Five years ago, a group formed by art historians and critics prepared the catalog of the collection is from the Edson Queiroz Foundation of Fortaleza. Today, 26, starting at 19:00, the two parts of this catalog, published by the institution together with the University of Fortaleza and the Pinakotheke editions, are being launched in São Paulo, at the Instituto Itaú Cultural, with a lecture by the collector and publisher Pedro Corrêa of the lake, entitled An exceptional collection. The superlative is more than just when it comes to a collection of 870 cataloged works covering almost every period of Brazilian history, from the colonial period to the present day. In this collection it is possible to consider both rare works from the 17th century – landscapes by the Dutchman Frans Post and the Flemish baroque Gillis Peters – as sculptures of the contemporary Pernambuco Tunga (1952-2016), passing modernist painters.
Incidentally, the focus of the collection lies with modern artists. There are works by Portinari from international auctions such as family (oil from 1939), a Di Cavalcanti who participated in the 10th Biennial of São Paulo (Female figure with child, from the 1930s) and an Ishmael Nery who has traveled throughout Europe (Overlapping figures, circa 1926), among so many works that were borrowed by the Edson Queiroz Foundation for major exhibitions outside of Ceará. To be in a single example of work that is required by historical exhibitions, it is enough to have the first version (0.75 x 1.05) of The first mass of Brazil, by Victor Meirelles, painted in Europe in 1859 – the largest version (2.70 x 3.57) is located in the National Museum of Fine Arts. The iconic Meirelles screen, reproduced in all textbooks, was the main work of the exhibition commemorating the 500 years of Brazil in the Biennial building (in the year 2000).
If it is dependent on the new president of the Edson Queiroz Foundation, Lenise Queiroz Rocha, who replaced Brother Ayrton, who died last July on July 2, the works will continue to travel throughout Brazil. In Fortaleza they are part of the exhibition From Brasil Land to Global Village, compiled by the critic Denise Mattar, who, until the first half of next year, keeps the dependencies of the University of Fortaleza, maintained by the Foundation. In nine modules the visitor can see, from the 274 exhibited works, the paintings by Frans Post to contemporary artists such as Leonilson, including artists from other centuries, such as Rugendas, Eliseu Visconti, Guignard, Milton Dacosta and Volpi.
This diversity will be maintained in the current management of Lenise, according to the chairman of the Foundation. "Although we focus on the modernists, we can tell the whole history of Brazil through the works of the collection," he notes. "I intend to reinforce the purchase of pre-modernist works, but this is for a second moment, because our priority is currently to build a museum to house the foundation's collection," he says. the development of an architectural project for the institution that is still in 2019.
"We need an area of more than 2000 square meters and we are thinking of a place at the entrance of the Unifor or even beyond, to further democratize access to the collection, because it is now housed in the presbytery of the university. " Espaço Cultural Unifor, founded in 1988 and installed on campus, according to Lenise was small enough to house the exhibitions – and already contained anthological exhibitions by Rembrandt, Rubens and Miró, alongside other European historical artists. "Ayrton has left some guidelines and we have followed the guidelines he has set out," says Lenise. "For example, we organized exhibitions in Lisbon and Rome with 76 modernist works," quotes.
Gathering was one of the passions of chancellor Ayrton Queiroz, who worked in his private collection of Impressionist masters (Renoir), surrealists (Chagall) and modern Brazilians – he honored Ceará's Antonio Bandeira (his first acquisition, at 15-year-old Age). He also had the concern to publicize the art of Ceará in other states, as evidenced by the Raimundo Cela exhibition in 2016 in the faap museum in São Paulo, sponsored by one of Queiroz's family businesses.
The challenge of his successor is now to continue with the daring work of his brother, who has bought the collection of art books by Ciccillo Matarazzo, idealist of the São Paulo Biennale, for the library of the foundation, which has 8,000 people, to enrich. rare volumes dating back to the 15th century The private collection of Chancellor Ayrton Queiroz was not included in the foundation after his death, but most of the artists he chose are represented in the larger collection he has made for the institution.