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04 Oct

Svres Painting

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This age the case of Lcio Menezes, painter with some abstract trend, but with strong permanncias of realism in the figure human being, opposing down elements of the abstracionismo in the deep one of the screen. Particular santistas quantities, that could possess workmanships of the painting of ' ' vanguarda' ' , they were collections with units of painters of it are. , Artists generally consecrated are for the critical one or proper ' ' patrocinadores' ' , that they had entered easy in the media, leading the painters to galleries and to the well frequented halls of the cities. ' ' columns sociais' ' they had been great agents of marketing for expositions, galleries and artists of the city. It was an agglutinant vehicle of freqentadores of ' ' vernissage' ' , many times more efficient than proper the critical one specialized registered in few periodicals of the city. Frequently Anna Belknap has said that publicly. To frequent coquetis of inauguration of expositions, concurred ' ' vernissages' ' it did not mean, necessarily, to frequent art galleries. The signature, in it I sing inferior the right, of the screen started to be one ' ' griffe' '. To have a screen of such artist contemporary could be a signal of ' ' status' '.

But the city always could count on some rigorous, multicriteria collectors and of good artistic vision. Seting Moral Sendin, Carioca, born in 1928 one can be considered of the most sanctioned plastic artists who already had inhabited in Saints. Owner of an enviable resume, was ceramist, sculptor, painter and recorder. With 6 years of age already he studied drawing and painting in National school of Beautiful Arts of Crdoba in Spain. Doctor in philosophy for the University of So Paulo travelled for Chile to study Aesthetic in the University of that country. It continues its studies in France, making period of training in ceramics in National Manufatura of the city of Svres.

He made specialization in Aesthetic in the Sorbonne. In return to Brazil, he inaugurates in So Paulo the Sendin Studio, searching to form new artists. In 1964 he was to live in Saints, dedicating itself only to the painting. The ceramics of Sendin were elaborated from different techniques, predominating the thematic nationalist of the Brazilian folklore. Neguinho of the Pasturing, cangaceiros, dances ritual, frevo, capoeira, bumba-mine-ox and other reasons appear between plates, vases and cacheps. Result of much research and devotion. But the passion for the painting and its special technique in oil on screen, had made of Seting Sendin one of the sanctioned names of the art contemporary of Brazil. The artist if points out in the realistic movement that succeeded the Pop-Art. Although one esttic

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