A royal letter of Nov 20 1800 by John VI of Portugal established the Aula Prática de Desenho e Figura in Rio de Janeiro. It was the first institution in Brazil systematically dedicated to teaching the arts. During colonial times, the arts were mainly of religious or utilitarian nature and were learnt in a system of apprenticeship.
The Decree of Aug 12, 1816 created the Escola Real de Ciências, Artes e Ofícios (Royal School of Sciences, Arts and Crafts), which established an official education in the fine arts. Then it was renamed as the Academia Imperial de Belas Artes (Imperial Academy of Fine Arts), instituting a system of artistic education that would greatly influence the development of Brazilian art.
On Nov 8 1890, the old Imperial Academy was transformed into the Escola Nacional de Belas Artes (National School of Fine Arts). In 1931, the School joined the University of Rio de Janeiro, the current Federal University of Rio de Janeiro.
Antônio Diogo da Silva Parreiras was a Brazilian painter, designer and illustrator.
Jean-Baptiste Debret was a French painter, who produced many valuable lithographs depicting the people of Brazil. Debret won the second prize at the 1798 Salon des Beaux Arts.
The French Artistic Mission in Brazil was a group of French artists and architects that came to Rio de Janeiro, then the capital city of the United Kingdom of Portugal, Brazil and the Algarves, in March 1816, under the auspices of the royal court of Portugal, which had been transferred to Brazil since 1808 due to Portugal's invasion by Napoleon Bonaparte. The Mission, led by Joachim Lebreton, had the mission of establishing the Escola Real de Ciências, Artes e Ofícios, which later became the Escola Nacional de Belas Artes.
Affonso Eduardo Reidy was a Brazilian architect. He was the son of an English father and a Brazilian mother. Reidy entered the Escola Nacional de Belas Artes in Rio de Janeiro at age 17. He apprenticed with the French urban planner Alfred Agache (1875-1959) during his studies. Reidy graduated and became an architect in 1930. Lúcio Costa appointed him as a teaching assistant to the architect Gregori Warchavchik (1896-1972) at the Escola Nacional de Belas Artes in the same year.
The Museu Nacional de Belas Artes is a national art museum located in the city of Rio de Janeiro, Brazil. The museum, officially established in 1937 by the initiative of education minister Gustavo Capanema, was inaugurated in 1938 by President Getúlio Vargas. The museum collection, on the other hand, takes its rise in the transfer of the Portuguese Court to Brazil in the early 19th century, when King John VI brought along with him part of the Portuguese Royal Collection. This art collection stayed in Brazil after the King's return to Europe and became the core collection of the National 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.
The creation of art in the geographic area now known as Brazil begins with the earliest records of its human habitation. The original inhabitants of the land, pre-Columbian Indigenous or Natives peoples, produced various forms of art; specific cultures like the Marajoara left sophisticated painted pottery. This area was colonized by Portugal in the 16th century and given the modern name of Brazil. Brazilian art is most commonly used as an umbrella term for art created in this region post Portuguese colonization.
Georgina de Albuquerque was a Brazilian Impressionist painter and teacher. She was known for her interest in female subjects. Her husband Lucílio was a noted painter in his own right and the two are strongly associated with each other.
Rodolfo Amoedo was a Brazilian painter, designer and decorator.
Eliseu Visconti, born Eliseo d'Angelo Visconti was an Italian-born Brazilian painter, cartoonist, and teacher. He is considered one of the very few impressionist painters of Brazil. He is considered the initiator of the art nouveau in Brazil.
The roots of Brazilian sculpture have been traced back to the late 16th century, emerging soon after the first settlements in the newly discovered land. Through the following century, most of the sculpture in Brazil was brought from Portugal and displayed Baroque features. The Baroque style would flourish within the religious culture of the country and would remain predominant until the first decades of the 19th century. In the 19th century, sculptural activity decreased, but it later revived when both the government and the public took a new interest in the art. Modernism fomented a period of intense research into a new language of sculpture, with great achievements, and the contemporary sculpture of Brazil enjoys worldwide respect.
Carlota de Camargo Nascimento (Loty) (October 7, 1904 – July 2, 1974) was a Brazilian sculptor and poet. She signed her works as Loty. Loty was one of the first female sculptors in Brazil.
Brazilian Academic art was a major art style in Brazil from the early 19th century to the early 20th century, based on European academic art and produced on official institutions of professional art education.
Emil Bauch was a German painter, lithographer and teacher who came to reside in the city of Rio de Janeiro. He painted panoramic city scenes and portraits, as well as some views of Recife and Salvador. His landscapes are conspicuous by his close observation of all the details and the intense variety of motifs of his palette. His works have all but disappeared in the shadow of paintings created by other artists during the second half of the nineteenth century in Brazil.
Henrique Bernardelli was a Brazilian painter.
The Imperial Academy of Fine Arts was an institution of higher learning in the arts in Rio de Janeiro, Brazil, established by King João VI. Despite facing many initial difficulties, the Academy was established and took its place at the forefront of Brazilian arts education in the second half of the nineteenth century. The Academy became the center of the diffusion of new aesthetic trends and the teaching of modern artistic techniques. It eventually became one of the principal arts institutions under the patronage of Emperor Dom Pedro II. With the Proclamation of the Republic, it became known as the National School of Fine Arts. It became extinct as an independent institution in 1931, when it was absorbed by the Federal University of Rio de Janeiro (UFRJ) and became known as the UFRJ School of Fine Arts, which still operates today.
Arthur Timótheo da Costa was an Afro-Brazilian painter and designer.
Modesto Brocos y Gómez was a Spanish-Brazilian painter and engraver.
Belmiro Barbosa de Almeida was a Brazilian painter, illustrator, sculptor and caricaturist.
Amelia Amorim Toledo was a Brazilian sculptor, painter, draftsman and designer. With a career that expanded over fifty years, Toledo explored multiple artistic languages, techniques, materials, and production methods. She is considered to be one of the pioneers of Brazilian contemporary art.
Oscar Pereira da Silva was a Brazilian painter, draftsman, designer, and instructor. He was active from the end of the 19th to the mid-20th century. He is noted for his depictions of historical events in Brazil, but also completed numerous portraits, religious works, genre scenes, still lifes, and landscapes. He "paid no attention to Brazilian folk tradition" and painted in an "antique style." After a period of study in France, he pursued a lucrative career in São Paulo, where his works are displayed at the Pinacoteca do Estado de São Paulo and the Museu do Ipiranga.
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