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| José Bernardo Cardoso Júnior - Serra dos Órgãos |
De pai brasileiro, veio para o Brasil com três anos de idade para morar no Rio de Janeiro. Perdeu a família em um naufrágio em 1873. Foi para o seminário São José e depois estudar em Roma, na Pontifícia Universidade Gregoriana. Desistiu de ser padre e escolheu ser professor de latim e francês em Minas Gerais, e, em seguida, inspetor de colégio no Rio de Janeiro. Autodidata, começou a pintar depois de aposentado. Enviou dois trabalhos para o Salão de 1931 - o Salão Revolucionário - da Escola de Belas Artes, que seguia a orientação renovadora de Lúcio Costa. Teria sido nessa ocasião notado pelos modernistas, interessados na recuperação de formas outras de arte. Nesse ano Portinari tinha voltado da Europa, participava do júri do salão e passaria a incentivá-lo. Cardosinho apresentou no Salão uma natureza-morta com perspectiva, composição e uso da cor inteiramente diversos, quer da norma acadêmica, quer da estética das vanguardas do seu tempo. O onorismo delicado da sua pintura rendilhada, nessa natureza-morta, faz refletir num espelho o Pão de Açúcar, visto de ângulos simultâneos. Se o seu trabalho não fosse alheio a rótulos, poderíamos falar de um surrealismo em surdina para qualificá-lo, mas o ideal é deixá-lo livre e desetiquetado, aproximando-o daquele "grau zero da pintura" que buscaram outros artistas seus contemporâneos, como o douanier Rousseau, Séraphine de Senlis, Bombois, Vivin. O outro trabalho que inscreveu no Salão denominou-se Trecho da Ilha de Santa Cruz e, certamente, foi também "copiado" de cartões postais e ilustrações como era do gosto desse artista que preferia aproximar-se da realidade pelo seu rebatimento. Pintou cerca de 600 quadros entre os 70 e os 86 anos de idade. Tem obras na Tate Gallery, em Londres, no MOMA, em Nova York e no museu de Arte Moderna, RJ.
His father was Brazilian and he was three years old when be arrived in Brazil to live in Rio de Janeiro. He lost his family in a ship-wreck in 1873. He went to São José seminary and later studied in Rome at the Gregorian Pontifical University. He gave up the idea of being a priest and decided instead to be a Latin and French teacher in the State of Minas Gerais, and then a school inspector in the city of Rio de Janeiro. he was self-taught and began painting after his retirement. He sent two works to the 1931 Salon - the Revolutionary Salon - of the School of Fine Arts, which had adopted the renovationg focus of Lúcio Costa. It was on that occasion that he was noticed by the Modernists, interested in recovering other forms of art. At that year Portinari had returned from Europe, was a jury member of the salon and now encour-eaged him. Cardosinho exhibited a still life in the Salon with completely different perspective, composition and use of color from the academic standards and aesthetics of the vanguards of his time. The delicate dreamlike quality of his lace-like painting in this stilllife simultaneous angles. if his work were not alien to labels, we could mutter Surrealism to classify it, but the ideal is to leave it free and unlabeled, approximating it to desired "zero degree of painting" of other contemporaries of his, such as Douanier Rousseau, Séraphine de Senlis, bombois, and Vivin. The other work registered in the Salon was called A stretch of Santa Cruz Island (Um Trecho da Ilha de Santa Cruz) and certain-illustrations, which this artist liked to do be become closer to the reality through its reverberation. From 70 to 86 years old he painted around six hundred pictures. He has works on display in the Tate Gallery, London, in the Museum of Modern Art, New York, and the museum of Modern Art of Rio de Janeiro.
Fonte: Pequeno Dicionário da Arte do Povo Brasileiro - Século XX - Lélia Coelho Frota, págs. 95-96.
His father was Brazilian and he was three years old when be arrived in Brazil to live in Rio de Janeiro. He lost his family in a ship-wreck in 1873. He went to São José seminary and later studied in Rome at the Gregorian Pontifical University. He gave up the idea of being a priest and decided instead to be a Latin and French teacher in the State of Minas Gerais, and then a school inspector in the city of Rio de Janeiro. he was self-taught and began painting after his retirement. He sent two works to the 1931 Salon - the Revolutionary Salon - of the School of Fine Arts, which had adopted the renovationg focus of Lúcio Costa. It was on that occasion that he was noticed by the Modernists, interested in recovering other forms of art. At that year Portinari had returned from Europe, was a jury member of the salon and now encour-eaged him. Cardosinho exhibited a still life in the Salon with completely different perspective, composition and use of color from the academic standards and aesthetics of the vanguards of his time. The delicate dreamlike quality of his lace-like painting in this stilllife simultaneous angles. if his work were not alien to labels, we could mutter Surrealism to classify it, but the ideal is to leave it free and unlabeled, approximating it to desired "zero degree of painting" of other contemporaries of his, such as Douanier Rousseau, Séraphine de Senlis, bombois, and Vivin. The other work registered in the Salon was called A stretch of Santa Cruz Island (Um Trecho da Ilha de Santa Cruz) and certain-illustrations, which this artist liked to do be become closer to the reality through its reverberation. From 70 to 86 years old he painted around six hundred pictures. He has works on display in the Tate Gallery, London, in the Museum of Modern Art, New York, and the museum of Modern Art of Rio de Janeiro.
Fonte: Pequeno Dicionário da Arte do Povo Brasileiro - Século XX - Lélia Coelho Frota, págs. 95-96.
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