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| Ismael_Nery | |
|---|---|
| Name | Ismael Nery |
| Birth date | 1900-03-02 |
| Birth place | Belém, Pará, Brazil |
| Death date | 1934-11-06 |
| Death place | Rio de Janeiro, Brazil |
| Nationality | Brazilian |
| Occupation | Painter, Draughtsman, Poet |
| Movement | Surrealism, Expressionism, Modernism |
Ismael_Nery Ismael Nery was a Brazilian painter, draughtsman, and poet associated with early 20th-century modernist movements in Brazil, noted for intimate portraits and enigmatic compositions. He engaged with contemporaries across artistic and literary circles in Belém, Rio de Janeiro, Paris, and São Paulo, creating work that intersected with surrealist, symbolist, and expressionist currents. Nery's practice influenced subsequent generations of Brazilian artists and continues to be studied in relation to Brazilian modernism, queer studies, and transnational avant-garde networks.
Born in Belém, Pará, Nery moved to Rio de Janeiro where he trained amid institutions and figures central to Brazilian culture, studying at academies and attending salons linked to the Escola Nacional de Belas Artes and studios frequented by graduates of the Imperial Academy. His formative years connected him with luminaries such as Mário de Andrade, Tarsila do Amaral, Anita Malfatti, and Oswald de Andrade, while transatlantic influences from Parisian circles exposed him to André Breton, Paul Éluard, Giorgio de Chirico, and Max Ernst. Nery's education intersected with pedagogues and institutions like the Academia Imperial, the Liceu de Artes e Ofícios, and ateliers that counted among their alumni Di Cavalcanti, Lasar Segall, Cândido Portinari, and Anita Malfatti.
Nery's career unfolded in Rio de Janeiro and Paris, participating in exhibitions and intellectual gatherings that linked him to the Semana de Arte Moderna, Liga de Ação Intelectual, and Grupo dos Cinco, while corresponding with figures such as Mário de Andrade, Manuel Bandeira, and Oswald de Andrade. He exhibited works alongside artists including Tarsila do Amaral, Lasar Segall, Almir Mavignier, and Flávio de Carvalho, and his practice dialogued with international artists and movements like Pablo Picasso, Henri Matisse, Salvador Dalí, and Fernand Léger. Critics and curators from institutions such as the Museu Nacional de Belas Artes, Museu de Arte Moderna do Rio de Janeiro, Pinacoteca do Estado de São Paulo, and the Biblioteca Nacional engaged with his oeuvre, even as Nery maintained private salons with poets and intellectuals including Carlos Drummond de Andrade, Joaquim Cardozo, and Manuel Bandeira.
Nery produced portraits, self-portraits, religious motifs, and allegorical scenes that resonate with themes addressed by contemporaries like Tarsila do Amaral, Anita Malfatti, Di Cavalcanti, and Candido Portinari, and evoke symbols found in the poetry of Mário de Andrade, Oswald de Andrade, and Manuel Bandeira. Major pieces reflect dialogues with European models such as Giorgio de Chirico, André Masson, and Alberto Giacometti, and broach motifs comparable to works by Salvador Dalí, Max Ernst, and René Magritte. Recurring themes include identity, corporeality, melancholy, and metaphysical isolation, shared concerns with literary figures like Carlos Drummond de Andrade, Murilo Mendes, Jorge de Lima, and Cecilia Meireles. His small-format oil paintings and works on paper recall techniques employed by Paul Cézanne, Vincent van Gogh, Édouard Manet, and Pablo Picasso, while also engaging the existential registers explored by Franz Kafka, Søren Kierkegaard, and Arthur Schopenhauer.
Nery's intimate circle encompassed poets, critics, and artists such as Mário de Andrade, Manuel Bandeira, Oswald de Andrade, Tarsila do Amaral, Anita Malfatti, and Lasar Segall, and he maintained friendships with intellectuals like Carlos Drummond de Andrade, Joaquim Cardozo, and Murilo Mendes. He married the poet Adalgisa Nery, forming a partnership that linked him to literary networks including Graciliano Ramos, Jorge Amado, Clarice Lispector, and Érico Veríssimo through mutual acquaintances and cultural salons. His personal correspondence and social life intersected with diplomatic and expatriate milieus involving Brazilian expatriates in Paris, ties to institutions like the Brazilian Academy of Letters, and interactions with émigré artists linked to the École de Paris and the Montparnasse community.
Nery's work has been reassessed by scholars, curators, and critics from institutions such as the Museu de Arte Moderna do Rio de Janeiro, Pinacoteca do Estado de São Paulo, Museu Nacional de Belas Artes, Fundação Nacional de Artes, and Casa de Rui Barbosa, and his influence is traced in studies alongside figures like Tarsila do Amaral, Anita Malfatti, Di Cavalcanti, and Lasar Segall. Academic research published by historians and critics referencing the Universidade Federal do Rio de Janeiro, Universidade de São Paulo, Fundação Getulio Vargas, and Instituto Moreira Salles has situated Nery within Brazilian modernism, queer historiography, and transnational avant-garde networks connected to Parisian modernists like André Breton and Paul Éluard. Posthumous exhibitions, retrospectives, and catalogues raisonné projects curated by the Museu de Arte Moderna, Pinacoteca, and major galleries have prompted renewed interest from curators at the British Museum, Musée d'Orsay, Museum of Modern Art, and Guggenheim Foundation.
Nery's works have been exhibited in venues including the Museu Nacional de Belas Artes, Museu de Arte Moderna do Rio de Janeiro, Pinacoteca do Estado de São Paulo, Fundação Casa de Rui Barbosa, Instituto Moreira Salles, and Centro Cultural Banco do Brasil, and have entered collections at the Museu de Arte de São Paulo, Museu de Arte de Brasília, and regional museums in Belém and Pará. International institutions and private collections with holdings or loans of works by artists of his generation and milieu include the Museum of Modern Art, Guggenheim Museum, Musée d'Orsay, British Museum, and Fundação Calouste Gulbenkian, while archives containing correspondence and documents are maintained by the Biblioteca Nacional, Arquivo Nacional, and university research centers at the Universidade Federal do Rio de Janeiro and Universidade de São Paulo.
Category:Brazilian painters Category:20th-century painters