![](https://images.prismic.io/museuoscarniemeyer/ZogJcB5LeNNTw00i_Construc%CC%A7a%CC%83o.jpg?auto=format%2Ccompress&rect=1036%2C0%2C1776%2C1920&w=640&h=692)
Domicio Pedroso
a Tessitura Urbana como Poesia
"Domicio Pedroso, a Tessitura Urbana como Poesía" presenta una retrospectiva de la vasta producción del artista de Curitiba diez años después de su muerte. Comisariada por Fernando Bini y Maria José Justino, la exposición reúne alrededor de 85 obras que exploran diversas técnicas, como óleo sobre lienzo, plancha y papel; serigrafía; tinta china sobre papel y acrílico sobre lienzo.
Profundizar en la trayectoria artística de Domicio Pedroso pone de relieve su papel como animador cultural, expositor, comisario, pintor y grabador. Como uno de los pioneros de la serigrafía artística y comercial, sus obras se mueven entre el realismo, el cubismo y la abstracción.
Artista
Domicio Pedroso
Curaduría
Maria José Justino y Fernando Bini
Período de exhibición
De 11 de julho de 2024
Hasta 20 de outubro de 2024
Local
Sala 7
Planea tu visita
DESCUBRE MÁS SOBRE LA EXPOSICIÓN
MON inaugura exposición del artista Domício Pedroso
“Domício Pedroso, la Tesitura Urbana como Poesía” es la nueva exposición del Museo Oscar Niemeyer, que se inaugurará el 11 de julio, a las 19h, en la Sala 7. Con curaduría de Fernando Bini y Maria José Justino, la exposición reúne alrededor de 85 obras, que presentan una muestra de la vasta producción del artista curitibano.
“Los museos son espacios vivos y de conocimiento, que amplían su repertorio y brindan experiencias únicas a sus públicos”, comenta la directora presidente del Museo Oscar Niemeyer, Juliana Vosnika. “Al presentar la exposición de Domício Pedroso, que nos dejó hace exactamente diez años, el MON hace más que eso: encontramos aquí pertenencia y valoración de la cultura local”, afirma.
La exposición se divide en cuatro secciones: “París y Viajes, la Marina”, “Autorretratos y Retratos”, “Casas y Favelas” y “Nueva Figuración: Caminos hacia la Abstracción”.
Las obras presentan una gran diversidad de técnicas, como óleo sobre lienzo, sobre placa y sobre papel; serigrafía, tinta sobre papel y acrílico sobre lienzo.
“Esta exposición se centra en una retrospectiva de su producción artística y su papel en la vida cultural brasileña”, explican los curadores. “La exposición resalta la energía artística de pinturas, dibujos y grabados, sobre temas que van desde la Marina hasta las Favelas y los Aglomerados Urbanos”.
Según la curaduría, la exposición abarca su vasta producción artística, desde la década de 1950 hasta tiempos recientes, revelando la singularidad de la poética de Domício, construida originalmente en el intervalo entre realismo, cubismo y abstracción.
El artista
Domício Pedroso (1930-2014) fue pintor y grabador. Inició sus estudios en el taller del artista Guido Viaro, en Curitiba, a finales de la década de 1940. Se graduó en la Escuela de Bellas Artes de Paraná en 1952. Realizó su primera exposición individual en 1958, en la Biblioteca Pública de Paraná. En París, entre 1959 y 1962, realizó estudios en el campo de la comunicación visual y realizó prácticas en Radiodifusion Television Française y en el Centro de Información de la Unesco, obteniendo el diploma de la École Normale Supérieure, de Saint Cloud, como especialista en Técnicas Audiovisuales. Regresó a Brasil en 1962 y organizó el Centro Audiovisual de la Secretaría de Educación y Cultura para el gobierno del Estado de Paraná. En la década de 1980 coordinó la Fundación Nacional de Arte (Funarte), para la región Sur del país.
Imágenes
Museums are living spaces of knowledge that increase their repertoire and provide unique experiences to their audiences. By presenting the exhibition by this important artist from Curitiba, Domício Pedroso, who left us exactly ten years ago, the Oscar Niemeyer Museum does more than that. We find here belonging and appreciation for local culture.
As the largest art museum in Latin America, with a collection of 14 thousand works, MON has a vocation for visual arts, architecture, and design, with an emphasis on Brazilian art, especially art from Paraná. Artists from our state are always present in exhibitions and the institution's permanent collection. Establishing constant dialogues between them and their works with our visitors is one of MON's main objectives.
In the exhibition “Domício Pedroso: a Tessitura Urbana como Poesia” (“Domício Pedroso: Urban Texture as Poetry”), the public will find around 85 works, colored or monochromatic, which reveal a cross-section of the artist’s vast production. Widely recognized for his ability to combine artistic techniques and styles, Domício has always created a unique, intuitive, and innovative style.
Divided into four sections, the exhibition takes the public to “Paris e Viagens, as Marinhas” (“Paris and Travel, the Seas”, “Autorretratos e Retratos” (“Self-Portraits and Portraits”), “Casarios e Favelas” (“Townhouses and Favelas”) and “Nova Figuração: Caminhos para a Abstração” (“New Figuration: Paths to Abstraction”). These are the artist’s themes, as diverse as they are interesting.
We realize, when admiring such works, how art can communicate without words, allowing a link between people, worlds, and experiences. Enjoy it!
Juliana Vellozo Almeida Vosnika
Director-president of the Oscar Niemeyer Museum
Domício Pedroso's artistic career is marked by erudition and diversity: cultural animator, regional director of Funarte, exhibition photographer, curator, and, fundamentally, painter and engraver. Deep in the language of painting, a specialist in engraving, and a pioneer in artistic and commercial screen printing, he taught different techniques and worked on planning and assembling exhibitions (expography), in addition to carrying out brilliant curations.
This exhibition aims to provide a retrospective of his artistic production and his role in Brazilian cultural life. The exhibition highlights the artistic energy of paintings, drawings, and prints on themes from Seas to Favelas and Urban Agglomerates (in which the artist achieves a certain degree of abstraction). It covers his vast artistic production, from the 1950s to recent times, revealing the singularity of Domício's poetics, originally constructed in the gap between realism, cubism, and abstraction.
When he reached abstraction, he revealed himself to be a strongly intuitive artist. Intuition is not a mystical force but a work that does not dispense with reason; it is a constructive work. It is a deep way of seeing and perceiving, in which the eye is already spirited. Boats, houses, townhouses, overlapping houses, tangled surfaces of the roofs of shacks and slums, urban agglomerations... Forms that attracted the painter so much and that equally fascinate us.
His painting emerges from the great debate between figuration and abstraction in the 1960s and 1970s. He believed that all experiences and visions were reminiscent of reality. Starting from the most conventional, objective, realistic landscape, the artist simplifies and geometrizes until he creates images—or suggestions of images—that call for the observer's interpretation. Eliminating the lines of flight from a central perspective, he seeks the spatial structuring of the fabric of cities, giving rise to all of his poetics. From this personal look, the artist extends his vision to universal beauty.
Fernando Bini
Maria José Justino
Like every imaginative artist, Domício is a great traveler, both in the real and in the imaginary dimension. From the boats and sloops of Bahia to the gondolas of Venice and the old fishing boats of Volendam, the artist travels through Brazilian landscapes—the favelas of Rio de Janeiro, the shacks and settlements of Curitiba, the festival of colors in the stained glass windows of Chartres and Paris—through so many streets in so many places, giving rise to various imaginations. The artist invites us on deep journeys in the joy of discovering new worlds through the charm of ar
Self-portraits are always a conversation with intimacy. We find in Domício's self-portraits a certain detachment, someone who does not expose himself, a certain proximity to Cézanne's impersonality. But we also find, in portraits of him painted by other artists, different ways of trying to understand him: absorbed in De Bona, lyrical in Massuda, reserved in Wollerman, Cézannian in Wong. A difficult soul to reach. A deeply enigmatic man.
In Morro do Cabrito (RJ), Domício “felt the pictorial side of favelas, which, alongside their social problems, also offers an example of community integration” (Aramis Millarch). This first contact had a profound impact on his work, revealing a great empathy for the organic architecture of the favelas, which would occupy his palette and his imagination.
From New Figuration to Abstraction, Domício balances between cubism and abstraction and expands the constructive sense without reaching a stricto sensu abstraction, always trusting in intuition. Intuition demands a return to the phenomena (favelas), in which the forms fade away, and the allusive figuration is attenuated, denying all perspective and affirming the frontality of the pictorial surface. His painting asserts a new meaning in the use of horizontals, verticals and aplats, which gain sensual contours with the use of color. In abstract art, he appropriates transcendence. Inverno em Paris (Winter in Paris, 1961) and Comspiração Branco e Preto (Black and White Conspiracy, 2007) are perhaps the works closest to abstraction, ascending to a true game between verticals and horizontals, a procedure adopted in his last works. But it's the rudeness of the city that captivates him. It's a long road until the moment in which its favelas say goodbye to mere figuration and achieve refinement. He does not slip into geometric asepsis, being safe from it through the seduction of color. The path of purification and simplification takes place gradually, and it is this exercise that allows him an increasingly greater purification that leads him to flow into lyrical abstraction—an occasion in which geometric rigor definitively gives way to the order of the sensible and the rudeness of the city. Succumbs to lyricism, in which colors and lights create the party.
Exposición virtual
MON está junto a los principales museos de Brasil y del mundo en la plataforma Google Arts & Culture. Visita nuestras exposiciones en formato virtual. Descubre más sobre esta exposición en la plataforma Google Arts & Culture.
Accede a la exposición virtual
Materiales de exposición
Estímulo de sonido
Lugar ruidoso