Draft:Loio Persio
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Comment: I collaborate with Galeria MAPA, which represents the artist's estate and produced the source material used for this article. Jon Victor Lara (talk) 16:33, 2 July 2026 (UTC)
Loio-Pérsio | |
|---|---|
| Born | Loio-Pérsio Navarro Vieira de Magalhães November 1927 Tapiratiba, São Paulo, Brazil |
| Died | 8 January 2004 (aged 76) Rio de Janeiro, Brazil |
| Known for | Painting, drawing, printmaking |
| Movement | Informal abstraction |
| Awards | Gold medal, 2nd Inter-American Biennial of Mexico (1960); Pollock-Krasner Foundation grant (c. 2000–2001) |
Loio-Pérsio (born Loio-Pérsio Navarro Vieira de Magalhães; Tapiratiba, November 1927 – Rio de Janeiro, 8 January 2004) was a Brazilian painter, draftsman, printmaker and graphic artist, regarded as one of the pioneers of informal abstraction in Brazil.[1][2]. He represented Brazil at the Guggenheim International Award in 1960, alongside Maria Leontina, Manabu Mabe, Lygia Clark and Flávio Shiró[3], and his work is held in the collections of major Brazilian museums including the Museu de Arte de São Paulo (MASP), the Pinacoteca do Estado de São Paulo and the Museu Nacional de Belas Artes (MNBA)[2]
Biography
[edit]Early life and training
[edit]Born in Tapiratiba, in the interior of São Paulo state, he was the son of the poet Pedro Saturnino Vieira de Magalhães and Judith Magalhães Navarro.[4]. His family moved to Curitiba in 1943, where he studied painting with Guido Viaro (1897–1971)[1]. He held his first solo exhibition at the Centro Cultural Interamericano in Curitiba in 1947, at the age of twenty[2]
In 1948 he enrolled at the law school of the Federal University of Paraná (UFPR), but suspended his studies a year later and moved to Rio de Janeiro, where he studied painting with Ado Malagoli (1906–1994) and stage design with Santa Rosa (1909–1956) at the Serviço Nacional de Teatro between 1949 and 1950.[1]. He returned to Curitiba in 1951, resumed his law studies, and co-founded the Centro de Gravura do Paraná (Paraná Printmaking Centre) the same year[1]. In 1952 he was invited by the state government to organize and direct the Casa-Museu Alfredo Andersen and the Pinacoteca Paranaense, resigning the following year for lack of institutional support[1]. In 1953 he shared a studio with the German printmaker Gunther Schierz, a disciple of Käthe Kollwitz[1]. He completed his law degree in 1955[1]
Turn to abstraction
[edit]Loio-Pérsio moved to São Paulo in 1958, where he worked in advertising and designed book covers for Companhia Editora Nacional and Livraria Francisco Alves.[1]. His first practical explorations of abstraction date from 1957, in paintings that decomposed figures into fields of colour while avoiding representational reference[1]. At an exhibition at the National Library in Rio de Janeiro in 1958 he showed works exploring surface texture through the use of sand, earth, paper, fabric, cord, cellulose-based paints, wax and resin[1]. According to art historian Vera Regina Vianna Baptista, his mature work is characterized by composition structured through rhythm and harmony of line, plane and colour[1]
He took part in the Salão Paranaense de Belas Artes on several occasions between 1949 and 1957.[5], and won a silver medal at the Salão Paulista de Belas Artes in 1959[4]
International recognition (1959–1963)
[edit]Loio-Pérsio took part in the 5th São Paulo Biennial (1959) and, thirty years later, in its 20th edition (1989).[4]. In 1960 he represented Brazil at the Venice Biennale[6] and won the gold medal at the 2nd Inter-American Biennial of Mexico with the painting Composição em Preto (Composition in Black, 1959), now in the collection of the Museu Nacional de Belas Artes[2]. The same year, he was selected to represent Brazil at the Guggenheim International Award in New York, alongside Maria Leontina, Manabu Mabe, Lygia Clark and Flávio Shiró[3][4]; his 1959 painting Composição was shown at the Solomon R. Guggenheim Museum. In 1961 he took part in the 2nd Paris Biennial[4]. In 1963 he won the Travel Abroad Prize at the National Salon of Modern Art in Rio de Janeiro, travelling to Europe the following year[1]
Later career and teaching
[edit]In 1965 he was invited to teach at the Stuttgart Academy of Fine Arts in Germany.[1]. In 1970 he served on the jury of the National Salon of Modern Art in Rio de Janeiro[1]. Around 1974 he became artist-in-residence at the Fondation Karolyi in Vence, France, and travelled to Rome, London and Paris in the mid-1970s[1]. In 1981 he moved to Belo Horizonte, where he taught drawing and painting at the Escola Guignard[1]. He later lived in Vitória, Espírito Santo, before settling again in Curitiba in 1995[1][2]
In his final phase, from the late 1980s, he developed a series he called Esgrafitos (Sgraffiti), first shown in 1988 at Galeria Paulo Figueiredo in São Paulo, described by his son Rodrigo Magalhães as reminiscent of Cubism and informed by the artist's friendship with the German philosopher Max Bense.[2]
Final years and death
[edit]In 2000 (per some sources, 2001) he received a grant from the Pollock-Krasner Foundation in New York.[7]. His last exhibitions during his lifetime took place simultaneously in Rio de Janeiro in 2001: Brasil Sempre at Galeria Anna Maria Niemeyer, and a show at the Museu Nacional de Belas Artes sponsored by the Pollock-Krasner Foundation[2]. He died in Rio de Janeiro on 8 January 2004[1]
Style
[edit]Loio-Pérsio is considered one of the pioneers of informal abstraction in Brazil, a current that stood apart from the concrete and geometric movements that dominated Brazilian abstract art from the mid-1950s onward.[2]. Rather than adhering to the mathematical rigor of Concretism or geometric abstraction, his painting favoured gestural spontaneity, worked out through numerous preparatory drawings, watercolours and gouaches before a composition was resolved on canvas[4]. Over roughly five decades and an estimated 5,000 works, his output moved through several distinct phases, from the figurative illustration and printmaking of the 1940s and early 1950s, through the informal abstraction of the late 1950s and 1960s, to the Esgrafitos series of his final period[2]
Selected exhibitions
[edit]| Year | Event / Venue | Location |
|---|---|---|
| 1947 | Solo exhibition, Centro Cultural Interamericano | Curitiba |
| 1958 | Group exhibition, Biblioteca Nacional | Rio de Janeiro |
| 1959 | 5th São Paulo Biennial | São Paulo |
| 1960 | Venice Biennale | Venice |
| 1960 | Guggenheim International Award, Solomon R. Guggenheim Museum | New York |
| 1960 | 2nd Inter-American Biennial (gold medal) | Mexico City |
| 1961 | 2nd Paris Biennial | Paris |
| 1986 | Solo exhibition, Galeria Anna Maria Niemeyer | Rio de Janeiro |
| 1988 | Esgrafitos, Galeria Paulo Figueiredo | São Paulo |
| 1989 | 20th São Paulo Biennial | São Paulo |
| 1992 | Retrospective, Centro Cultural Banco do Brasil (CCBB) | Rio de Janeiro |
| 1994 | Bienal Brasil Século XX | São Paulo |
| 1996 | Retrospective, Museu de Arte do Paraná | Curitiba |
| 2001 | Brasil Sempre, Galeria Anna Maria Niemeyer; and Museu Nacional de Belas Artes | Rio de Janeiro |
| 2011 | Group exhibition, Europalia Brasil (posthumous) | Brussels |
| 2018 | Repertório sector, SP-Arte, with Galeria MaPa (posthumous) | São Paulo |
| 2019–2020 | Retrospective, Paço Imperial (posthumous) | Rio de Janeiro |
| 2023 | Exhibition and monograph, Galeria MaPa (posthumous) | São Paulo |
Collections
[edit]Loio-Pérsio's work is held in the collections of the Museu de Arte de São Paulo (MASP), the Museu de Arte Moderna de São Paulo (MAM-SP), the Museu de Arte Contemporânea da USP (MAC-SP), the Museu de Arte Moderna do Rio de Janeiro (MAM-RJ, including the Gilberto Chateaubriand collection), the Museu Nacional de Belas Artes (MNBA), the Museu de Arte do Rio (MAR), the Museu de Arte Contemporânea de Niterói (including the João Sattamini collection) and the Museu Oscar Niemeyer in Curitiba, as well as private collections including those of David Rockefeller, Roberto Marinho, Gilberto Chateaubriand, Israel Klabin, João Sattamini and Marcio Espindula[2].
Critical reception and legacy
[edit]Loio-Pérsio's work is discussed in Walter Zanini's reference survey História Geral da Arte no Brasil[10] and in José Roberto Teixeira Leite's Dicionário Crítico da Pintura no Brasil[11], and his participation in the Gilberto Chateaubriand collection is documented in two books by critic Roberto Pontual[12]. Despite this critical record, he remained relatively little known to the wider public during his lifetime, a situation that gallerist Marcelo Pallotta and his son Rodrigo Magalhães have attributed partly to Loio-Pérsio's own reluctance to engage with the art market[2][4].
Since the 2010s, his work has been the subject of a critical reassessment, including a dedicated section at the 2018 edition of the SP-Arte fair[2], a retrospective at the Paço Imperial in Rio de Janeiro (2019–2020)[9], and a monograph published by Galeria MaPa in 2023 with an essay by art historians Ana Avelar and Rachel Vallego[13]
Awards and honors
[edit]- Gold medal, 2nd Inter-American Biennial, Mexico City (1960)[2]
- Travel Abroad Prize, National Salon of Modern Art, Rio de Janeiro (1963)[1]
- Grant, Pollock-Krasner Foundation, New York (c. 2000–2001)[7]
References
[edit]- ^ a b c d e f g h i j k l m n o p q r s Editores da Enciclopédia Itaú Cultural. "Loio-Pérsio". Enciclopédia Itaú Cultural de Arte e Cultura Brasileira. São Paulo: Itaú Cultural, 2026. Available at: enciclopedia.itaucultural.org.br. ISBN 978-85-7979-060-7.
- ^ a b c d e f g h i j k l m n Garcia, Cynthia. "Nothing Concrete: Loio-Persio Reconsidered, and Other Highlights of SP-Arte 2018". Newcity Brazil, 8 April 2018.
- ^ a b Guggenheim Museum. "Guggenheim International Award, 1960" (exhibition catalogue archive). See also full text at Internet Archive.
- ^ a b c d e f g h The Portuguese Wikipedia article on Loio-Pérsio (as of 2026) cites this and several of the facts below; verified here against independent sources where possible.
- ^ Justino, Maria José (1995). 50 Anos do Salão Paranaense de Belas Artes. Curitiba: Itaipu Binacional. p. 302.
- ^ "Relação de artistas brasileiros participantes da Bienal de Veneza". Fundação Bienal de São Paulo. Archived from the original at web.archive.org (12 February 2015).
- ^ a b Pollock-Krasner Foundation. "Works by Loio-Pérsio" (image collection).
- ^ Catálogo da Bienal Brasil Século XX. São Paulo: Fundação Bienal de São Paulo, 1994. Available via Issuu.
- ^ a b Fundação Schmidt. "Com fama de 'difícil', Loio-Pérsio tem obra redescoberta e ganha retrospectiva no Paço Imperial".
- ^ Zanini, Walter (org.) (1983). História Geral da Arte no Brasil, vol. 1. São Paulo: Fundação Djalma Guimarães / Instituto Walther Moreira Salles.
- ^ Leite, José Roberto Teixeira (1988). Dicionário Crítico da Pintura no Brasil. Rio de Janeiro: Artlivre.
- ^ Pontual, Roberto (1976). Arte Brasileira Contemporânea: Coleção Gilberto Chateaubriand. Rio de Janeiro: Edições Jornal do Brasil; Pontual, Roberto (1987). Entre Dois Séculos: Arte Brasileira do Século XX na Coleção Gilberto Chateaubriand. Rio de Janeiro: Edições Jornal do Brasil.
- ^ Pallotta, Marcelo (curator); Avelar, Ana; Vallego, Rachel (essay); curated by Rodrigo Magalhães. Loio-Pérsio. São Paulo: Galeria MaPa / Afluente, 2023. Gallery-produced monograph; used here for biographical and exhibition details not otherwise independently documented.
External links
[edit]- Loio-Pérsio at Enciclopédia Itaú Cultural
- Works by Loio-Pérsio, Pollock-Krasner Foundation image collection
- Loio-Pérsio on Portuguese Wikipedia
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Category:1927 births Category:2004 deaths Category:People from São Paulo (state) Category:20th-century Brazilian painters Category:Brazilian printmakers Category:Abstract painters
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