Coleção Brasiliana Itaú \ Espaço Olavo Setubal (Inglês)

Espaço Olavo Setubal Brasiliana Itaú Collection

visitor’s guide

english

Thismovido exhibition features artistic and historical from do the Foi pelospace sonho de reunir registros artísticosartifacts e históricos collection put together byum onedos of líderes the leaders of Banco Olavo Brasil que Olavo Setubal, do Banco Itaú,Itaú, começou, Setubal, in 1969,obras began actdocumentos, on his dreamobjetos of gathering em 1969, who, a colecionar de to arte, e livros. artA works, documents, objects and books thatnuma wouldPlanície embodyArborizada, the history primeira aquisição foi o quadro Povoado of Brazil.

His first acquisition was the painting Varzea Landscape with de Frans Post (exposto no núcleo O Brasil Holandês).

Village, by Frans Post (shown in the Dutch Brazil segment).

Atualmente sob os cuidados do Itaú Cultural, esse acervo possui Currently conserved Itaú Cultural, this collection possesses more mais de 12 mil itens e ébyconsiderado o maior de uma companhia prithan da 12 thousand items and is considered the largest of any privately vada América Latina. owned company in Latin America.

As peças expostas no Espaço Olavo Setubal integram duas coleções The pieces desse shownuniverso in the Olavo Setubal Itaú Space to two specific específicas – a Brasiliana e abelong Itaú Numismática –e segments this overall the collections known as Brasiliana Itaú revelam osofcinco séculosset da–nossa história. Um recorte desse patriand Itaú – andequipe shed do light onCultural the fiveem centuries of our mônio foiNumismatic organizado pela Itaú homenagem selection from this rich para cultural was organized by ahistory. ele, umAdos nomes determinantes que asset o instituto seja hoje um the Itaú Cultural team na in democratização honor of Olavo do Setubal, offomento the corporelevante protagonista acessoone e no à rate leaders who ensured the institute’s current status as a key player cultura e à arte brasileiras. in the democratization of access to Brazilian art and culture, while encouraging theirraros development.

O percurso por registros das artes e das ciências possibilita uma experiência inspiradora, didática e prazerosa, que revela nosso Winding explica through nosso rare records of the arts and sciences, exhibipassado, presente e projeta nosso futuro.theVocê é nosso convidado esse legado and e tornar realidade o tion path providespara an conhecer inspiring, educational enjoyable experisonho de Olavo proporcionar a todos interessadosour a ence that revealsSetubal our past,deexplains our present, andosforeshadows experiência de conhecer coleção. future. As our guest, youa have the opportunity to get to know this legacy and to fulfill Olavo Setubal’s dream of making the collection Aproveite available toa visita! everyone interested in experiencing it.

Milú EnjoyVillela your visit!

Milú Villela

MARTIUS, MARTIUS, Carl CarlFriedrich FriedrichPhilipp Philippvon von Astrocanyum Astrocanyumgynacanthum, gynacanthum,Bactris Bactrispertinata, pertinata, Bactris 1823 Bactris hinta hinta(detalhe), (detail), 1823

The Unknown Brazil O Brasil Desconhecido

Segment 1 Módulo 1

The Brazilian territory was revealed to the world bit by bit, as the Foicolonizers pelo litoral que to o atual território brasileiro a ser strove shroud it in secrecy.

An começou example of thisdesslow coberto por navegadores europeus.

Durante o primeiro século, process is found on the Admiral’s Map, from 1522, where German pouco se explorou o interior. O delineated Mapa do Almirante, 1522, delicartographer Waldseemüller a part ofdethe country’s neia apenas parte da costa e chama o país de Terra Nova ou Terra coast, which he called Terra Nova (New Land). Having no cardos Papagaios. tographic references about the country’s interior, he filled it with indigenous cannibals.

Nenhum artista visitou o Brasil nesse período. As imagens existentes foram criadas na Europa comthis base emalso relatos e descrições Among Indians and maps, room features coins of escritas. historical Osignificance, tema dominante era o canibalismo, protagonista de grande including one that never actually entered into parte circuladas gravuras descrevem o país. povos indígenas tion, mintedque in 1695, with the nameOs Terra de Santa Cruztambém (Land of são vestidos à moda europeia ou em modelos atléticos theretratados Holy Cross). imaginados pelos artistas europeus, que nunca os haviam visto.

Dutch Brazil O Brasil Holandês

Segment 2 Módulo 2

The passage of John Maurice of Nassau and his entourage through Osthe oito anos passados porof Maurício de Nassau noand Nordeste colony left a legacy landscape paintings prints,valeram made by aoEuropean-trained Brasil o precioso legado dos jovens cientistas e artistas daThis comiartists, such as Frans Post (1612–1680). arttiva holandesa, que publicaram em grandes livros ilustrados todas as ist produced more than 150 landscape paintings, including Varzea imagens e informações colhidas noartwork país. acquired by the Brasiliana Landscape with Village, the first Itaú Collection.

Neste módulo, destaca-se o quadro a óleo de Frans Post Povoado numa Arborizada, inaugural da Coleção The Planície Dutch heritage also peça includes depictions of the Brasiliana flora and Itaú. fauna, Entre os livros, figuram a obra de Barlaeus Rerum per Octennium in as well as written documentation. The book Historia Naturalis Brasilia, de 1647, que exalta os feitos de Nassau, e os importantes Brasiliae (Brazilian Natural History), printed in 1648, is an example. registros da flora e da fauna do livro História Natural do Brasil (Historia Naturalis Brasiliae), impresso em 1648.

WALDSEEMÜLLER Admiral’s Map (detail), 1522 WALDSEEMÜLLER Mapa do Almirante (detalhe), 1522

The Secret Brazil

Segment 3

Gold and diamonds are what kindled the most greed among the colonizers. In parallel with this economic boom, in the region of Minas Gerais, arose the so-called Inconfidência Mineira (Minas Gerais Conspiracy), along with romantic poetry and one of the mythic names of Brazilian art history, Antonio Francisco Lisboa (1730–1814), familiarly known as Aleijadinho. He produced the religious statue made of polychrome cedar entitled Nossa Senhora das Dores (Our Lady of Sorrows).

To be commercialized, gold found by gold miners needed to be cast into gold bars and charged a 20% tax. The collection includes some rare bars from the period.

Brazil Depicted by Naturalists

Segment 4

The Indians aroused a great deal of curiosity in the Old World and were highlighted in the albums of traveling naturalist artists. Published in Munich, in 1823, the album A Journey in Brazil by Johann Baptist von Spix (1781–1826) and Carl Friedrich Philipp von Martius (1794–1868), features the most beautiful prints from the period on this theme, made by lithography and hand colored: the portraits of the Iuri, Miranha and Muxuruna peoples.

Another example of the depictions made by the European artists and scientists who studied the country in the 19th Century is the set of 30 chromolithographs of birds, made after drawings by French artist J. T. Descourtilz (1796–1855), for the work Ornithologie brésilienne ou Histoire des Oiseaux du Brésil (Brazilian Ornithology or a History of Birds of Brazil), published in London, between 1852 and 1856.

MARTIUS, Carl Friedrich Philipp von; SPIX, Johann Baptiste von Iuri (detail), 1823

Brazil of the Capital City

Segment 5

The focus of traveling artists’ attention, Rio de Janeiro possesses a rich iconography that portrays the variety of vegetation, seascapes and topography of Brazil’s second capital. An outstanding work is the panorama published by Johann Jacob Steinmann (1800–1844) in Switzerland, around 1840, after a drawing by Frédéric Salathé (1793–1860).

Rio de Janeiro’s landscape and its customs appear in the compositions of German painter J. M. Rugendas (1802–1858), in lithographs printed in Paris, in 1835, based on drawings from the previous decade.

They are also seen in the brushstrokes of French artist J. B. Debret (1768–1848), who, in the book Picturesque and Journey through Brazil (Paris, 1835), published one of the most famous sets of images of the empire prior to the invention of photography.

Brazil of its Provinces

Segment 6

Commissioned by Emperor Pedro I, Panorama of the City of São Paulo, by French artist Armand Jullien Pallière (1784–1862), is considered the most important work of São Paulo iconography prior to the advent of photography. When it was sold after the Proclamation of the Republic, this oil on canvas disappeared and languished forgotten for 110 years before being rediscovered in 2001, when it was acquired by the Brasiliana Itaú Collection.

Also forgotten in private collections, Panoramic View of the Bay of Belém do Pará was painted in 1870 by Joseph Léon Righini (1820– 1884) and is essential to the iconography of Amazonia.

DEBRET, Jean-Baptiste Picturesque Journey through Brazil (detail), 1835

Imperial Brazil

Segment 7

A court painter in Brazil, Debret witnessed and depicted the ceremony of Emperor Pedro I’s wedding to his second wife, Empress Amélia. The work shown in this museum was to serve as the basis for a large-scale oil on canvas. Due to the emperor’s 1831 abdication, however, the larger painting was never produced.

The Coronation Piece, made in the year of Brazil’s Independence (1822) for the consecration of the emperor and minted in gold, is considered the most valuable Brazilian coin. One of a batch of 64 specimens – which, by order of Emperor Pedro, wound up not entering into circulation – it features a bust of the emperor wearing a crown of laurels, like a Roman emperor.

Brazil and Slavery

Segment 8

A gloomy and determinant chapter of Brazilian history, slavery was portrayed by a series of traveling artists. English artist Henry Chamberlain (1796–1844) visited Rio de Janeiro in 1817 and, five years later, released in London the first collection of prints focused on the slave labor that the city’s wealthy people insisted on using.

Also present in the collection, works by Rugendas and Debret show scenes of slavery in contexts that are different – rural and urban, respectively – yet equally degrading.

DEBRET, Jean-Baptiste Pedro I and Amélia’s wedding (detail), 1829

Brazildos of the Brazilians O Brasil Brasileiros

Segment Módulo 9 9

Brazil chega arrivesaoin século the 20th While the Republic was being O Brasil XX.Century.

Enquanto a república se consolida, consolidated, the national culture was rediscovered.

This rediscova cultura nacional se reconhece – seja questionando a tradição e ery took place either by questioning tradition and absorbing foreign absorvendo elementos estrangeiros, como fez o modernista Oswald elements,na as coletânea done by modernist writer critic de comAndrade de Andrade de poemas Pauand Brasil, deOswald 1925, seja (1890–1954) in his 1925 collection of poems, Pau Brasil, or by compospondo crônicas visuais focadas nos tipos da cidade e no meio políing visual narratives focused on the political realm and on the types of tico, trabalho que o cartunista J. Carlos realizava com senso crítico people in the city, as seen in the work of political cartoonist J. Carlos e bom humor.

(1884–1950), made with a keen critical eye and sense of humor.

São produzidos os chamados livros de artista, fruto da colaboração That period was also marked ebypintores. partnerships artists entre nossos maiores escritores Entrebetween os livrosBrazilian de artista, and those of other countries.

1903, for example, Henrique Alvim destaca-se Mangue, publicado noInRio de Janeiro em 1943, com ilusCorrea (1876–1910) a series illustrations on the tração de Lasar Segall e produced textos de Jorge de of Lima, Mário debased Andrade novel The War of the Worlds by British writer H. G. Wells (1866–1946). e Manuel Bandeira.

Approved by the author, the images were published in a 1906 luxury edition of the science-fiction classic.

ANDRADE, Oswald de de ANDRADE, Oswald Pau Pau Brasil (detalhe), 1925 Brasil (detail), 1925

Floor 4 1

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Entrance Segment 1: The Unknown Brazil Segment 2: Dutch Brazil

Segment 3: The Secret Brazil Segment 4: Brazil Depicted by Naturalists

Floor 5 5

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6 7

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Segment 5: Brazil of the Capital City Segment 6: Brazil of its Provinces Segment 7: Imperial Brazil

tuesday through friday, 9 a.m. to 8 p.m. saturday, sunday and holidays, 11 a.m. to 8 p.m.

Floors 4 and 5

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Segment 8: Brazil and Slavery Segment 9: Brazil of the Brazilians

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