Exhibition in São Paulo brings together 100 works by Carlos Scliar.

When the painter and draftsman Carlos Scliar (1920-2001) began his career in the mid-40s, Brazilian art was still digesting the propositions made by the modernist movement. Theoretically, the prevailing idea was that a national art was needed, with themes that addressed our reality. Scliar ended up following this path. In the exhibition "Carlos Scliar, from reflection to creation" - which opens today for invited guests and from tomorrow for the public, at Caixa Cultural São Paulo - it is possible to see a glimpse of the 60-year career of the artist from Rio Grande do Sul. There are 100 works, including drawings, serigraphs, lithographs and paintings.

The works on display include engravings from the 40s, drawings the artist made in Italy in 1944 (when he served in the Brazilian army during World War II), a series about the rooftops of Ouro Preto, among other works. The series "With the FEB in Italy," in particular, is one of the highlights of the exhibition. It features drawings of landscapes from the north of the country and portraits of soldiers—including the artist himself.

"Scliar had a political and social verve that translated into his artistic production," explains Marcus Lontra, curator of the exhibition. "He was a defender of democratic ideals." He painted, above all, because he believed that art could mobilize people. On this subject, he wrote: "I wanted to work in an area that could launch ideas."

A nationalist, the gaucho also sought to value, in his paintings and engravings, objects that are part of everyday life. Teapots, candles, and oil lamps took center stage in his works. By transforming these simple artifacts into inspiration, Scliar followed the modernist precept of breaking with artistic canons. Everything could serve as a theme. This search for simplicity, in fact, makes his works be seen as a record of national iconography.

To construct these objects, the artist used lines and geometric figures. "Regardless of the technique used, many of Scliar's works were designed using lines and vectors," says Marcus Lontra. An example of this is the engraving Composition with Bottles (1974), depicted in the smaller photo in this article. In it, one can see how geometry and the relationship between lines are essential references for the artist. The information is from Jornal da Tarde.

Service

Carlos Scliar, From Reflection to Creation - Caixa Cultural SP. Conjunto Nacional (Avenida Paulista, 2.083, Cerqueira César). Tel. (011) 3321-4400. Opens tomorrow to the public. Until 8/1. Tue. to Sat., from 9 am to 21 pm; Sun. and holidays, from 10 am to 21 pm. Free.