Geraldo de Barros

You could say that Geraldo de Barros was the jack-of-all-trades of Brazilian modernism. He changed styles, techniques and media like no other, working across the boundaries of traditional disciplines: he was a painter and photographer, but also a designer and graphic artist. Born in 1923, he decided at the age of 18 that he wanted to be an artist. Nevertheless, he studied economics and went on to work for the Banco do Brasil. At the same time, he began to study art.

De Barros turned his attention to photography in 1946 and immediately began experimenting with the medium. At first, he ‘only’ used backlighting, double exposures and unusual angles.

This photograph entitled Abstract is part of the Fotoformas series, an innovative range of abstract photographs. The black and white photograph is characterised by chiaroscuro contrasts: deep black areas and lines alternate with lighter regions in shades of grey. The motif is reminiscent of reflections in a glass facade or in a window. Perhaps also reflections multiplied by several windows. In the subtitle, de Barros mentions the origin of the motif: Luz railway station in São Paulo. It was built in around 1900 in the Luz neighbourhood. The railway tracks are covered by a barrel vault, a semi-circular roof made of steel. This is interrupted by a gabled skylight with rods connecting the individual sections. These triangular shapes are visible in de Barros’ photograph in multiple overlays and shifts. The manipulation creates a complex, abstract composition.

In the early 1950s, de Barros spent time in Paris on a scholarship. It was during this period that he met Max Bill in Zurich. Bill’s ideas inspired de Barros to create concrete paintings that were very similar to his abstract Fotoformas.