Eduardo Sued
Brazilian, 1925
Artist Bio: Eduardo Sued
Eduardo Sued's artistic journey is marked by a unique evolution that defies strict classification within any specific art movement. Although early work exhibited elements of figurativism, the focus soon shifted toward geometric abstraction, leading to contemporary recognition as a "concretist" or "constructivist."
Sued began his studies at the National School of Engineering in Rio de Janeiro from 1946 to 1948 but did not complete the program. In 1949, he turned his attention to drawing and painting under the guidance of Henrique Boese. During 1950 and 1951, Sued honed his skills as a draftsman in the studio of renowned architect Oscar Niemeyer.
In 1951, a pivotal moment occurred when he was awarded the Étudiant Patronné scholarship from the French embassy, facilitating a move to Paris. Here, he studied at the esteemed La Grande Chaumière and Julian academies, immersing himself in the works of iconic figures like Pablo Picasso, Joan Miró, Henri Matisse, and Georges Braque.
Returning to Rio de Janeiro in 1953, Sued expanded his practice by studying metal engraving at the studio of Iberê Camargo, eventually becoming his assistant. Teaching roles followed at the Escolinha de Arte do Brasil in 1956 and the Escola Hebraica do Rio de Janeiro.
By 1958, Sued relocated to São Paulo, where he taught drawing, painting, and engraving at the Armando Álvares Penteado Foundation (FAAP) until 1963. A return to Rio in 1964 marked the publication of 25 Impressões, an album of etchings created through a chemical engraving process.
The 1970s saw a deeper engagement with constructivist ideas, drawing inspiration from the works of Piet Mondrian and the Bauhaus movement. Between 1974 and 1980, he taught metal engraving at the Museum of Modern Art in Rio de Janeiro (MAM/RJ).
Transitioning from early figurative works to collages and paintings, Sued refined his chromatic construction throughout the 1980s. By the 1990s, the brushstroke became more pronounced and dynamic, reflecting a journey where form, color, and gesture intertwine in the creative process.
Sued's portfolio includes several solo exhibitions, notably at the Museum of Modern Art in Rio de Janeiro (1982), Paço Imperial (1992), National Museum of Fine Arts (1994), and the Hélio Oiticica Art Center (1998). His participation in prestigious group exhibitions includes the São Paulo Biennial and the Venice Biennial, showcasing his significant contributions to contemporary art.
Eduardo Sued's artistic journey is marked by a unique evolution that defies strict classification within any specific art movement. Although early work exhibited elements of figurativism, the focus soon shifted toward geometric abstraction, leading to contemporary recognition as a "concretist" or "constructivist."
Sued began his studies at the National School of Engineering in Rio de Janeiro from 1946 to 1948 but did not complete the program. In 1949, he turned his attention to drawing and painting under the guidance of Henrique Boese. During 1950 and 1951, Sued honed his skills as a draftsman in the studio of renowned architect Oscar Niemeyer.
In 1951, a pivotal moment occurred when he was awarded the Étudiant Patronné scholarship from the French embassy, facilitating a move to Paris. Here, he studied at the esteemed La Grande Chaumière and Julian academies, immersing himself in the works of iconic figures like Pablo Picasso, Joan Miró, Henri Matisse, and Georges Braque.
Returning to Rio de Janeiro in 1953, Sued expanded his practice by studying metal engraving at the studio of Iberê Camargo, eventually becoming his assistant. Teaching roles followed at the Escolinha de Arte do Brasil in 1956 and the Escola Hebraica do Rio de Janeiro.
By 1958, Sued relocated to São Paulo, where he taught drawing, painting, and engraving at the Armando Álvares Penteado Foundation (FAAP) until 1963. A return to Rio in 1964 marked the publication of 25 Impressões, an album of etchings created through a chemical engraving process.
The 1970s saw a deeper engagement with constructivist ideas, drawing inspiration from the works of Piet Mondrian and the Bauhaus movement. Between 1974 and 1980, he taught metal engraving at the Museum of Modern Art in Rio de Janeiro (MAM/RJ).
Transitioning from early figurative works to collages and paintings, Sued refined his chromatic construction throughout the 1980s. By the 1990s, the brushstroke became more pronounced and dynamic, reflecting a journey where form, color, and gesture intertwine in the creative process.
Sued's portfolio includes several solo exhibitions, notably at the Museum of Modern Art in Rio de Janeiro (1982), Paço Imperial (1992), National Museum of Fine Arts (1994), and the Hélio Oiticica Art Center (1998). His participation in prestigious group exhibitions includes the São Paulo Biennial and the Venice Biennial, showcasing his significant contributions to contemporary art.
new
Eduardo Sued
Untitled Composition Series 87/120, by Eduardo Sued, 2006
H 23.62 in W 38.58 in
$ 1,200
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