www.arteforadomuseu.com.br:
Maria Bonomi
Ginete Serasa
Alameda dos Quinimuras, 187 - Saúde, Sào Paulo - SP, 04061-002, Brasil
Escultura feita em alumànio no exterior do edifàcio da sede do Serasa em Sào Paulo, SP. 'Ginete Serasa', é uma obra feita em 2002 pela artista plástica Maria Bonomi.
Translation:
The sculpture is made of aluminum on the exterior of the building is the headquarters of the Serasa em Sào Paulo, SP, brazil. 'The Rider Serasa Experian' is a work made in 2002 by the artist, Maria Bonomi.
www.wikipedia.org:
Maria Bonomi participou da 36ª Bienal de Veneza, 1972; da 2ª Bienal de Havana (Cuba), 1986; da 11ª Bienal Ibero Americana de Arte-Litografia del Fin de Siglo a 200 Aà±os de su Invención, no Museo del Palacio de Bellas Artes na Cidade do México, 1998. No Brasil tem participado frequentemente de exposições em Sào Paulo e no Rio de Janeiro.
www.mariabonomi.com.br:
Born in Meina, village located on the shores of Lake Magy 1935, Brazilian mother, Georgina Martinelli Bonomi, and Italian father, Ambrógio Bonomi. 2016:
0 Besides participating in various exhibitions, including most notably Elas: mulheres artistas no acervo do MAB-Faap, in Sào Paulo, Gráfica Latinoamericana y del Caribe, in Beijing, and the Southern Hemisphere International Printmaking Exhibition (Passage), in Seoul, Bonomi produced important works such as Popessuara, consisting of laser-cut pieces of stainless steel for the commemorative album of the 100th anniversary of the Pinacoteca de Sào Paulo. She also made the trophy for the Associaçào Brasileira dos Cràticos de Arte.
She furthermore put together academic and consulting panels for stage settings and costumes she created for the theater play Diálogos de Salomé com Sào Joào Batista, directed by Sergio Ferrara at the Teatro Sergio Cardoso. Since 2014 Maria has been involved in the research for a book concerning her production written by art critic and historian Mayra Laudanna of the Universi Paulo.
An important reference work, A Dialética Maria Bonomi, published in Switzerland by Éditions du Griffon, presents an artist who 'emerges as one of the most important exponents of Brazilian and international art in the second half of the 20th century,' in the words of the likewise USP professor and director of the Biblioteca Mário de Andrade, Luiz Armando Bagolin. For the philosopher, 'Maria Bonomi is perhaps the only case of an artist who lived in the same milieu and saw at firsthand many developments of the artistic avant-gardes from the end of the 1950s onward, and yet not did join any of them '' not the abstractions, not the artificial pop trends, nor the new realisms. She remained faithful to both xilogravura [wood engraving] and xilografia [wood printing], terms she coined herself to denote unfoldings of her attitude at the moment of engraving the wood, later employed in other materials: synthetics, metals, clay, etc.' For Luiz Armando Bagolin, Maria Bonomi's work is manifested, a very striking and lofty way, always being related to the context she seeks to re-signify.
Besides the book, published in three volumes (English, French and Portuguese), she also presented a show featuring 14 of her works at the headquarters of the publisher in Neuchâtel, coincidentally the city where the artist held her first international exhibition, in 1955.
Maria Bonomi
Ginete Serasa
Alameda dos Quinimuras, 187 - Saúde, Sào Paulo - SP, 04061-002, Brasil
Escultura feita em alumànio no exterior do edifàcio da sede do Serasa em Sào Paulo, SP. 'Ginete Serasa', é uma obra feita em 2002 pela artista plástica Maria Bonomi.
Translation:
The sculpture is made of aluminum on the exterior of the building is the headquarters of the Serasa em Sào Paulo, SP, brazil. 'The Rider Serasa Experian' is a work made in 2002 by the artist, Maria Bonomi.
www.wikipedia.org:
Maria Bonomi participou da 36ª Bienal de Veneza, 1972; da 2ª Bienal de Havana (Cuba), 1986; da 11ª Bienal Ibero Americana de Arte-Litografia del Fin de Siglo a 200 Aà±os de su Invención, no Museo del Palacio de Bellas Artes na Cidade do México, 1998. No Brasil tem participado frequentemente de exposições em Sào Paulo e no Rio de Janeiro.
www.mariabonomi.com.br:
Born in Meina, village located on the shores of Lake Magy 1935, Brazilian mother, Georgina Martinelli Bonomi, and Italian father, Ambrógio Bonomi. 2016:
0 Besides participating in various exhibitions, including most notably Elas: mulheres artistas no acervo do MAB-Faap, in Sào Paulo, Gráfica Latinoamericana y del Caribe, in Beijing, and the Southern Hemisphere International Printmaking Exhibition (Passage), in Seoul, Bonomi produced important works such as Popessuara, consisting of laser-cut pieces of stainless steel for the commemorative album of the 100th anniversary of the Pinacoteca de Sào Paulo. She also made the trophy for the Associaçào Brasileira dos Cràticos de Arte.
She furthermore put together academic and consulting panels for stage settings and costumes she created for the theater play Diálogos de Salomé com Sào Joào Batista, directed by Sergio Ferrara at the Teatro Sergio Cardoso. Since 2014 Maria has been involved in the research for a book concerning her production written by art critic and historian Mayra Laudanna of the Universi Paulo.
An important reference work, A Dialética Maria Bonomi, published in Switzerland by Éditions du Griffon, presents an artist who 'emerges as one of the most important exponents of Brazilian and international art in the second half of the 20th century,' in the words of the likewise USP professor and director of the Biblioteca Mário de Andrade, Luiz Armando Bagolin. For the philosopher, 'Maria Bonomi is perhaps the only case of an artist who lived in the same milieu and saw at firsthand many developments of the artistic avant-gardes from the end of the 1950s onward, and yet not did join any of them '' not the abstractions, not the artificial pop trends, nor the new realisms. She remained faithful to both xilogravura [wood engraving] and xilografia [wood printing], terms she coined herself to denote unfoldings of her attitude at the moment of engraving the wood, later employed in other materials: synthetics, metals, clay, etc.' For Luiz Armando Bagolin, Maria Bonomi's work is manifested, a very striking and lofty way, always being related to the context she seeks to re-signify.
Besides the book, published in three volumes (English, French and Portuguese), she also presented a show featuring 14 of her works at the headquarters of the publisher in Neuchâtel, coincidentally the city where the artist held her first international exhibition, in 1955.