João Câmara

João Câmara Filho was born in the city of João Pessoa, in the Brazilian state of Paraíba, in 1944. He had his first contact with visual arts at 16 years old, in the Federal University of Pernambuco School of Fine Arts, and, since them, didn’t stop painting.

He took part in the reviving of the Modern Art Society of Recife (SAMR) and in the setting up of the art gallery and the collective studio of the Ribera Market in Olinda, the Atelier + 10 , also in Olinda, and the Guaianases Workshop on Art Print, in Recife.

He created three theme series: Scenes of Brazilian Life (10 paintings and 100 litographs), Ten Love Affairs and a Painting by Câmara (several litographs, a triptych, 10 paintings, 70 litographs, 22 assemblages and 3 objects) and Two Cities (38 paintings and 18 objects). Besides the three series, he has produced a great number of individual works.

He has had his work exhibited in both collective and individual shows in Brazil and abroad. His works are exhibited in Brazilian and foreign museums and in public and private collections. He has also contributed to newspapers and magazines dedicated to the fine arts, and has published several books about his work.

João Câmara lives and works in Olinda, Pernambuco. His private collection, the documentation of his works and his current projects may be visited, by appointment, in his technical storage in the nearby city of Recife.



João Câmara Filho is born in João Pessoa, Paraíba.  Son of João Landelino Dornelas  Câmara Neto e Noêmia de Araújo Câmara.  His father, a public servant, was from Pernambuco, a public servant, who loved literature and wrote poetry. His mother, a Paraiban from the city of Itabaiana, was also a public servant.  They married in 1930 and had two sons, Divanise and Leônidas, his older brothers.During the Second World War, the family moved to João  Pessoa, where João Câmara spent his childhood up to his seventh year.  He learned to read in a school run by the Sisters of Lourdes and in another private school.

João and his family moved to Rio de Janeiro and Niterói where he studied at the Marília Matoso primary school.  He lived in Rio de Janeiro until 1954.

In Rio de Janeiro, he witnessed the tanks in the streets on the day that the president of the country, Getúlio Vargas,  committed suicide.That same year the family returned to the Northeast, setting up house in Recife, where João had the rest of his primary and secondary education in the Salesian and Nóbrega schools.  He began to design caricatures during this time and later frequent visit the home of the painter José Tavares, where he was to receive his first painting lessons.

At the same time he was studying at the Nóbrega Secondary School, the artist stood for the admission examinations at the School of Fine Arts Course at the Federal University of Pernambuco.  There he studied under Laerte Baldini and Fernando Barreto.  He also studied for the admission examinations for the Medical School, but decided not to take the exam, preferring to go into Psychology.

He set up his first studio in a rooming house on João de Barros Street in Recife.  He was awarded his first prize for painting and a second place for design at the Belo Horizonte University Show, as well as first place for painting in the State of Pernambuco show.  He participated in the Second Panoramic Show: “Fifty Years of Painting in Pernambuco”, held at the Art Gallery of Recife. He began to publish articles about art in the Cultural Supplement of the local newspaper, the Diário de Pernambuco.

He participated in the showing, “Artists of the Northeast”, organized by Lina Bo Bardi, at the Museum of Modern Art in Salvador, capitol city of the state of Bahia.  While in Bahia, he audited classes in woodblock printing given by Henrique Oswald at the School of Fine Arts, under the direction of Emanoel Araújo.  He undertook his first individual showing of designs at the Gallery of Contemporary Art at the University of Paraíba.  He began to publish a column on arts in general in the newspaper, Última Hora, in Recife, and to broadcast on the University of Pernambuco radio station.  He worked with other artists to revive the Modern Art Society of Recife  (SAMR) and was elected president.

He began to study Applied Psychology at the Catholic University of Pernambuco, where he graduated in 1968.  He was awarded another prize at the Pernambuco Show, with an engraving.  He put on an individual show with designs and engravings at the Rozemblit Galary in Recife.  He started the Ribeira Collective Studio in Olinda, with Adão Pinheiro, José Tavares and Guita Charifker.

At an exhibition at the Law School of the Federal University of Pernambuco, he, as well as Wellington Virgulino and Alves Dias, had one of his works seized by the political police who said that it was “offensive to religion, to the customs of the Revolution, and to democratic institutions”.  He participated in the showing “Six Pernambucan Artists” at the Museum of Modern Art of the state of Rio Grande do Sul in the capital city of Porto Alegre.

At the First Biennial of Bahia, in Salvador, he was awarded the acquisition prize.  He was part of the Brazilian delegation to the Third Biennial in Córdoba, Argentina, and received the prize sponsored by the Cordoban Chamber of Commerce.  In the jury were Alfred Barr, Amold Bode, Sam Hunter, Carlos Raul Villanueva and Aldo Peregrini.  Together with Anchises, Delano and Maria Carmen, he started Atelier 10 in Olinda.  He exhibited in the Arte Conciliação and Ônix Galleries in Recife.  In the local newspaper, the Diário de Pernambuco, he published a series of texts entitled Notas para Antes e Depois do Quadro (I, II, III)  [Notes for before and after the painting (I, II, III)].  His studio was in the Campo Grande area of Recife.

He won the Grand Prize at the Fourth National Salon of Contemporary Art in Brasilia with the triptych Exposição e Motivos da Violência, [Exposition and Motives of Violence], which was also shut down by the political police.  Mário Pedrosa, Clarival do Prado Valladares, Walter Zanini, Mário Barata e Frederico Morais participated in the jury.  He participated in the showing “Oficina Pernambucana” at the Museum of Contemporary Art at the University of São Paulo.  He lectured painting on an extension art course at the Federal University of Paraiba, an activity which he continued until 1970.  He published a series of texts entitled Notas para Antes e Depois do Quadro (IV, V, VI). [Notes for Before and After the painting (IV, V, VI)].

He graduated in Psychology from the Catholic University of Pernambuco.  With Gilvan Samico he participated in the Sala Especial at the Second Biennial of Bahia.  He put on an individual show at the Pernambucan Tourist Board Gallery.  He was awarded First Prize at the Forth Salon of Modern Art in the capitol of Brazil, the Federal District of Brasília.  He began to write the column Arte e Outras [Art and Others] for the Diário de Pernambuco.

In São Paulo, He participated in the Tenth Biennial, in the Panorama of Recent Brazilian Art, in the SVIII National Salon of Modern Art in Rio Janeiro where he was awarded the Prêmio de Isenção do Júri  Prize, and in the IV Preview of the Paris Bienniel, as well as having an exhibition in the Gallery of contemporary furniture in Recife.

Individual showing at the Bonino Gallery in Rio de Janeiro.  Participation in the XIX National Salon of Modern Art and the showing “Contemporary Brazilian Art”, sponsored by the Bank of Boston at the Museum of Modern Art in Rio de Janeiro.  His time during this year was mainly spent on lithography, resulting in an album LITO 70, with a text by Gastão de Holanda, edited by Minigraf, Recife.

Câmara participated in the following shows:  “XX National Modern Art Salon”, in Rio de Janeiro; “Ten National Artists”,  in the Paço das Artes, São Paulo; and in the “IX Jornal de Brasil Art Collection”(JB/Art Collection) in the Museum of Modern Art in Rio de Janeiro.
He married Maria Adelaide Didier do Rego Maciel.

Individual shows at the Degrau Gallery in Recife and  Ipanema Gallery in São Paulo. Joint exhibition with Gilvan Samico and Guilherme de Faria in the House in Olinda.  Participation in the show “Brazilian Art Today – 50 years”.  Participation in the Collectio Gallery, São Paulo, organized by Roberto Pontual, and in the “XXI National Modern Art Salon” in Rio de Janeiro as well as in “Gifts and Recent Acquisitions” in the Contemporary Art Museum of São Paulo.  He moved to Olinda where he established his residence and set up a studio.

Individual show at the Bonino Gallery in Rio de Janeiro.  Participation in the “Panorama of Recent Brazilian Art” in São Paulo and in the collective show “The Face and the Work” in the IBEU Gallery, Rio de Janeiro, organized by Marc Berkowitz.  Received an official invitation from Rubem Ricupero to represent Brazil in the XII Venice Biennial, but is not able to to participate.

Participation in the show “Renewal of the Figure” in the Maison de France in Rio de Janeiro.  Individual showing at the Ipanema Gallery, where the two first works in the series Cenas da Vida Brasileira 1930/1954, quadros 1937 e 1930 [Scenes of Brazilian Life 1930/1954, works 1937 and 1930].  Initiation of the lithographic works from Cenas da Vida Brasileira, for which, with the help of Franklin Delano, he sets up presses and equipment in the studio in Campo Grande.  Here, he meets with other artists interested in lithography and founds the Guaianases Engraving Workshop S/C, which is latter moved to the Ribeira Market in Olinda.  The Guaianases Engraving Workshop lasted until 1998, when all the material was donated to the Art Theory Department of the Federal University of Pernambuco.

He is invited to take part in the travelling show “Brazilian Art – Document/Debate” with twelve other artists from the X Contemporary Art Salon of Campinas, Campinas, São Paulo, and participate in debates in São Paulo, Rio de Janeiro, Belo Horizonte, and Brasilia.
He is invited to participate in the Medellin/Coltejer (Colombia) Biennial.  Fernando Monteiro prepares a cinematographic documentary, Simetria Terrível ou Mecânica de João Câmara [Fearful Symmetry or Mechanic of João Câmara].

The series Cenas da Vida Brasileira – 1930/1954 [Scenes of Brazilian Life – 1930/1954], a group of ten panels and one hundred lithographs, is displayed at the Museum of Modern Art in Rio de Janeiro and in the Art Museum of São Paulo.  There is an individual showing in the Bonino Gallery, Rio de Janeiro.  Frederico Morais finishes an audio-visual presentation (composed of 161 slides) based on the Cenas, which forms part of the exposition and also goes to the Art Fair in Bologna, Italy.  Participation in the II Biennial of Graphic Art in Cali, Colombia, and the V Graphic Art Biennial in Florence, Italy, as well as a show of “20 Brazilian artists”at the Arts and Communication Centre of Buenos Aires, all of these with the lithographs.  Is awarded the prize for the best showing of the year by the Paulist Association of Art Critics.  Produces lithographs for the book by Dante Alighieri,  Seis Cantos do Paraíso [Six Tales from Paradise], in the translation of Harold de Campos, Editor Fontana, Rio de Janeiro.

Begins the production of source book of lithographs for the series Dez Casos de Amor e Uma Pintura de Câmara [Ten Love Affairs and a Painting by Câmara].

Individual showing in the Juan Martin Gallery, Mexico, with 100 lithographs of Cenas da Vida Brasileira.  Beginning of the triptych, Uma Pintura de Câmara [A Painting by Câmara]
Birth of his daughter, Adriana.

Transfer of the source-book of lithographs into panels.  Participation in the XV International São Paulo Biennial with O Baile da Ilha Fiscal, [The Fiscal Island Ball], a group containing one panel and five lithographs from the series  A Caravana Uiva [The Howling Caravan] Participated in the XI National Art Salon in Belo Horizonte, which had the theme “Referential Figuration”.  Exposition, with the Guaianases Workshop, at the Gravura Brasileira in Rio de Janeiro.  Production of a film-performance, Um Tiro na Questão [A shot at the Question].

Birth of his daughter, Joana.

Participation in the show “Hilton Outstanding Paintings”, which travelled to various Brazilian cities, and in the II Ibero-American Biennial of Art in Mexico City.  Exhibition of fifty lithographs in the Picture Gallery of the Art Institute of the Federal University of Rio Grande do Sul.  The painting O Baile da Ilha Fiscal is included in the Window South Collection in California, U.S.A.  Other works are acquired by various institutions: the Museum of Contemporary Art of Pernambuco, the National Fine Arts Museum in Rio de Janeiro, the Art Museum of Toronto, Canada, the Picture Gallery of the State of São Paulo, the Autonomous National University of Mexico, the Casa da Culture of Junchitán, Oxaca, Mexico, and the Art Museum of Belo Horizonte.  The Series Cenas da Vida Brasileira is acquired by the City of Recife and donated to the Recife City Cultural Foundation.  Today it is on permanent display at the Aloísio Magalhães Museum of Modern Art in Recife.  The book Cenas da Vida Brasileira is published.

Production of the diptych Carisma/Quaresma  [Charisma/Lent], with the ArchBishop of Recife/Olinda, Dom Helder Câmara as the theme.  Individual showing at the Bonino Gallery in Rio de Janeiro.  Invited participant in the Forum on Contemporary Art, Mexico, where he presented a text entited Historical Representation and Critical Expression.  Invited by Oscar Niemeyer to produce the internal panel in the Tiradentes Monument in Brasilia.  The panel, entitled Inconfidência Mineira [The name of the revolutionary movement against the Portuguese in the state of Minas Gerais] was finally completed for the Brazilian national Pantheon, inaugurated in 1986.

Continued work on the panels and lithographs for the series Dez Casos de Amor e Uma Pintura de Câmara.  Participation in the showing “Universo do Futebol” [The World of Soccer] in the Museum of Modern Art in Rio and in the Arcervo Gallery, and “Salão do Futebol” [Indoor Soccer] in the Arts Palace in Belo Horizonte.  Part of the selection and prize committees of the Art Salons in Fortaleza and Belo Horizonte.  Invited participant for the National Symposium on the Arts, in Recife, presenting the text Suggestions for a National Program on Art Material at the Professional Level, as he had been chosen by FUNARTE [Recife Art Foundation] to set up a study committee on this theme.  Chosen to represent Brazil in a painting competition for the Bolivar Bicentenary in Venezuela.  Birth of his son, João.

Finished the series Dez Casos de Amor e Uma Pintura de Câmara, later exhibited at the Museum of Modern Art in Rio de Janeiro and the Museum of Contemporary Art at the University of São Paulo.  Publication of a book under this title, with text by Frederico Morais, published by the Roberto Marinho Foundation.  Invited by the United States Department of State to travel to the United States and visit various institutions dedicated to etching, including the Tamarind Institute in Albuquerque, New Mexico.  Travel to Cuba, where he had a showing in the Casa das Americas, in Havana, with 50 lithographs from the series Cenas da Vida Brasileira.

The series of paintings Dez Casos de Amor e Uma Pintura de Câmara was shown in a Gallery in São Paulo. The series Dez Casos de Amor was shown in the Museum of Contemporary Art in Olinda, Pernambuco, in the Art Museum of Bahia in Salvador, and in the Art Palace in Belo Horizonte. Participation in the following shows: “Tradition and Rupture” of the Biennial Foundation of São Paulo; “Expressionism in Brazil: Heritage and Affinities”, the 18th International Biennial in São Paulo; “Six Decades of Modern Art”, in the Roberto Marinho collection in the Paço Imperial in Rio de Janeiro.  Produced a panel for the Globo Organization to celebrate the 80th birthday of the journalist, Roberto Marinho.

Participation in the II Seminary on the Improvement of Materials sponsored by FUNARTE and the First Cultural Seminar in Brazilia, promoted by the Ministry of Culture.  Participation in the exhibit “Brazilianism and Independence”of the Ministry of Culture and the São Paulo Gallery in Brazilia.  Began the panel Inconfidência Mineira, at the invitation of the architect Oscar Niemeyer, author of the National Pantheon of Brasilia project.

His father passed away.
He finished the Inconfidência Mineira panel for the National Pantheon of Brasilia.  Exhibited studies: designs, paintings, lithographs of the panel Inconfidência Mineira in the AM-Niemeyer Gallery in Rio de Janeiro.  Participates in the First show “Christian Dior of Contemporary Art” in the Paço Imperial in Rio de Janeiro.  Exhibit of the the panel O Olho de Meu Pai Sobre a Cidade [My Father’s Eye over the City] in the exposition “Panels”at Artespaco Art Gallery, Recife and at the II Biennial in Havana, Cuba.

Launching of the lithographic album O Olho de Meu Pai Sobre a Cidade in Recife at the Artespaco Gallery and at the Montesanti Galleries in Rio de Janeiro and São Paulo.  Coordinator of the exhibit “Lithograph-Guaianases Engraving Workshop, Olinda” at the Álvaro Conde Art Gallery in Vitória in the state of Espírito Santo, where he participated both as an exhibitor and a speaker.  Participation in the show “The Collector”, a commemoration of the book Entre Dois Séculos – Arte Brasileira do Século XX na Coléção Gilberto Chateubriand [Between two Centuries: Brazilian Art in the 20th Century in the Gilberto Chateaubriand Collection} by Roberto Pontual, at the Museum of Modern Art (MAM) in Rio de Janeiro.  Participated in the exhibit “Modernidade – Arte Brasileira do Século XX”  [Modernity: Brazilian Art in the 20th Century] in the Modern Art Museum of the City of Paris, France.  Begins the series Duas Cidades [Two Cities].  Is awarded the Officer Degree of the Medal of Distinction of the Order of Rio Branco.

Participated in shows “Modernity – Brazilian Art in the 20th Century” at the Modern Art Museum of São Paulo and Le Dejeuner sur l’Art – Manet no Brasil Le Dejeuner sur l’Art  at the Visual Arts School, Lage Park in Rio de Janeiro.  Retrospective show (92 works, both paintings and engravings) at the Staatliche Kunsthalle in Berlin, Germany.  Lithographic exhibition at the Museum of Contemporary Art in Paraná and a dedicated room at the VIIth Etching Show in Curitiba.  Prize for the  best poster  at the 9th Latin American Film and Television Festival in Havana, Cuba, for the poster created for Sylvio Back’s  film Guerra do Brasil [Brazilian war].  Participation in the exhibition “Rhythms and Forms – Brazilian Contemporary art” at SESC (School for Commerce) at Pompéia, São Paulo, and the following year in Copenhagen, Denmark.

Part of the exhibition “Rhythms and Forms – Contemporary Brazilian Art” at the Charlottenborg Museum in Copenhagen, Denmark.  Participation with lithographs, das mostras: “Luzes da República”[Lights of the Republic]  at the Federal University of Minas Gerais in Belo Horizante, “Cada Cabeça Uma Sentença” [Each head a sentence – in which sense: phrase or judicial?] at the Federal University of Juiz de For a, and “Gravura Brasileira – Quatro Temas” [Brazilian engraving – Four Themes]; “A Gravura Social” [The Social Etching”, at the School of Visual Arts in Lage Park, Rio de Janeiro.  Part of the Exhibition “8 Artists Paint the French Revolution” at the Casa Cultura Laura Alvim, in Rio de Janeiro.  Exhibited the triptych O Tango em Maracorday [The Tango in Maracorday] and 20 paintings on paper, entitled Os Papéis do Amigo do Povo, [The Roles of a Friend of the People], at the Galeria Multiarte, in Fortaleza, Ceará.

Participation in the exhibits “Brasília, 20 Anos” [30 years of Brasilia] at the Gallery Performance in Brasilia, and “Brasil-Japão de Arte Contemporânea” [Contemporary art Brazil-Japan], in the cities of Tokyo, Sapporo and Atomi in Japan, sponsored by the Mokiti Okada Association of Brazil – MOA – and shown also at the National Museum of Belles Artes in Rio de Janeiro, in the Salão Negro at the National Congress in Brasilia, and at the Museum of Art in São Paulo.  Individual exhibitions in the São Paulo Gallery, where he showed the group of paintings Gêneros  including two works from the series Duas Cidades [Two Cities] and at the Poli Gallery in Berlin.  Participation in ECO-90 at the Museum of Modern Art in Rio de Janeiro.  Recipient of the Paulist Association of Art Critics Prize for the exhibition Gêneros.

Individual exhibition of Designs, entitled “Riscos” [Scratches] sponsored by the Joaqium Nabuco Foundation and the Historical and Artistic Patrimony Foundation of Pernambuco, at Fundaj in Recife.  Awarded the Lula Cardoso Ayres diploma by the Pernambuco State Council for Culture.

Part of the show “As Artes do Poder” [The Arts of Power], at the Paço Imperial in Riod e Janeiro.  Participation in Art Fair in Miami, Florida in the United states and in the exhibit “Representação – Presenças Decisivas” [Representation – Decisive Presences] at the Paço das Artes in São Paulo.

Individual exhibition at the Latin America House in Paris, France.  Participation in the showing “Xilogravura: do Cordel à Galeria” [Xilogravure: from Cordel to Gallery] at the Cultural Space Foundaton of Paraiba in João Pessoa and in the Museum of Art in São Paulo.

Individual exhibition: “João Câmara – Além das Circunstâncias” [João Câmara – Beyond Circumstances] at SESC Pompéia, São Paulo anda t the Charlottenborg Museum in Copenhagen, Denmark.  Also, showings of lithographs a in various Danish cities.  Individual showing at the Kulturhaus Altes Rathaus Gallery in Potsdam, Germany.  Exhibition Cenas da Vida Brasileira  [Scenes of Brazilian Life] (Paintings) in the Henie – Onstad Kunstsenter, in Oslo, Norway.  Reinstallation of the restored work Exposição e Motivos da Violência [Exposition and Motives for Violence] in the Art Museum of Brasília and there in Brasília also held a showing of his drawings from the 60’s.  Participation in the exhibit “Os Novos Viajantes” [The New Travellers], at SESC Pompeia, São Paulo, the showing at the inauguration of the Plêiade Art Gallery in Recife, and in the exhibit “Bienal Brasil Séc XX” [Brazilian Biennial in the 20th Century] at the Biennial Foundation in São Paulo.

Participation in the collective showings: “Brazil Brazil” at the Grand Hyatt Hotel in Hong Kong, “Além da Taprobana” [Beyond Taprobana], a traveling exhibit in Portugal and at the Modern Art Museum in Rio de Janeiro.  Individual showing at the Dan Gallery in São Paulo; at MAC in São Paulo with the show “Cenas em Preto e Branco” [Scenes in Black and White] (interpretations on canvas of lithographs from the series Cenas da Vida Brasileira [Scenes of Brazilian Life].  Book launch, João Câmara by Almerinda da Silva Lopes, as part of the collection Brazilian Artists , published by the University of São Paulo.  The Guainases Engraving Workshop, of which Câmara was a founding member, had its equipment and archives integrated with the Theory of Art course of the Engraving Teaching and Research Laboratory of the Federal University of Pernambuco. Awarded the Personality of the Year prize by the Press Association of Pernambuco and the Joaquim Nabuco Medal by the Legislative Assembly of Pernambuco.  Also awarded the following commendations:  Capibaribe Order of Merit, by the City of Recife, Cavalheiro Degree; Order of Rio Branco, Commendador Degree.

Painting exhibition in the Lucio Rodrigues Gallery, Miami in the United States.  Special Room at the XV Art of the State of Pará, Palácio Lauro Sodré, in Belem.  Participation in the showing “Contemporary Brazilian Art” in  the cities of Leverkusen and Dormagen in Germany, and in the Museum of Modern Art in São Paulo.  Showing Escenas de la Vida Brasileña [Scenes of Brazilian Life] at the Embassy of Brazil Cultural Center in Assunção, Paraguay.  Establishment, as part of the Contemporary Art Institute of the Federal University of Pernambuco, Recife,  of a homepage including a virtual exhibit of Câmara’s work on the Internet.  Awarded the Medal of Merit by the Joaquim Nabuco Foundation.

Participation in the exhibitions “First Mercosul Biennial” in Porto Alegre; “Brasilidade – Coletânea de Artistas Brasileiros” [Brazilian-ness – Collection of Brazilian Artists] in the Marina Potrich Art Gallery in Goiânia, Goiás; and Recent Paintings in the Neuhoff Gallery, New York Unived States.  Began publishing the column Digital Images in the Diário de Pernambuco, which he continues to do until 1999.

Publication in the showing “Figurações, 30 anos na Arte Brasileira” [Figurations / Shapes: 30 years of Brazilian Art] at the Contemporary Art Museum in São Paulo.  Exhibition of a series of painting and lithographs, Cenas da Vida Brasileira 1930/1954, [Scenes of Brazilian Life 1930/1954], at the Modern Art Museum in Recife, the series which the cultural foundation of the City of Recife had purchased to be part of that museum’s collection.  Awarded the title “Citizen of Recife” by the Municipal Legislative Chamber, and also “Citizen of Pernambuco” by the Legislative Assembly of the State of Pernambuco.

Publication of the book Originais, Modelos e Réplicas [Originals, Models and Copies] with a  postscript by Ferreira Gullar.  Participation in the “Eletromídia da Arte” [The electro-media of Art] – third virtual exhibit in the Casa Brasileira Museum in São Paulo; in the II Great Collective of Brazilian Art at the Marina Potrich Gallery in Goania; in the “Imagens da Liberdade – Inconfidência Mineira” [Images of Liberty – the Minas Uprising], in the Clovis Salgado Foundation, Minas Gerais; and in “Obras em Destaque” [Notable Works] at the Dan Gallery in São Paulo.  Awarded the title of “Honory Citizen”of Recife.  Awarded Honorable Mention in the VI International Painting Biennial in Cuenca, Equador.  Invited by José Nêumanne Pinto, Editor of the Jornal da Tarde, to publish a column, Arte pela Arte [ Art for Art’s Sake], in that newspaper.

His mother passed away.
Participation in the exhibits: “Almeida Junior: Um Artista Revisitado” [Revisiting the Artist Almeida Junior], at the Pinacoteca of the State of São Paulo and in the “Mostra do Redescobrimento: Brasil 500″ [Rediscovery showing – Brazil after 500 years] – Carta de Pero Vaz de Caminha [Letter from Pero Vaz de Caminha], sponsored by the Brazil 500 Years Visual Arts Association of São Paulo.  The documentary João Câmara directed by Moacyr de Oliveira, 35 mm, 30 minutes, is released.

Finished the series Duas Cidades [Two Cities],  which he had been working on since 1987.    Awarded the Order of Cultural Merit, Commendador Degree, by the President of the Republic of Brazil.

Exhibition of the series Duas Cidades in the Picture Gallery of the State of São Paulo, and in the National Fine Arts Museum in Rio de Janeiro.  Participation in the 45th Salon of the State of Pernambuco, on the site of the former Tacaruna Factory.

The work Auto-Retrato [Self Portrait] from the series Duas Cidades [Two Cities] is purchased for the portrait collection by the Galleria degli Uffizi in Florence, Italy.  The artist travels to Italy to deliver the work, together with the Brazilian Cultural Minister, Gilberto Gil.   Creation of large-scale works: Pequeno Teatro [The Little Theatre], O Anjo de HM [The Angel of HM] and A Fronteira da Dalmácia [The Dalmatian Frontier].  Purchase of the house in the neighborhood of Graças, Recife, which has previously been owned by the writers José Antônio Gonsalves de Mello and Renato Carneiro Campos.  Development of a project to store there his personal archives and a cultural agency.  The exhibit Duas Cidades is shown at the State Museum of Pernambuco, at the inauguration of the remodeled  annex. Launching of the book Trilogia [Trilogy] on the same occasion.

Book launching of Trilogia at the Painting Gallary of the State of São Paulo.  Transfer of archives and documentation about his work to the house on Rua das Pernambucanas, 420, in the neighborhood of Graças in Recife.  Completion of the panel Cinco Continentes [Five Continents]  installed at  the Guararapes International Airport in Recife, Pernambuco.  Clarival Prize at Prado, Valladares, year 2004 – “Rise of an artist”- of the Brazilian Art Critic Association.  Exhibition of Duas Cidades [Two Cities] at the Oscar Niemeyer Museum in Curitiba, Parana.

Receives the Clarival Prize at Prado, Valladares,- “Rise of an Artist”- of the Brazilian Art Critic Association, awarded in the year 2004.
Birth of grandchild, João, son of João Câmara Neto and Roberta câmara Ferro Ribeiro de Gusmão.


Works on large pieces with literary themes. Also comments on these pieces in a video. Concludes the second mandate on the Pernambuco State Cultural Council.

2007 / 2008
Participates in group exhibitions in Recife and Sao Paulo. Produces medium-size pieces independent from the ongoing series of literary pieces. Release in Sao Paulo, Recife and Rio de Janeiro of the book João Câmara with text by Weydson Barros Leal, JJCAROL publishing.

Executes the panel Tribute to Celso Furtado for the Order of Economists of Sao Paulo. Begins studies for the panel Commerce for the Sao Paulo Trade Federation. Participates in group shows in Recife. Begins his works on objects and paintings in large formats for a new series based on literary themes.

Concludes and installs the panel Commerce. Writes and publishes 18,250 days on his 50 years of work with painting. Participates in group exhibitions, including exhibition of rare works of Museu de Arte Contemporânea de Pernambuco (MAC) and the exhibition “Novos mundos novos”, by Santander Cultural.

Birth of granddaughter Clarice, daughter of João and Roberta.

Publishes the book Litographs by João Câmara, a collection of his works with engraving.

The book ABISHAG – inevitable guest, fiction written and illustrated by João Câmara, is published. Among other works, continues his work in the series of objects and painting in large formats based on literary themes .


João Câmara

Neighbor to Recife and one of the oldest cities in Brazil, Olinda was founded by Duarte Coelho in 1537.

At the beginning of the Dutch occupation, in 1630, the town was destroyed by fire. When it was reconstructed, it became the capital of the province, now state, of Pernambuco. Today, Olinda is an independent municipality, recognized by UNESCO as a Natural and Cultural Landmark of Humanity.

Since the 60’s, many artists have lived and worked in Olinda.

The painter’s studio, located in Olinda, was designed by the architect Vital Pessoa de Melo.

Critical Essays