Museu Nacional de Belas Artes | |
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| Established | 1937 |
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| Location | Rio de Janeiro, Brazil |
| Coordinates | 22°54′31.673″S43°10′32.632″W / 22.90879806°S 43.17573111°W /-22.90879806; -43.17573111 |
| Visitors | 135.726 (2012)[1] |
| Director | Mônica Xexéo |
| Website | gov |
TheMuseu Nacional de Belas Artes (MNBA;Portuguese forNational Museum of Fine Arts) is a nationalart museum located in the city ofRio de Janeiro, Brazil. The museum, officially established in 1937 by the initiative of education ministerGustavo Capanema, was inaugurated in 1938 by PresidentGetúlio Vargas. The museum collection, on the other hand, takes its rise in thetransfer of the Portuguese Court to Brazil in the early 19th century, whenKing John VI brought along with him part of thePortuguese Royal Collection. This art collection stayed in Brazil after the King's return to Europe and became the core collection of theNational School of Fine Arts. When the museum was created in 1937, it became the heir not only the National School collection, but also of its headquarters, a 1908 eclectic style building projected by Spanish architect Adolfo Morales de los Ríos.[2]
The Museu Nacional de Belas Artes is one of the most important cultural institutions of the country, as well as the most important museum ofBrazilian art, particularly rich in 19th-century paintings and sculptures. The collection includes more than 20,000 pieces, among paintings, sculptures, drawings and prints, of Brazilian and international artists, ranging fromHigh Middle Ages to contemporary art. It also includes smaller assemblages ofdecorative arts,folk andAfrican art. The museum library has a collection of about 19,000 titles. The building was listed as Braziliannational heritage in 1973.[2][3]
Although the museum was officially established on 13 January 1937 and inaugurated on 19 August 1938, its history is much older, ranging back to the transfer of the Portuguese Court to Brazil in 1808. Fleeing the invasion ofPortugal byFrench troops, King John VI established himself in Rio de Janeiro, bringing with him an assemblage ofworks of art which originally belonged to the Portuguese Royal Collection. After the king's return to Europe, a major part of this collection stayed in Brazil and is identified as the main core ofEuropean art in the museum. The collection was later enlarged byJoachim Lebreton, a French artist who led theFrench Artistic Mission that came to Brazil in 1816 to help organise the arts in the country.[4]
The French Artistic Mission was charged by John VI to organise the Royal School of Sciences, Arts and Crafts in Rio de Janeiro. Its first building – designed by FrenchNeoclassical architectGrandjean de Montigny — was inaugurated in 1826, by BrazilianEmperor Peter I. On the occasion of the building's inauguration, the Royal School was renamed Imperial Academy of Fine Arts. In the following decades, the Imperial Academy, heir of John VI's holdings, was able to expand this collection, gathering an important assemblage of paintings and forming aglyptotheque.[5]
After theproclamation of the Republic in 1889, the Imperial Academy was renamedEscola Nacional de Belas Artes (National School of Fine Arts). The school remained in its original building in the following years. But in the 1900s (decade), the center of Rio de Janeiro was extensively remodeled following the models of Parisian urbanisation. Between 1906 and 1908, a new building was constructed for theNational School of Fine Arts in the Central Avenue (nowAvenida Rio Branco), very close to the new main square of the city (theCinelândia).[6]
The style of the new building, designed by Spanish architectAdolfo Morales de los Ríos, is clearly inspired by theLouvre Museum in Paris. But during the construction the project was modified, possibly byRodolfo Bernardelli and, later, byArchimedes Memoria. As a result, the building presents an eclectic design, with facades modeled after different styles. The main façade toward Avenida Rio Branco is inspired byFrench Renaissance, withpediment,colonnade andterracottareliefs representingAncient civilizations, as well asmedallions painted byHenrique Bernardelli, portraying members of the French Artistic Mission and renowned Brazilian artists. The side façades are plainer and make reference toItalian Renaissance. They are adorned with Parisianmosaics with figures of architects, painters and art theorists, such asVasari,Vitruvius andda Vinci. The back façade is strictly Neoclassical, decorated with reliefs executed byEdward Cadwell Spruce. The interior decoration is based in the use of noble materials, such asmarble, mosaics,stucco,crystal, Frenchceramic andstatuary.[7] The building was listed as a national heritage work on 24 May 1973.[8]
The construction was finished in 1908. This same year, the school and its art collection started being transferred to the new headquarters. The painting collection was installed on the third floor. The collection of plaster copies of ancient statues, used in art classes, was installed on the second floor, with a museographic project specially developed for them. The fourth floor was conceived to house the administrative offices and studios for practical classes. In 1931, the school was incorporated by theUniversity of Rio de Janeiro.[citation needed]
When the museum was created in 1937 by the education ministerGustavo Capanema, it inherited the Escola Nacional de Belas Artes' holdings and was installed in its headquarters; the school's administrative offices, studios and most of the courses stayed in the building. During the 1940s and 1950s, some courses were transferred to other locations. In 1975, the remaining courses were transferred to a modern building on the university main campus (Ilha do Fundão), projected byJorge Moreira. On the occasion of this transfer, the collection, until then shared by both the museum and the school, was dismembered. Most of the art collection stayed with the museum, and an assemblage of documents, "didactic" works of art or artworks produced in pedagogic activities, as well as the Jeronymo Ferreira das Neves collection (donated to the art school in 1947) was transferred to the Ilha do Fundão campus, serving as core collection of the university'sMuseu Dom João VI.[6] After the transfer, theFundação Nacional de Artes (National Arts Foundation) was installed in the school's former rooms.[2]
In the 1980s some serious structural problems were detected in the building. Since they represented a major threat to the preservation of the collection, the museum passed through a series of reforms, with the aim of modernizing the exhibition areas and reformulating the museographic project and, at the same time, preserving the building original style and decoration. In the mid-1990s, the Fundação Nacional de Artes was transferred to another location and the museum was finally able to occupy the whole building.[2] Currently, the museum counts with 6,733.84 square meters of exhibition area and a deposit of 1,797.32 square meters. In addition to the exhibition areas and technical/administrative rooms, the museum possesses laboratories of conservation and restoration and studios forplastermolding.[citation needed]
The museum library specializes in 19th- and 20th-century art. Besides the collection of about 19,000 titles, it comprises more than 12,000 audiovisual items, iconographic and textual documents,rare books, newspapers, magazines, catalogues, and other materials related to the institution's history, from the Imperial Academy to nowadays.[citation needed] In addition to permanent and temporary exhibitions, the museum organises educational activities for the general public andart education programs for teachers, with the aim of diffusing and granting a better understanding of the Brazilian cultural heritage.
Since its beginning in 1808, the collection of works of art has been enormously expanded and now has around 20,000 items. The collections include painting, sculpture, drawing as well as decorative arts, furniture, folk art andAfrican art.
The Museu Nacional de Belas Artes is the heir of the collections gathered since the early 19th century by the Royal School of Sciences, Arts and Crafts and its successors (the Imperial Academy of Fine Arts and the National School of Fine Arts),i.e., the national institution responsible for the register of Brazilian pictorial output. Therefore, it is widely accepted that no other collection, public or private, is able to present such a wide and comprehensive panorama ofBrazilian painting concerning to theFrench Artistic Mission, 19th and early 20th centuries painting, even in analogous conditions. The collection includes several works byNicolas-Antoine Taunay,Jean-Baptiste Debret,Félix Taunay,Victor Meirelles (more than 150 works, includingThe First Mass in Brazil andBattle of Guararapes),Pedro Américo (Battle of Avaí,Moses and Jochebed, etc.),Almeida Júnior (Countrymen stalking,The Brazilian lumberjack, etc.),Manuel de Araújo Porto-alegre,Pedro Weingärtner,Rodolfo Amoedo,João Zeferino da Costa,Henrique Bernardelli,Eliseu Visconti,Castagneto,Hipólito Caron,Antônio Parreiras, and many others.
Although the painting collection is particularly strong concerning the 19th century, it also includes representative paintings of theColonial period, such as works byManuel da Cunha,Leandro Joaquim andManuel Dias de Oliveira. The modern section includes a modest assemblage of paintings by artists closely related to theModern Art Week (Anita Malfatti,Tarsila do Amaral,Di Cavalcanti,Lasar Segall,Vicente do Rego Monteiro, etc.) and a more representative collection of modernist painters active in the 1930s and on (Cândido Portinari,Djanira,Guignard,Cícero Dias,Alfredo Volpi,Maria Leontina,Ivan Serpa,Iberê Camargo, etc.). Among the contemporary names, the collection includesHélio Oiticica,Paulo Pasta andEduardo Sued.
TheBrazilian sculpture section is the smallest among the museum's departments of Brazilian art and also has its origins in the holdings of the former National Academy. Several artworks in the collection were acquired through the transfer of works produced by artists who were granted a subvention by the government to study in Europe. The sculptorRodolfo Bernardelli, who was appointed as director of the academy in the late 19th century, was the responsible for starting the systematic gathering of sculptures. He is also the best represented sculptor in the collection, with more than 250 works donated by his brother after his death. The Brazilian academic sculpture is also represented byMarc Ferrez,Chaves Pinheiro,Almeida Reis, andCorreia Lima, among others.
The collection of modern and contemporary sculpture include names such asCelso Antônio de Menezes,Franz Weissmann,Amílcar de Castro,Rubem Valentim,Sergio de Camargo,Farnese de Andrade, etc. In recent years, the museum has expanded its collection of colonial sculpture of the 17th and 18th centuries, most of which are of unrecorded authorship.
The Museu Nacional de Belas Artes has one of the most important collections ofengravings in the country, an assemblage of works which is able to provide a remarkable panorama of the historical development of print technique in Brazil. The collection comprises works byAugust Off,Emil Bauch,Carlos Oswald,Oswaldo Goeldi,Lívio Abramo,Lasar Segall,Maria Bonomi,Fayga Ostrower,Carlos Scliar,Poty Lazzarotto,Edith Behring,Anna Letycia Quadros,Dionísio del Santo,Anna Bella Geiger,Rubens Gerchman. In addition to the prints, the collection includes a group of 126 woodblocks by Goeldi, 62 copper plates by Carlos Oswald, and 27 plates byDjanira, etc. The collection of prints is permanently available to consult by researchers, artists and general public in the "Gabinete de Gravuras" (prints cabinet) and is presented in temporary exhibitions at the Carlos Oswald Room.
The section of Brazilian drawings of the Museu Nacional de Belas Artes contains about 4,000 works, being one of the largest collections of the institution. It includes works on pencil, pen, ink, crayon, watercolor, chalk, and other techniques, either produced as sketches or as independent artworks. The main core is composed by the large assemblages of works byVictor Meirelles and the brothersRodolfo andHenrique Bernardelli, as well as other 19th century masters, such asRodolfo Amoedo,Grandjean de Montigny,Zeferino da Costa,Eliseu Visconti,Manuel de Araújo Porto-alegre,Lucílio de Albuquerque andHenrique Alvim Corrêa, but the collection also includes a number of modern and contemporary artists such asAnita Malfatti,Di Cavalcanti,Tarsila do Amaral,Flávio de Carvalho,Oswaldo Goeldi,Cândido Portinari,Anna Maria Maiolino,Gregório Gruber andAldemir Martins. One of the highlights in the modern section is the assemblage of more than 600 drawings byDjanira.
The section of international paintings of the Museu Nacional de Belas Artes represents the initial core of the museum holdings. It takes its rise from the collection of King John VI of Portugal, which was transferred to Brazil in 1808, together with the Portuguese Court. Later, the collection was expanded with the paintings brought by Joaquim Lebreton, who came to Brazil with the mission of organising the country's first art academy. Subsequent acquisitions and donations greatly enlarged the international art collection, which is today one of the most representative among South American museums. Major part of the collection is composed byEuropean paintings, mainlyFrench, followed byItalian,Portuguese,Spanish,Dutch andFlemish schools, and, to a lesser extent, by paintings of theLatin American countries, Canada and the United States. The earliest painting in the collection dates back to the 13th century, but most part concerns to the 19th century.
The collection of Italian paintings is notable for specific sections, such asMannerist andBaroque artworks. Artists represented includeBartolomeo Passarotti,Luca Cambiaso,Gioacchino Assereto,Giovanni Lanfranco,Il Raffaellino,Francesco Albani,Antonio Maria Vassallo,Luciano Borzone,Simone Cantarini,Valerio Castello,Jacopo Vignali,Grechetto,Giambattista Langetti,Ciro Ferri,Francesco Cozza,Baciccio,Corrado Giaquinto,Francesco Guardi,Tiepolo andAlessandro Magnasco.[9]
The nucleus of French paintings is mainly composed by 18th and 19th century artworks. It comprises, aside from the painters of theFrench Artistic Mission, names such asJacques Courtois,Jean-Baptiste Marie Pierre,François Bonvin,Théodule Ribot,Jules Breton,Jean-Paul Laurens,Constant Troyon,Jean-Jacques Henner,Jules Dupré,Gustave Doré,Henri Harpignies,Alfred Sisley,Armand Guillaumin,Edmond Aman-Jean andHenri Martin. Among the highlights of the collections is the group of 20 paintings byEugène Boudin, one of the largest such ensembles outside France.
The collection of Dutch, Flemish and German paintings is mainly composed by works ranging from 15th to 17th century. It includes an important group of eight Brazilian landscapes by Dutch artistFrans Post, the first landscapist of theNew World. The collection also includes paintings byJoos van Cleve,Hans von Kulmbach,Jan Dirksz Both,Michiel Jansz. van Mierevelt,Jan Brueghel the Elder,Abraham Brueghel,David Teniers the Younger,Daniel Seghers,Gerard ter Borch,David Beck,Jan Steen.
Other European artists presented in the collection includeJuan Pantoja de la Cruz,Bernardo Germán de Llórente andFederico de Madrazo (Spanish),Francisco de Holanda,Silva Porto,António Pedro,Columbano Bordalo Pinheiro andJosé Malhoa (Portuguese),Emile Claus (Belgian),Árpád Szenes (Hungarian) andCarlos Schwabe (Swiss). The Latin American painting is represented by a number of anonymous works of theCuzco School and some modern artists, such as the ArgentiniansBenito Quinquela Martín andCesáreo Bernaldo de Quirós. Also representing the art of the Americas are the CanadiansMarc-Aurèle de Foy Suzor-Coté andPaul Duff.
The museum holds a small collection of international sculpture, most part of which dating of the 19th century. Unlike the collection of Brazilian sculpture, this group of works were not gathered through systematic acquisitions, but rather by sporadic donations and legacies. Among them, theRoman marble bust ofAntinous, dating back to the 2nd century BC, as well as aGreek torso of a woman, stand out. The collection also include threebronzebusts byFrançois Rude,Constantin Meunier'sThe Harvester,Auguste Rodin'sMeditation without Arms, and other works byAntoine-Louis Barye,António Teixeira Lopes, etc. Several works in the collection are by foreign artists active in Brazil during the 19th century, such as the French brothersMarc andZéphyrin Ferrez and the ItalianAugusto Girardet. The collection also includes a number of bronze reductions produced by artistic-industrial companies, such asBarbedienne, and a didactic collection of plaster copies of ancient Greek and Roman statues.
The museum owns approximately 2,000 examples of international prints. Though not extensive in size, the collection is considerably diversified and eclectic, offering a brief panorama of the history of engraving in distinct civilizations. The group of Flemish, Dutch and German prints is of particular importance. Authors in the collection includePieter de Jode I,Albrecht Dürer,Hans Sebald Beham,Cornelis Visscher,Anthony van Dyck andRembrandt's famousHundred Guilder Print. The French school is also well represented. In addition to works by artists such asJacques Callot andClaude Lorrain, the museum has two albums byGustave Doré, withwoodcuts produced to illustrate newspapers, as well as 80lithographies byHonoré Daumier, imbued with political and social criticism, published in the 1830s by the historical magazineLe Charivari.
Italian print in the collection is represented by the works ofAgostino Carracci,Piranesi,Bartolozzi,Tiepolo and reproduction prints byGiovanni Folo andRaffaello Morghen. Other important engravers represented areFrancisco de Goya (Los disparates),William Hogarth andJoseph Mallord William Turner. Modern prints include several works byPablo Picasso,Joan Miró,Jacques Lipchitz,Marc Chagall,Wassily Kandinsky andJacques Villon. Another highlight of the collection is the ensemble of more than one hundred 17th- and 18th-century Japanese woodcuts (ukiyo-e) by artists such asUtamaro andHiroshige.
The Museu Nacional de Belas Artes has a small but highly distinguished collection of international drawings. Most part of the pieces are of French origin, including 247 drawings byGrandjean de Montigny and other works byFrançois Gérard,Honoré Daumier,Rosa Bonheur,Édouard Detaille,Henri-Edmond Cross andJean-Louis Forain, etc. Other European schools well represented in the collection include Italy (Bartolomeo Cesi,Annibale Carracci,Guido Reni,Corrado Giaquinto,Giovanni Battista Tiepolo,Pompeo Batoni), Portugal (Francisco de Holanda,Domingos Sequeira,Vieira Portuense,José Malhoa), Netherlands and Germany (Paulus Potter,Johann Moritz Rugendas), among others.
The museum collection offolk art is composed by 442 works, attesting several ethnological aspects of the regional societies of Brazil. The collection includes works of both functional and artistic nature and its value lies in its capacity of revealing the life conditions, traditions, religiosity, recreation, aesthetic ideals, creativity and the human-nature relationship of the peoples of Brazil, as well as the regional differences concerning these issues.Popular piety and other aspects ofReligion in Brazil are well documented in the collection, which includes many examples ofex-votos, clay and wood statuary, etc.Manuel Eudócio,Zé Caboclo and Mestre Cândido are some of the artisans represented in the collection.
The museum collection ofAfrican art is composed bywood carvings,masks, ceremonial objects, functional objects, ivory and bronze sculptures, textiles, body ornaments, and other items related to severalethnic groups, most part of which indigenous to Western Africa, more specifically, to theBight of Benin. The collection is of particular importance for its coherent geographical unity, which allows the identification of interethnic flows among groups such as theAshanti,Bassa,Baoulé,Dan,Bambara,Fon,Fulani,Senufo,Yoruba, and unidentified groups ofBenin. It is, therefore, an important register of the common symbols of political, social and economic power, concerning thePan-African theories. Other important aspect of the collection is the fact that several artworks, mainly of devotional nature, are closely related toAfro-Brazilian culture.
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