The modern art market in S茫o Paulo: 1947-1951
Commemorating the 70th anniversary of the opening of Galeria Domus, on February 5, 1947, this exhibition presents works from the Museu de Arte Moderna de S茫o Paulo collection, whose authors frequented the gallery.
During its five years of activity, Domus organized 91 exhibitions and pioneered the practice, indicated right from its inauguration, of favoring Brazilian modern artists and the generation that succeeded them. Transformed into a gathering point for intellectuals and artists, the gallery underscored artistic mobility in promoting its exhibitions, encouraging advertising and marketing strategies and focusing on criticism, particularly through the launch of Artes Pl谩sticas magazine. The exhibition S茫o Paulo Painting in Rio de Janeiro, held in 1949, introduced the Rio de Janeiro press and public to 188 artworks鈥攁n initiative designed to promote S茫o Paulo artists further afield and eke out new markets.
Most of the participants in this exhibition went on to feature in solo or collective shows at Domus. Foreigners in transit or settling permanently in Brazil looked to Domus for a fitting introduction to the S茫o Paulo gallery-going, art-buying public. Domus strove to blend commercial appeal with critical acclaim, bringing its artists to wider audiences and fostering discussion on the characteristics of the S茫o Paulo art during the period. This exhibition, which frames this body of work within a new historical perspective, invites the analysis of its significance and impact on the Brazilian art panorama.
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Commemorating the 70th anniversary of the opening of Galeria Domus, on February 5, 1947, this exhibition presents works from the Museu de Arte Moderna de S茫o Paulo collection, whose authors frequented the gallery.
During its five years of activity, Domus organized 91 exhibitions and pioneered the practice, indicated right from its inauguration, of favoring Brazilian modern artists and the generation that succeeded them. Transformed into a gathering point for intellectuals and artists, the gallery underscored artistic mobility in promoting its exhibitions, encouraging advertising and marketing strategies and focusing on criticism, particularly through the launch of Artes Pl谩sticas magazine. The exhibition S茫o Paulo Painting in Rio de Janeiro, held in 1949, introduced the Rio de Janeiro press and public to 188 artworks鈥攁n initiative designed to promote S茫o Paulo artists further afield and eke out new markets.
Most of the participants in this exhibition went on to feature in solo or collective shows at Domus. Foreigners in transit or settling permanently in Brazil looked to Domus for a fitting introduction to the S茫o Paulo gallery-going, art-buying public. Domus strove to blend commercial appeal with critical acclaim, bringing its artists to wider audiences and fostering discussion on the characteristics of the S茫o Paulo art during the period. This exhibition, which frames this body of work within a new historical perspective, invites the analysis of its significance and impact on the Brazilian art panorama.
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