States) - Solo exhibition, at Bodley Gallery
1962 - Salvador BA - Solo exhibition, at MAM/BA
1963 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1965 - Rio de Janeiro RJ - Solo exhibition, at Galeria Bonino
1966 - São Paulo SP - Solo exhibition, at Galeria Astréa
1967 - Rio de Janeiro RJ - Solo exhibition, at Galeria Santa Rosa
1969 - London (United Kingdom) - Solo exhibition, at Varig Airlines
1970 - Rio de Janeiro RJ - Solo exhibition, at Galeria da Praça
1971 - Brasília DF - Painel dos Orixás, at MAM/DF
1971 - Curitiba PR - Painel dos Orixás, at Biblioteca Pública do Paraná
1971 - Florianópolis SC - Painel dos Orixás, at Legislative Assembly of Santa Catarina
1971 - Porto Alegre RS - Painel dos Orixás, at Legislative Assembly of Rio Grande do Sul
1971 - Rio de Janeiro RJ - Solo exhibition, at MAM/RJ
1971 - Rio de Janeiro RJ - Painel dos Orixás, at MAM/RJ
1971 - São Paulo SP - Solo exhibition, at A Galeria
1971 - São Paulo SP - Painel dos Orixás, at MAM/SP
1972 - Fortaleza CE - Painel dos Orixás, at Museum of Art, Federal University of Ceará
1972 - Recife PE - Painel dos Orixás, at Teatro de Santa Isabel
1972 - Recife PE - Painel dos Orixás, at Teatro de Santa Isabel
1973 - São Paulo SP - Solo exhibition, at A Galeria
1976 - Salvador BA - Solo exhibition, at Church and Convent of Nossa Senhora do Carmo
1980 - São Paulo SP - Solo exhibition, at A Galeria
1981 - Lisbon (Portugal) - Solo exhibition, at Cassino Estoril
1982 - São Paulo SP - Solo exhibition, at A Galeria
1982 - São Paulo SP - Solo exhibition, at Renot Galeria de Arte
1983 - New York (United States) - Iconography of the African Gods in Candomblé of Bahia, at Caribbean Cultural Center
1984 - Mexico City (Mexico) - Solo exhibition, at Museo Nacional de las Culturas
1984 - Philadelphia (United States) - Solo exhibition, at Philadelphia Arts Institute
1984 - Mexico - Solo exhibition, at Museo Nacional de Las Culturas
1984 - São Paulo SP - Solo exhibition, at Nova André Galeria
1986 - Lisbon (Portugal) - Solo exhibition, at Cassino Estoril
1986 - Salvador BA - The Arts of Carybé, at Núcleo de Artes Desenbanco
1989 - Lisbon (Portugal) - Solo exhibition, at Cassino Estoril
1989 - São Paulo SP - Solo exhibition, at MASP
1995 - Belo Horizonte MG - Solo exhibition, at Nuance Galeria de Arte
1995 - Campinas SP - Solo exhibition, at Galeria Croqui
1995 - Cuiabá MT - Solo exhibition, at Só Vi Arte Galeria
1995 - Curitiba PR - Solo exhibition, at Galeria de Arte Fraletti e Rubbo
1995 - Fortaleza CE - Solo exhibition, at Galeria Casa D'Arte
1995 - Foz do Iguaçu PR - Solo exhibition, at Ita Galeria de Arte
1995 - Goiânia GO - Solo exhibition, at Época Galeria de Arte
1995 - Porto Alegre RS - Solo exhibition, at Bublitz Decaedro Galeria de Artes
1995 - Salvador BA - Solo exhibition, at Oxum Casa de Arte
1995 - São Paulo SP - Solo exhibition, at Artebela Galeria Arte Molduras
1995 - São Paulo SP - Solo exhibition, at Casa das Artes Galeria
1995 - São Paulo SP - Solo exhibition, at Documenta Galeria de Arte

Group Exhibitions

1939 - Buenos Aires (Argentina) - Carybé and Clemente Moreau Exhibition, at MNBA
1943 - Buenos Aires (Argentina) - 29th Salon of Watercolorists and Engravers - First Prize
1946 - Buenos Aires (Argentina) - Drawings by Argentine Artists, at Kraft Gallery
1948 - Washington, D.C. (United States) - Artists of Argentina, at the Pan American Union Gallery
1949 - Buenos Aires (Argentina) - Carybé and Gertrudis Chale, at Viau Gallery
1949 - Salvador BA - 1st Bahia Fine Arts Salon, at Hotel Bahia
1950 - Salvador BA - 2nd Bahia Fine Arts Salon, at Belvedere da Sé Gallery
1950 - São Paulo SP - Group Exhibition, at MAM/SP
1951 - Salvador BA - 3rd Bahia Fine Arts Salon, at Belvedere da Sé Gallery
1951 - São Paulo SP - 1st São Paulo International Biennial, at Trianon Pavilion
1952 - Feira de Santana BA - 1st Modern Art Exhibition of Feira de Santana, at Banco Econômico
1952 - Salvador BA - 3rd Bahia Fine Arts Salon, at Belvedere da Sé
1952 - São Paulo SP - Group Exhibition, at MAM/SP
1953 - Recife PE - Mario Cravo Júnior and Carybé, at Teatro de Santa Isabel
1953 - São Paulo SP - 2nd São Paulo International Biennial, at MAM/SP
1954 - Salvador BA - 4th Bahia Fine Arts Salon, at Hotel Bahia - Bronze Medal
1955 - São Paulo SP - 3rd São Paulo International Biennial, at Nations Pavilion - First Prize, Drawing
1956 - Salvador BA - Modern Artists of Bahia, at Oxumaré Gallery
1956 - Venice (Italy) - 28th Venice Biennale
1957 - Rio de Janeiro RJ - 6th National Salon of Modern Art
1957 - Rio de Janeiro RJ - 6th National Salon of Modern Art - Jury Exemption
1957 - São Paulo SP - Artists of Bahia, at MAM/SP
1958 - New York (United States) - Works by Brazilian Artists, at MoMA
1958 - San Francisco (United States) - Works by Brazilian Artists, at Fine Arts Museums of San Francisco
1958 - Washington, D.C. (United States) - Works by Brazilian Artists, at Pan American Union
1959 - Salvador BA - Modern Artists of Bahia, at School of Dentistry
1959 - Seattle (United States) - 30th International Exhibition, at Seattle Art Museum
1961 - São Paulo SP - 6th São Paulo International Biennial, at Ciccilo Matarazzo Sobrinho Pavilion - Special Room
1963 - Lagos (Nigeria) - Brazilian Contemporary Artists, at Nigerian Museum
1963 - São Paulo SP - 7th São Paulo International Biennial, at Bienal Foundation
1964 - Salvador BA - Christmas Exhibition, at Querino Gallery
1966 - Baghdad (Iraq) - Group Exhibition, sponsored by Calouste Gulbenkian Foundation
1966 - Madrid (Spain) - Artists of Bahia, at Instituto de Cultura Hispánica
1966 - Rome (Italy) - Group Exhibition, at Piero Cartona Palace
1966 - Salvador BA - 1st National Biennial of Visual Arts (Bahia Biennial) - Special Room
1966 - Salvador BA - Draftsmen of Bahia, at Convivium Gallery
1967 - Salvador BA - Christmas Group Exhibition, at Panorama Art Gallery
1967 - São Paulo SP - Artists of Bahia, at A Galeria
1968 - São Paulo SP - Bahian Artists, at A Galeria
1969 - London (England) - Group Exhibition, at Tryon Gallery
1969 - São Paulo SP - 1st Panorama of Contemporary Brazilian Art, at MAM/SP
1969 - São Paulo SP - Carybé, Carlos Bastos and Mario Cravo Jr., at Portal Art Gallery
1970 - Liverpool (England) - 12 Contemporary Brazilian Artists, at The University of Liverpool
1970 - Porto Alegre RS - Collection of the São Paulo Museum of Modern Art, at Institute of Arts, UFRGS
1970 - Rio de Janeiro RJ - Painters of Bahia, at Marte 21 Gallery
1970 - Salvador BA - Reopening Exhibition of Panorama Art Gallery
1970 - São Paulo SP - Christmas Exhibition, at Irlandini Gallery
1971 - São Paulo SP - 11th São Paulo International Biennial, at Bienal Foundation - Special Room
1971 - São Paulo SP - 3rd Panorama of Contemporary Brazilian Art, at MAM/SP
1972 - Recife PE - Bahian Art Today, at Hotel Miramar
1972 - São Paulo SP - 50 Years of Modern Art in Brazil, at A Galeria
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Collectio Gallery
1973 - Belo Horizonte MG - Jorge Amado and the Artists of Teresa Batista Tired of War, at Ami Art Gallery
1973 - Salvador BA - 150 Years of Painting in Bahia, at MAM/BA
1973 - São Paulo SP - 12th São Paulo International Biennial, at Bienal Foundation - Special Room
1973 - São Paulo SP - Carybé and Ramiro Bernabó, at A Galeria
1973 - São Paulo SP - 1st Brazil-Japan Fine Arts Exhibition
1973 - Tokyo (Japan) - 1st Brazil-Japan Fine Arts Exhibition
1973 - Atami (Japan) - 1st Brazil-Japan Fine Arts Exhibition
1973 - Osaka (Japan) - 1st Brazil-Japan Fine Arts Exhibition
1973 - Rio de Janeiro RJ - 1st Brazil-Japan Fine Arts Exhibition
1973 - Brasília DF - 1st Brazil-Japan Fine Arts Exhibition
1974 - Salvador BA - Plastics of Bahia
1974 - Salvador BA - 1st Art Salon of the Bahia Engineering Club
1975 - Rio de Janeiro RJ - Carybé and Aldemir Martins, at Mini Gallery
1975 - Salvador BA - Bahia Fair
1975 - São Paulo SP - 2nd Brazil-Japan Fine Arts Exhibition, at Legislative Assembly of São Paulo State
1975 - Tokyo (Japan) - 2nd Brazil-Japan Fine Arts Exhibition
1975 - Atami (Japan) - 2nd Brazil-Japan Fine Arts Exhibition
1975 - Osaka (Japan) - 2nd Brazil-Japan Fine Arts Exhibition
1975 - São Paulo SP - 2nd Brazil-Japan Fine Arts Exhibition
1975 - Rio de Janeiro RJ - 2nd Brazil-Japan Fine Arts Exhibition
1975 - Brasília DF - 2nd Brazil-Japan Fine Arts Exhibition
1976 - São Paulo SP - Carybé and Preti, at Grifo Art Gallery
1977 - São Paulo SP - Art Exhibition, BBI Financial Group
1977 - Tokyo (Japan) - 3rd Brazil-Japan Fine Arts Exhibition
1977 - Atami (Japan) - 3rd Brazil-Japan Fine Arts Exhibition
1977 - Osaka (Japan) - 3rd Brazil-Japan Fine Arts Exhibition
1977 - São Paulo SP - 3rd Brazil-Japan Fine Arts Exhibition
1977 - Rio de Janeiro RJ - 3rd Brazil-Japan Fine Arts Exhibition
1977 - Brasília DF - 3rd Brazil-Japan Fine Arts Exhibition
1979 - São Paulo SP - 15th São Paulo International Biennial, at Bienal Foundation
1979 - Tokyo (Japan) - 4th Brazil-Japan Fine Arts Exhibition
1979 - Kyoto (Japan) - 4th Brazil-Japan Fine Arts Exhibition
1979 - Atami (Japan) - 4th Brazil-Japan Fine Arts Exhibition
1979 - Rio de Janeiro RJ - 4th Brazil-Japan Fine Arts Exhibition
1979 - São Paulo SP - 4th Brazil-Japan Fine Arts Exhibition
1980 - Dakar (Senegal) - Bahian Painters
1980 - Dakar (Senegal) - Bahia Week
1980 - Fortaleza CE - 11 Artists from Bahia, at Federal University of Ceará
1980 - Lisbon (Portugal) - Bahia Week, at Casino Estoril
1980 - Penápolis SP - 4th Northwest Fine Arts Salon, at Penápolis Educational Foundation, Faculty of Philosophy, Sciences and Letters
1980 - Salvador BA - Prints from the Antonio Celestino Collection, at Carlos Costa Pinto Museum
1980 - São Paulo SP - 13th Contemporary Art Exhibition, at Chapel Art Show
1981 - Nekai (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Tokyo (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Atami (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Kyoto (Japan) - 5th Brazil-Japan Fine Arts Exhibition
1981 - Brasília DF - 5th Brazil-Japan Fine Arts Exhibition
1981 - Rio de Janeiro RJ - 5th Brazil-Japan Fine Arts Exhibition
1981 - São Paulo SP - 5th Brazil-Japan Fine Arts Exhibition
1982 - Brasília DF - Three Artists from Bahia, at Thomas Jefferson Cultural Center
1982 - Salvador BA - Brazilian Art from the Odorico Tavares Collection, at Carlos Costa Pinto Museum
1983 - Salvador BA - Artist Friends of Bistrô do Luiz
1984 - Aracajú SE - Bahian Artists, at J. Inácio Art Gallery
1984 - Dakar (Senegal) - Artists from Bahia, at National Gallery
1984 - Fortaleza CE - Artists from Bahia, at Edson Queiroz Foundation - University
1984 - Salvador BA - Influence of Mãe Menininha do Gantois on Bahian Culture, at Museum of Art of Bahia
1984 - São Paulo SP - Tradition and Rupture: synthesis of Brazilian art and culture, at Bienal Foundation
1985 - San José (Costa Rica) - Bahia Art Group Exhibition, at 2000 Gallery
1985 - San José (Costa Rica) - Afro-Bahia, at 2000 Art Gallery
1985 - São Paulo SP - 100 Works Itaú, at MASP
1986 - Brasília DF - Bahian Artists in Brasília, at Casa da Manchete
1986 - Curitiba PR - An Artist Gifts the City, at Solar do Barão
1986 - Salvador BA - 39 Drawings from the Recôncavo Collection, at Museum of Art of Bahia
1987 - Salvador BA - Twelve Brazilian Artists, at Anarte Gallery
1987 - São Paulo SP - 20th Contemporary Art Exhibition, at Chapel Art Show
1988 - Salvador BA - The Illustrated by Jorge Amado, at Casa de Jorge Amado Foundation
1988 - São Paulo SP - 15 Years of Brazil-Japan Fine Arts Exhibitions, at Mokiti Okada Foundation
1988 - São Paulo SP - Rhythms and Forms: Contemporary Brazilian Art, at Sesc Pompéia
1989 - Copenhagen (Denmark) - Rhythms and Forms: Contemporary Brazilian Art, at Charlottenborg Museum
1991 - Curitiba PR - Municipal Art Museum: Collection, at Municipal Art Museum
1992 - Santo André SP - Lithography: Methods and Concepts, at Municipal Palace
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1994 - São Paulo SP - Prints: Subtleties and Mysteries, Printing Techniques, at Pinacoteca do Estado
1996 - São Paulo SP - Norfest 96: Visual Arts, at D&D Shopping

Posthumous Exhibitions

1998 - São Paulo SP - Impressions: The Art of Brazilian Printmaking, at Espaço Cultural Banespa-Paulista
1998 - São Paulo SP - Seascapes in Major Paulista Collections, at Espaço Cultural da Marinha
1999 - Curitiba PR - Arte-Arte Salvador 450 Years, at Fundação Cultural de Curitiba, Solar do Barão
1999 - Rio de Janeiro RJ - Arte-Arte Salvador 450 Years, at the Historical Museum of the City of Rio de Janeiro
1999 - Rio de Janeiro RJ - Rio Printmaking Exhibition. Modern Brazilian Printmaking: Collection of the Museu Nacional de Belas Artes, at MNBA
1999 - Salvador BA - 100 Visual Artists of Bahia, at Museu de Arte Sacra
1999 - Salvador BA - Arte-Arte Salvador 450 Years, at MAM/BA
1999 - São Paulo SP - The Resacralization of Art, at Sesc Pompéia
1999 - São Paulo SP - Everyday/Art. Consumption – Metamorphosis of Consumption, at Itaú Cultural
1999 - São Paulo SP - Everyday/Art. Consumption – For Everyone, at Itaú Cultural
2000 - Rio de Janeiro RJ - Brazil + 500 Exhibition of Rediscovery. Black in Body and Soul, at Fundação Casa França-Brasil
2000 - São Paulo SP - Brazil + 500 Exhibition of Rediscovery, at Fundação Bienal
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - São Paulo SP - 4 Decades, at Nova André Galeria
2001 - São Paulo SP - Figures and Faces, at A Galeria
2003 - Rio de Janeiro RJ - Art in Motion, at Espaço BNDES