List of selected artworks. Maps for the tour in the museum



Fotoforma, Sâo Paulo (Fotoforma, Sâo Paulo)

  • Date: 
    1950 / Posthumous print, 2006
  • Technique: 
    Gelatin silver print on paper
  • Dimensions: 
    35,5 x 29,2 cm
  • Edition/serial number: 
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  • Entry date: 
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  • Long-term loan of Cisneros Fontanals Art Foundation, Miami, 2010
Geraldo de Barros, a pioneer in Brazil’s abstract and concrete art, burst onto the Brazilian culture scene at a time of heated debate surrounding abstraction and the constructive process. The stance of his photographic work, based around abstract research, was in direct opposition to realist photography and its Pictorialist and academic tradition. Along with that of Thomaz Farkas and German Lorca, Barros’ photography is ruled by the idea of breaking away from and rejecting stricter photographic processes, images and mechanisms.
His “photoforms”, as he called these abstract-geometric images (the starting point of which was reality), were often multiple exposures, functioning in the field of vision as an abstract construct, and were the beginning of Concrete Art in Brazilian photography. De Barros pushed the boundaries of the traditional photographic process, through direct intervention on the negative, multiple exposures on the same roll of film, montages and croppings of enlargements that challenged the format of the photograph, thereby approaching formal and experimental research into image construction.

Salvador Nadales