MAURICIO NOGUEIRA LIMA
watercolor on paper, 19 3⁄4 x 19 3⁄4 inches,
signed "mauricio n. lima" and dated "59"
Mauricio Nogueira Lima is a famous member of the latin-american Concrete art movement. lima
was among the first trained visual designers in his native Brazil and he became one of the country’s
best-known designers working as a painter, architect, graphic artist and teacher.
at the age of two, lima moved to Sao paulo with his family. from 1947-1950, he studied at the
institute of fine arts (ufrgS) in porto alegre. When he returned to Sao paulo in 1951, he took
courses in visual communication, industrial design and advertising at the institute of Contemporary
from 1953-1957, lima studied architecture at the mackenzie presbyterian university in Sao paulo.
in 1958, one of his first major corporate commissions came from programming committee of the
first international Textile fair.
in 1974, lima started teaching at various universities in Sao paulo. He earned a master’s and
doctoral degree in urban environmental structures at the university of Sao paolo. During the 1980s
and 1990s, he completed urban architectural commissions in public spaces such as roosevelt
Square, Sao Bento square and various subway stations in Sao paulo.
at the iCa, he met other notable artists including alexandre Wollner, antonio maluf and
Waldemar Cordeiro. Cordeiro, the leader of Concretism in Brazil, urged lima to join grupo
raptura in 1953, further associating lima with the Concrete art movement. grupo raptura was
one of two concrete art groups that formed in Brazil in the early 1950s. The Concrete artists
formed in response to modernism, a rejection of figurative painting and, for raptura, an embrace of
lima and his fellow Concrete artists, wanted to develop a type of art that was universal and
objective, thus, putting Brazilian art in an international context. They distilled paintings to planes, lines
and color. although the movement had a tremendous impact on the art that would follow, it was
ultimately short-lived. The ideals of the group were strong and polarizing, leading to the emergence
of neo-Concrete artists.
in the present untitled work, lima’s aptitude for strong graphic design is evident, as is the
connection to Op-art and other popular art historical movements in the 1950s and 60s. There is
nothing uniquely Brazilian about this work, instead it is appealing for its objective understanding of
the international modernism of its time.