In this show, to begin on June 9, the celebrated artist will be presenting to the São Paulo public some ten works featuring his particular constructivist method.
According to critic Ronaldo Brito, who wrote the text for the exhibit, Sued’s new canvases reaffirm his position as one of the inventors of a palette of Brazilian contemporary art of enormous chromatic potential. The diligent use of color and a very strict structural nexus in the construction of geometric compositions once again provide evidence of a working process grounded in inquiry and experiment.
To Brito, the loose brush stroke, a treatment of the surface of the canvas that is neither dramatic nor mechanical, reflects the artist’s diligence in the construction of his works. “We are no longer dealing with ideal geometric figures or their neoconcrete contortions, but rather with a geometry of things happening, now inseparable from an intense (and, entre nous, never seen before) chromatic irradiation. The painting crackles on the surface only to assert its agitated nature,” he concludes.
Sued’s vigor and vitality also claim our attention. As he approaches his 91st birthday, the artist did not for a moment shy away from painting large-scale canvases close to two meters tall, after a long period in which he had devoted himself exclusively to small formats. “The present exhibit, consisting only of large format works, breathes these same healthy airs. The palette of this veteran and outstanding colorist shuttles between deep blacks and reds verging on strident, always exuding a sentiment of unshakable confidence in timing, actually, in life’s own timing,” as Brito explains.
About the artist
Eduardo Sued (Rio de Janeiro, born 1925) Painter, printmaker, illustrator, draftsman, vitralist and teacher. He graduated from Rio de Janeiro’s Escola Nacional de Engenharia, in 1948. The following year he studied drawing and painting with Henrique Boese (1897 - 1982). From 1950 to 1951, he worked as a draftsman in the office of architect Oscar Niemeyer (born 1907). In 1951, he went to Paris, where he attended the academies La Grande Chaumière and Julian. During his stay in the French capital, he came into contact with the works of Pablo Picasso (1881 - 1973), Joan Miró (1893 - 1983), Henri Matisse (1869 - 1954) and Georges Braque (1882 - 1963). He returned to Rio de Janeiro in 1953, where he attended the studio of Iberê Camargo (1914 - 1994) to study printmaking, and later became his assistant. He taught drawing and painting at the Escolinha de Arte do Brasil in 1956, and the next year moved to São Paulo, where he gave lessons in drawing, painting and printmaking at the Fundação Armando Álvares Penteado (FAAP), from 1958 to 1963. In 1964, he went back to live in Rio de Janeiro and published the album of etchings, 25 Gravuras (’25 Prints’). He did not associate with any movements, keeping his distance from the debates of the period. His career underwent a brief phase geared towards figurativism, but he then turned to geometric abstraction. In the 1970’s, he moved towards constructivist approaches, developing his work based on reflections of Piet Mondrian (1872 - 1944) and Bauhaus. From 1974 to 1980, he gave classes in printmaking at the Museu de Arte Moderna in Rio de Janeiro (MAM/RJ).