[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/hercules-barsotti-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki40\/hercules-barsotti-wikipedia\/","headline":"H\u00e9rcules Barsotti – Wikipedia","name":"H\u00e9rcules Barsotti – Wikipedia","description":"From Wikipedia, the free encyclopedia H\u00e9rcules Rubens Barsotti (born July 20, 1914 \u2013 December 21, 2010) was a Brazilian painter,","datePublished":"2022-03-27","dateModified":"2022-03-27","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki40\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/en.wikipedia.org\/wiki\/Special:CentralAutoLogin\/start?type=1x1","url":"https:\/\/en.wikipedia.org\/wiki\/Special:CentralAutoLogin\/start?type=1x1","height":"1","width":"1"},"url":"https:\/\/wiki.edu.vn\/en\/wiki40\/hercules-barsotti-wikipedia\/","about":["Wiki"],"wordCount":4657,"articleBody":"From Wikipedia, the free encyclopediaH\u00e9rcules Rubens Barsotti (born July 20, 1914 \u2013 December 21, 2010) was a Brazilian painter, graphic designer, scenographer and costume designer. He was a member  of the Neo-Concrete Movement.[1]Early life and education[edit]Barsotti was born in S\u00e3o Paulo, Brazil.[2]Barsotti studied drawing under Henrique Vio from 1926\u2013 1933 at the Colegio Dante Alighieri in S\u00e3o Paulo. In 1934 he began his studies in Industrial Chemistry at the Mackenzie Institute and receiving his degree in 1937.[3][2]Upon graduating from the Mackenzie Institute, Barsotti worked as a Chemist until 1939.[4] Barsotti began to work within abstraction around the beginning of the 1940s.[5]In the 1950s Barsotti worked as a textile and theater costume designer. At this time he began to come in contact with artists working within the Concrete Art movement in Brazil.[3] Though Barsotti’s work in this period was constructivist in nature, he did not join the Concrete group in S\u00e3o Paulo.[5] He separated himself from the movement in S\u00e3o Paulo by avoiding the strict technicisms that came along with concrete art.[6] In 1953 he created his first truly constructive art.[6] Along with Badia Villat\u00f3, Barsotti designed the scenography for “The Clerk,” a mimodrama written by Lu\u00eds de Lima in conjunction with Students from the Alfredo Mesquita School of Dramatic Arts for which Willys de Castro wrote the musical score.[7]In 1954 along with his life partner and artist Willys de Castro, Barsotti founded Est\u00fadio de Projectos Gr\u00e1ficos, an advertising design consultancy which operated for a decade.[8][9]Along with de Castro, Barsotti traveled to Europe in 1958 where they studied for one year.[7]  During this time in Europe Barsotti met the Swiss artist Max Bill, a leading theorist of concrete art.[2] After returning to S\u00e3o Paulo in 1959 both de Castro and Barsotti joined the Neo-Concrete Movement.[5] Barsotti’s first exhibition as part of the Neo-Concrete Movement was at the V Bienal Internacional de Arte de S\u00e3o Paulo in which he was awarded First Prize.[3] Similarly, in 1959 he also participated in the S\u00e3o Paulo Modern Art Salon and won the Grand Gold Medal.[6] In 1960 he participated in “Konkrete Kunst” an exhibition organized by Max Bill in Zurich.[5] Further exhibitions included Rio de Janeiro in 1960 and S\u00e3o Paulo in 1961.[6]In 1963 along with Willys de Castro, Waldemar Cordeiro, and other artists, Barsotti co-founded the S\u00e3o Paulo based art gallery Associa\u00e7\u00e3o de Artes Visuais Novas Tend\u00eancias which operated for three years. Although Associa\u00e7\u00e3o de Artes Visuais Novas Tend\u00eancias was founded and managed by artists working within the Concrete and Neo-Concrete movements they meant to provide a space and platform for contemporary art to be presented free from the confines of formalities in specific artistic movements.[10][3]In 1963 Barsotti abandoned his exploration of simple black and white compositions which he had explored earlier in his career and began to experiment with color and its effects on volume and movement.[2]Artwork[edit]As he started his work as an artist in the 1950s, he drew two-dimensional art that was usually black and white.[6] These drawings used geometric shapes and lines that were mostly mathematical and technical.[11] He exemplified formal elements related to the Neo-Concrete movement.[6] Although technical is his own right, he was not affiliated with the Concretist group, and he created his own forms of art.[6] His areas of expression is what separated him from the Concrete movement into the neo-concrete movement, but since he generally used formal and somewhat rigid geometric lines and shapes, he was considered part of the Neo-Concrete movement.[6]In the 1950s, he created many pieces of art with ink on paper that utilize lines to create aesthetically pleasing angles and space in his artwork.[11] In 1970, he drew  Estudos e Formas com los Angulos Cor I, which was drawn with pencil on paper.[11] This includes geometric shapes, specifically what appears to be diagonal squares with lines connecting the top and bottom corners.[11] This artwork came with his slight change in style in the 1960s to use monochromatic planes, which were toned-down with some geometric inflections.[11] Another aspect of change in the 1960s was his exploration of colors with different formats.[6] He started to use various geometric shapes in rhythmic sequences to explore different areas of space in his drawings.[6] As an act to counter the Concrete movement, he used colors that was specifically rejected in the Concrete movement.[2] This was a significant way that many of the Neo-Concrete movement artists used to express themselves uniquely in a way that set them apart from the Concrete movement.Many of Barsotti’s later artwork presented as acrylic paint on a shaped canvas.[2] These canvases would be in the form of simple shapes, such as a circle, square or triangle.[2] Each have two shades of the same color with a slit in the middle.[2] These particular paintings were a part of Colecci\u00f3n Patricia Phelps de Cisneros and made in 1996.[2]Selected exhibitions[edit]Solo exhibitions1974: Obras recentes, Galeria Arte Global (S\u00e3o Paulo, Brazil)1981: Gabinete de Arte Raquel Arnaud Babenco (S\u00e3o Paulo, Brazil)1988: “Aventuras da ordem: H\u00e9rcules Barsotti e Willys de Castro,” Gabinete de Arte Raquel Arnaud Babenco (S\u00e3o Paulo, Brazil)1994: Desenhos, 1953\u2013 1960, Galeria Silvio Nery (S\u00e3o Paulo, Brazil)2000: Museu de Arte Moderna (S\u00e3o Paulo, Brazil)Group exhibitions1959: V Bienal Internacional de Arte de S\u00e3o Paulo (S\u00e3o Paulo, Brazil)1960: “Konkrete Kunst: 50 Jahre Entwicklung” (Zurich, Austria) \u2013 traveling exhibition, June 8 \u2013 August 14, 19601977: “Projecto construtivo brasileiro na arte. 1950 \u2013 1962,” Museum of Modern Art, Rio de Janeiro (Rio de Janeiro, Brazil); Pinacoteca do Estado de S\u00e3o Paulo (S\u00e3o Paulo, Brazil)1984: “Tradi\u00e7\u00e3o e ruptura. S\u00edntese de arte e cultura brasileras,” Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo (S\u00e3o Paulo, Brazil)1987: XIX Bienal Internacional de Arte de S\u00e3o Paulo (S\u00e3o Paulo, Brazil)2000: Heterotop\u00edas. Media siglo sin lugar. 1918\u2013 1968, Museo Nacional Centro de Arte Reina Sof\u00eda (Madrid)2000: S\u00e9culo 20. Arte do Brasil, Funda\u00e7\u00e3o Calouste Gulbenkian, Centro de Arte Moderna Jos\u00e9 de Azeredo Perdig\u00e3o (Lisbon)2003: Cuasi-corpus. Arte concreto y neoconcreto de Brasil, Museo de Arte Contempor\u00e1neo Internacional Rufino Tamayo (Mexico City)2004: Inverted Utopias. Avant-Garde Art in Latin America, Museum of Fine Arts Houston (Houston, Texas)2006: Cruce de Miradas. Visiones de America Latina. Colecci\u00f3n Patricia Phelps de Cisneros, Museo Palacio de Bellas Artes (Mexico City)2006: The Sites of Latin American Abstraction. Cisneros Fontanals Art Foundation (Miami, Florida) [Traveling exhibition]2007: Geometry of Hope. Latin American Abstract Art from the Patricia Phelps de Cisneros Collection. Blanton Museum of Art, The University of Texas Austin (Austin, Texas); Grey Art Gallery, New York University (New York)2010: Das Verlangen nach Form\u2013 O Desejo da Forma. Neoconcretismo und zeitgen\u00f6ssische Kunst aus Brasilien, Akademie der K\u00fcnste (Berlin, Germany)2010: Vibraci\u00f3n. Moderne Kunst aus Lateinamerika. The Ella Fontanals-Cisneros Collection Bundeskunsthalle (Bonn, Germany)Selected works[edit]References[edit]^ “Morre o artista pl\u00e1stico H\u00e9rcules Barsotti” (in Brazilian Portuguese). 22 December 2010.^ a b c d e f g h i Jim\u00e9nez, Ariel; Herkenhoff, Paulo (2010). Desenhar no Espa\u00e7o: Artistas Abstratos do Brasil e da Venezuela na Cole\u00e7\u00e3o Patricia Phelps de Cisneros (PDF) (in Portuguese, English, and Spanish). Porto Alegre, Brazil: Funda\u00e7\u00e3o Iber\u00ea Camargo. ISBN\u00a0978-85-89680-16-5. OCLC\u00a0722764644. Archived from the original (Exhibition catalog) on 2016-04-02. Retrieved 2017-08-22.^ a b c d Su\u00e1rez, Osbel (exhibition concept and guest curator); Garc\u00eda, Mar\u00eda Amalia; Agnew, Michael (translations) (2011).  Witschey, Erica; Fundaci\u00f3n Juan March (eds.). Cold America: Geometric Abstraction in Latin Am\u00e9rica (1934\u20131973) (Exhibition catalog). Madrid: Fundaci\u00f3n Juan March. ISBN\u00a0978-84-7075-588-0. OCLC\u00a0707460289.^ “H\u00e9rcules Barsotti – Obras, biografia e vida” (in Brazilian Portuguese).^ a b c d Jim\u00e9nez, Ariel (2003). GEO-METR\u00cdAS. Abstracci\u00f3n Geom\u00e9trica Latinoamericana en la Colecci\u00f3n Cisneros (MALBA) (Exhibition catalog) (in Spanish and English). Caracas: Fundaci\u00f3n Cisneros. ISBN\u00a0978-9-879-76774-0. OCLC\u00a052823665.^ a b c d e f g h i j Klabin, Vanda (2011). Art In Brazil (1950 – 2011). Brussels\/Ludion, Antwerp: Europalia International. pp.\u00a0184\u2013185. ISBN\u00a09789461300232.^ a b Mattar, Denise. “Willys de Castro Multipla S\u00edntese” (PDF). Gallery Almeida e Dale.^ Friedman, Samantha (23 November 2016). “Willys de Castro’s Active Object (Yellow)”. Museum of Modern Art.^ Cherix, Christophe (5 April 2017). “H\u00e9rcules Barsotti’s Ink Drawings”. Museum of Modern Art.^ Conduru, Roberto (2005). Willys de Castro. S\u00e3o Paulo, SP: Cosac & Naify. ISBN\u00a09788575034033.^ a b c d e The Sites of Latin American Abstraction. Ella Fontanals-Cisneros Collection. 2006\u20132007.Further reading[edit]Bois, Yve-Alain (2001). Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection = Abstracci\u00f3n Geom\u00e9trica: Arte Latinoamericano en la Coloecci\u00f3n Patricia Phelps de Cisneros (Exhibition catalog) (in English and Spanish). New Haven, CT: Yale University Press. ISBN\u00a0978-0-300-08990-5. OCLC\u00a0298342818.Jim\u00e9nez, Ariel; Herkenhoff, Paulo (2010). Desenhar no Espa\u00e7o: Artistas Abstratos do Brasil e da Venezuela na Cole\u00e7\u00e3o Patricia Phelps de Cisneros (PDF) (in Portuguese, English, and Spanish). Porto Alegre, Brazil: Funda\u00e7\u00e3o Iber\u00ea Camargo. ISBN\u00a0978-85-89680-16-5. OCLC\u00a0722764644. Archived from the original (Exhibition catalog) on 2016-04-02. Retrieved 2017-08-22.Su\u00e1rez, Osbel (exhibition concept and guest curator); Garc\u00eda, Mar\u00eda Amalia; Agnew, Michael (translations) (2011).  Witschey, Erica; Fundaci\u00f3n Juan March (eds.). Cold America: Geometric Abstraction in Latin Am\u00e9rica (1934\u20131973) (Exhibition catalog). Madrid: Fundaci\u00f3n Juan March. ISBN\u00a0978-84-7075-588-0. OCLC\u00a0707460289.P\u00e9rez-Barreiro, Gabriel; Locke, Adrian; Garc\u00eda, Mar\u00eda Amalia; Whitelegg, Isobel (2014). Radical Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection. New York, NY\/Caracas, Venezuela: Fundaci\u00f3n Cisneros\/Colecci\u00f3n Patricia Phelps de Cisneros. ISBN\u00a09781907533709.External links[edit]"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki40\/hercules-barsotti-wikipedia\/#breadcrumbitem","name":"H\u00e9rcules Barsotti – Wikipedia"}}]}]