Carlota De Camargo Nascimento (Loty)

Carlota de Camargo Nascimento and the bust of gipsy (1947)

Carlota De Camargo Nascimento (Loty) (October 7, 1904 – July 2, 1974) was a Brazilian sculptor and poet.

Carlota was born in Sergipe, Aracaju, Brazil. She studied in Escola Nacional de Belas Artes under the great master and director of the school Rodolfo Bernardelli (1852–1931), an innovator in the teaching of arts in Brazil.

Carlota de Camargo Nascimento signed her works as Loty. She was one of the pioneering women to do sculpture in Brazil, an art generally confined to the male sex. Her name is included in the Brazilian Dictionary of Artists (Dicionário Brasileiro de Artistas Plásticos) by Walmyr Ayala and in the bibliography of the Art Exhibitions (Salões de Artes Brasileiros) of the 30's, 40's and 50's.

She received many important prizes in the most prestigious exhibitions in those decades, including the Golden, the Silver and the Bronze Medals of the Salão Nacional de Belas Artes. Among other exhibitions of relevance to the panomora of the arts in the country then, Carlota participated in the 38º Exposição Geral de Belas-artes, also denominated as Salão Revolucionário (Revolutionary Exhibition) or Salão of 31.

In 1930, the President Vargas political regime appointed new directors to the areas of Education and Culture: Rodolfo Garcia was nominated director of the Museu Histórico (Historical Museum) and Biblioteca (Library); ; Luciano Gallet was appointed director for the Music Institute and Lucio Costa was the new director for the School of Fine Arts. Lucio Costa was then only 28 years old, a very risky choice. But, in less than two years, during which he remained as head of the School, he completely revolutionized the teaching of art in Brazil. He organized the Salão de 31, the first official Fine Arts Salon open to modern artists. Lucio was very didactic both in the way he reshaped teaching (suggesting a new alternative, without discarding the previous one – the students become responsible for the final choice of the method of teaching and learning ) and as the proposer and organizer of the Salão de 31. In the Salao de 31 he allowed and promoted a comparison between the more academic artists and the moderns, exhibiting their work side by side, thus innovating also in the language of the exhibition itself.

The participation of Carlota in the Salão of 31 is thus described:

There is a young artist for whom I reserve a special reference for the great effort and admirable proof of talent: it is Carlota de Camargo Nascimento. Carlota is present in the Salon with a painting of a lady, a head of a child, a bust of a yound lady, two nude studies, all build with sobriety and beauty, and perfect knowledge of the technique. She also brought to the Salon two small nude studies enveloped in a very fine feeling, a harmony similar to that with which the French sculptors treat their subject. These are works that force sculpture to go further to more daring experiments, and Carlota should prepare more pieces, in the same vein, but in larger scale for the next Salons. (VIEIRA, Lucia Gouvêa, Salão de 1931. Marco da revelação da arte moderna em nível nacional. Rio de Janeiro, Funarte. p. 29).

Medalhas de Prata e Ouro no Salão Nacional de Belas Artes (Anos 30 e 50)

Fonte: SIQUEIRA, Dylla R. 42 Anos De Premiações Nos Salões Oficiais, 1934-1976. Rio de Janeiro: FUNARTE, 1980. p. 21-24,

Carlota lived and be friended many important names of the panorama of Brazilian Art, among poets, painters and sculptors. Among her closest friends were Oswaldo Teixeira (1905–1974), painter and director of Museu Nacional de Belas Artes; the poet and immortal Olegário Mariano (1889–1958), who composed the famous verses for one of her sculptures; the simbolist poet Gilka Machado (1893–1980); the painter (1900–1967); the painter José Pancetti (1902–1958), one of the key names in the Bernardelli group; and, in Portugal, one of the country's leading sculptors, Teixeira Lopes (1866–1942). All of these artists exchanged presents of their craft with Carlota.

Some of Carlota's pieces are in Uruguay and Argentina. Among the main works, there are:

1. Jaguarary ( 1933; inspired in the poem Jaguarary by Olegário Mariano - four verses are at the bottom of the work).

2. Cacique (1950) (sold to Uruguay).

3. Ritmo Eterno

4. Fim da Jornada (1944).

5. Banco da Vieira Souto

6. Banco da Praça XV

7. Meio-dia – worker resting at midday

8. Bust of artist Sarah Villela de Figueiredo.

9. Bust of Bertha Lutz (1894 — 1976), feminist in Brazil.

10. Bust of poet Gilka Machado (1893–1980).

11. Head of Child – son of painter Mário de Murtas.

12. Bust of Joaquim Carlos

13. Bust of Joaquim Carlos.

14. Bust of gipsy.

15. Bust of Guimas.

16. Bust of Chinese Girl.

17. Bust of Ludwig van Beethoven (1770–1827).

18. Christ.

19. Caricatures in porcelain “O Amigo da Onça” - Teatro Municipal.

20. Bust of composer Franz Liszt (1811–1886).

Carlota had an only son, Joaquim Carlos de Camargo Costa, and six grandchildren: Liana de Camargo Leão, Carla de Camargo da Costa Leite, Dayse de Camargo Costa, Patricia de Camargo Costa, Diana de Camargo Costa and Igor de Camargo Costa. She died, aged 69, in Rio de Janeiro.

Fonts

AYALA, Walmir (org.) Dicionário Brasileiro de Artistas Plásticos. Brasília: Instituto Nacional do Livro, 1973.

VIEIRA, Lucia Gouvêa, Salão de 1931. Marco da revelação da arte moderna em nível nacional. Rio de Janeiro; FUNARTE/Instituto de Artes Plásticas, 1984.

External links

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