Exhibition
Tropical Fictions
Mar 12 to Jun 26
R. Cosme Velho, 1105
Rio de Janeiro, RJ
Exhibition
Tropical Fictions
Mar 12 to Jun 26
R. Cosme Velho, 1105
Rio de Janeiro, RJ
Maria Martins
O impossível, 1940
Holding an exhibition by Maria Martins in a joint effort with the Museu de Arte de São Paulo Assis Chateaubriand (MASP) deepens a partnership that goes back not only to recent initiatives, but also to the time of our institute’s namesake.
In 1950, the house in Cosme Velho hosted a remarkable event. It was the exhibition of the paintings Portrait of Leopold Zborowski by Amedeo Modigliani and the portrait that Pierre-Auguste Renoir painted of his son Claude, both important pieces for the then future collection in São Paulo. The campaign headed up by Assis Chateaubriand to form MASP’s collections also enjoyed a strong repercussion among the businesspeople of Rio de Janeiro.
After they were unloaded in the port of Rio de Janeiro, it was only natural that, before they departed for São Paulo, the paintings were presented in this city, the then federal capital. Stella and Roberto Marinho, side-by-side with the vibrant owner of the Rede Tupi television network, received the guests. It was an excellent example of how two competing businessmen could come together in favor of the Brazilian cultural scene.
Maria Martins’s work was not always as appreciated as it is today. The top art critics as well as outstanding painters nurtured reservations about it. The former regretted that her art was not clearly linked to a trend, preferably the geometric one, while the painters, seeking for local tones, rejected it for not being exclusively linked to national themes. The alleged “defects” in her work that were pointed out at that time would today be considered virtues: the singular expression of feelings, the absolute feminine mark, and the lack of clear signs of belonging to a specific trend.
Maria Martins is an artist who stands out in the Roberto Marinho Collection with three important sculptures, including the seminal work O implacável [The Implacable] (1944). In 2021, through a generous donation by Heloisa and Carlos Luiz Martins Pereira e Souza, the album of metal engravings Maria (1946) was added to the collection.
As usual, without resorting to funds arising from tax incentives, Instituto Casa Roberto Marinho is presenting the personal, intrinsically feminine and tropical art of Maria Martins.
Lauro Cavalcanti
Executive Director
Instituto Casa Roberto Marinho
Maria Martins
Insônia infinita da Terra, 1954
Sermolite, lead and wood, 77 x 70 x 52 cm | Coleção Roberto Marinho, Instituto Casa Roberto Marinho, Rio de Janeiro
Maria Martins
Sem título (Macumba?), sem data
Litography, 40 x 52 cm | Coleção Max Perlingeiro, Rio de Janeiro
Maria Martins
Amazônia, 1942
Bronze, 53 x 51 x 40 cm | Coleção particular, São Paulo
Maria Martins
Impossible, 1946
Metal engraving, 17,5 x 15 cm | Coleção Roberto Marinho, Instituto Casa Roberto Marinho, doação Heloisa e Carlos Luiz Martins Pereira e Souza, Rio de Janeiro
Maria Martins
Sem título (Meus sonhos se passam numa cidade imaginária?), década de 1950
Mixed media, 77 x 55 cm | Coleção Nora Martins Lobo, São Paulo
Maria Martins
Glèbe-ailes, 1944
Bronze, 117 x 118 x 24 cm | Coleção Roberto Marinho, Instituto Casa Roberto Marinho, Rio de Janeiro
Maria Martins
However!!, 1947
Bronze, 288 x 70 x 58 cm | Coleção Nora Martins Lobo, São Paulo
Maria Martins
O impossível, década de 1940
Bronze, 178,6 x 167,5 x 90 cm | Acervo Banco Itaú, São Paulo
Maria Martins
Sem título (Sans écho?), 1945
China ink and watercolor on paper, 50,5 x 61 cm | Coleção particular, Rio de Janeiro
Maria Martins
Sem título (Hasard hagard?), circa 1947
Oil on canvas, 45,5 x 60,7 cm | Coleção Victor Arruda, Rio de Janeiro
Maria Martins
O impossível, 1945
Bronze, 79,5 x 80 x 43,5 cm | Acervo Museu de Arte Moderna do Rio de Janeiro, doação da artista
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