The exhibition “Brecheret Women, Body and Soul – Drawings and Sculpture” is magnificent. The Italian-Brazilian artist, Victor Brecheret (1894-1955) when outlined his women, in plaster, bronze and drawing, related them “to the anima, the feminine who dwells in every man”. If the look is from a woman, therefore, under female point of view, the identification with the performances created by the master will be immediate when the feminine is faced with thematic groups so well built, as the woman in myth, in sacred, in love, in joy, in the body itself.
The curator is Daisy Peccini, who conducts the show as if Victor Brecheret were there, presenting with women that permeated and were part of him at various stages of his life. Starting with the sculpture that opens the exhibition, a woman’s body in bronze, a Venus without identity (headless) and male feet, in contrast to the femininity of the curves.
The Ricardo Brennand Institute, in Recife, Brazil, gives as a gift to Brazilians this exhibition until the 19th of July. There are 29 sculptures and 107 drawings (studies) of Brecheret on the feminine in a selection of three decades of inspiration, from 1920 to 1955.
The purpose of Pan Horam Arte is not publicize the event. This has already been done. Is to offer the opportunity to the reader to review the master Brecheret, in his magnitude, in the beauty of his creation, both the pictures of the works and the text and critical look.
Victor Brecheret is an important part in history of Brazilian art. For those who do not know him, is the artist who signs the monument to the flags, in Armando Salles Square, in front of the Palace Nove de Julho, in Sao Paulo.
The drawings and sculptures in the show represent different phases and trends of the artist’s career. “Manifestations of body and soul, sculptures and the drawings keep latencies and emanations of the feminine archetype from the artist’s psyche, the visionary, who expresses more freely the uncounscious”, says the curator Daisy Peccini.
The Kiss of Brecheret in bronze – early 30’s. It is a striking sculpture of a couple in love in stylized forms, naturalists. The forms are bulky, though steeped in sensuality and with a romanticism still set in the inclination of the male to the female figure.
The young Brecheret, at the School of Paris, who lived in the 20s, in Montparnasse, brings classical sculpture in works as the Ballerina and the Guitar Player, both from beginning of the 30. Although the young artist has preserved the classic lines in the two works, it is also possible to see the game made with the movement, giving the sculptures a more daring direction.
“The artist not only seeks the figure, surfaces, volumes, composition, but above all, the result of his creativity dedicated and intense, which when molded into matter would emanate the feminine soul and the symbolic, historical and aesthetic values of the universal woman”, says the introductory material on display.
Two sculptures representing the Three Graces or Charites, symbol of harmony. The first, above, made at the time he attended the School of Paris. In it, he represents as an allegory, the three interwoven human races and in equality. In the 50’s returns to the theme, but it uses organic and primitive forms.
The exhibition is divided into thematic groups, among them is the Naked Women, Women Allegories, Women Love, Rhythm and Music, Saint Figures, Indigenous Women, Reclining Women, among others.
Another sculpture that compose the Kiss and created almost at the same stage of the other, in which the romantic feeling is more pronounced by the slope of the male to the female figure. Above that, the kiss unifies the male and the female, magnetizes and transforms them into one.
The female and religious theme appears in all phases of the artist’s life, according to catalog information. The bronze Soror Dolorosa, 1920, is one of them, of the beginning of his career, and was inspired by the book of eponymous poems from Guilherme de Almeida. “The dramatic and tense composition, very modern, have face to face the head of the mystical woman, contemplating the face of Christ sacrificed”. Great job!
In the 50’s, Brecheret, resumes religious art that developed in the 20s and represents the Virgin Mary in all his profiles. Pictured above, the sculpture of the Indigenous Virgin. More synthetic and volumes rustically defined.
Among the outstanding works of Brecheret, that one, India rolled by a great fish is outstanding. It is apotheotic, primitive and at the same time dramatic.
“Regarding my art, I am in a moment of maximum simplicity, inside the lines and volume game, I found my inspiration, thank God, pure art, which is completely original.” (Letter from Victor Brecheret to Mario de Andrade, Paris, 05.14.1924).
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