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The Neo-Concrete Movement (1959–1961) was a Brazilian art movement, a group that splintered off from the larger Concrete Art movement prevalent in Latin America and in other parts of the world. The Neo-Concretes emerged from Rio de Janeiro’s Grupo Frente. They rejected the pure rationalist approach of concrete art and embraced more ...
Grupo Ruptura was created by a collection of artists who sought to advance modern art in Brazil in the 1950s. Together, they held an exhibition entitled Ruptura at the São Paulo Museum of Modern Art in 1952. The group embraced concrete art as a break from traditional naturalistic painting popular in Brazil at the time. Grupo Ruptura's works ...
Around the 1960s, the so-called "modernist" art movements started giving way to most contemporary means of expression, such as appropriation, political art, Conceptual art and Pop. Right at the turn of the decade, some Brazilian Concrete artists began ditching the traditional "strictness" of concrete art in favor of a more phenomenological ...
Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time.
Lygia Pape (7 April 1927 – 3 May 2004) was a Brazilian visual artist, sculptor, engraver, and filmmaker, who was a key figure in the Concrete movement and a later co-founder of the Neo-Concrete Movement in Brazil during the 1950s and 1960s. [1]
The movement of Concrete art pushed them towards Neo- Concrete art. Each member brought a different aspect to the group as a whole. They got together in museums as the MAM Museu de Arte Moderna. They were under the leadership of Ivan Serpa. Ivan started the group in 1952. The group pushed for Neo Concrete art, which was described in the overview.
The Neo-Concrete Manifesto [2] was written in 1959 by Gullar and begins: . We use the term "neo-concrete" to differentiate ourselves from those committed to non-figurative "geometric" art (neoplasticism, constructivism, suprematism, the school of Ulm) and particularly the kind of concrete art that is influenced by a dangerously acute rationalism.
The Tropicalismo Movement was a creative and artistic movement that began in Brazil towards the end of the 1960s. Oiticica played a huge role in defining the movement. The Movement emphasized music and art meant to celebrate Brazilian culture and identity. [12]