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This Home Page does not actually analyze the work of the Brazilian sculptor VICTOR BRECHERET. For such, the Brazilian art scenario and specifically sculpture should be seen and even scrutinized relation to twentieth century sculpture - its characters, movements, tendencies, etc. so that the work of BRECHERET can be placed and evaluated.

BRECHERET was an artist who died in the 1950's. Although participating in and being responsible for the most important Brazilian artistic movements, he never abandoned his classic sculpture origins and at the same time was, to the day of his death, a pioneer in the world of art no matter how paradoxical this may seem.

Classical origins in the extremely precise tecnique - someone with profound knowledge of his metier merging artist and artisan, who created monumental works of art.

The artist precociously revealed what he wanted in life when, still a teen-ager, began his studies at Liceu de Artes e Ofícios in São Paulo, Brazil. Later, no longerable to expand his knowledge at the Liceu, BRECHERET went to Rome, where he lived until 1919.

During this phase, which could be calied "italian", BRECHERET often visited the ateliers of several sculptors, learning all the details regarding the art of sculpture - from day kneading, plaster casting, studies of stones and marble to a severe apprenticeship of human and and animal anatomy while working as a disciple of italian sculptor Dazzi.

BRECHERET's artistic path was undoubtedly "sui generis" if compared to that of his contemporaries, including painters. He began his apprenticeship in Rome and returned to Europe in 1921, but this time to Paris with a scholarship granted by the Government of São Paulo. He lived in Paris until 1935/36. It was a privileged artistic environment and perhaps the richest experience of his life since, unlike other artists, he was successful in Europe first-Paris, to be more precise-and later in Brazil, thus clearly revealing another singular aspect of his unique career.

Art spite of his quick return to Europe, he participated in the Modern Art Week in 1922. Although not physically present throughout the event, BRECHERET exhibited twelve sculptures he personally chose and left with his friend Paulo Prado.

BRECHERET's period in France can be called the parisian phase and presents a different artist from the one who had been in Rome. He used all his experience to follow an unique path while amidst thirty thousand artists who sought for a breakthrough in the rich parisian artistic scene.

BRECHERET lived through art-deco and nouveau but always retained a personal and singular style, easily recognised in his work of that period. He constantly participated in all the exhibitions, such as the "Salon d'Automne", "Salon de la Societe des Artistes Français - Section de Scupture et Gravure sur Pierre", "Salon des Independents" and several of his creations won prizes. Some are to be found nowadays in São Paulo, such as the Mise au Tombeau ("Salon d'Automne" 1923 prize), plesently adorning the Guedes Penteado family tomb.

In Paris, 1925, BRECHERET was awarded the "Honorable Mention" at the "Salon de la Societe des Artistes Français - Section de Sculpture et Gravure sur Pierre" exhibition. In 1934, the French Government awarded him the "Legion of Honor Gross, Fine Arts Knighthood" and acquired The Group, a BRECHERET work of art initially exhibited at the Jeu de Pomme and presently in a public library of "La Roche-sur-Yon", a city in Brittanny.

The 40's and 50's cover BRECHERET last fifteen years of life, which were equally fertile not only in terms of artistic creativity but also production. During that period, he worked on the Monument to Bandeiras and Monument to Caxias sculpted Faun and After the Bath - which is at the "Arouche Square" in São Paulo - the Jockey Club's facade and the former "Moinho Santista" low reliets which presently are at the Bandeirantes Bank.

The 40's and 50's can be called BRECHERET's Brazilian phase Greatly impressed by the Indian culture of his country, the artist portrayed its characters and customs using terracotta. The lines of these works of art are so daring in their conception that even today they are hard to understand. It makes one wonder about the impact they caused at the time.

In relation to this period, it is sufficient to recall Bartira, a sculpture which was practically ordered by poet Guilherme de Almeida who wanted BRECHERET to illustrate his poetry book The Lulling of Bartira.

In 1951, BRECHERET won the International Biennial of São Paulo with The Indian and the Suassuapara which is, in bronze at the "Middelheim Museun" in Antuerp, Belgium, side by side with the work of other great contemporary sculptors. This work of art, as well as the others exhibited on the same occasion, presented the artist's incursion into the abstract world. The conception is still extremely modern after almost forty years - a landmark in Brazilian contemporary sculpture.

Over these years, a lot has been written about BRECHERET, but without any scientific concern in relation to his work, which constantly alludes to the arfists who influenced him, such as Brancusi, Mestrovic, etc However, very fewever investigated who Brecheret influenced.

During the atmost 20 years he lived in Europe, BRECHERET was amidst the great artists of his time. His creations were constantly exhibited with those of Bourdelle, Pompom, Zadkine, etc, as they were on the same professional and artistic level. "The Peintres et Sculpteurs de L' Ecole de Paris a la Renaissance" exhibition held between July 19 and October, 15, 1926, is an example which definitely demands for a closer study of his work on an international level.

Plenty can be said about the artist, his work, his person, but we believe that this Home Page speaks for itself. Everything in Mis book meets the wishes and hopes of years, evidencing the scope and importance of BRECHERET's work which, after the great Aleijadinho's works of art, has the responsibility of internationally representing Brazilian contemporary sculpture.

Sandra Brecheret Pellegrini