Bruno Giorgi (1905 – 1993) was a Brazilian sculptor, from a small town in the interior of São Paulo state. His works are displayed at several national sites. Although born in Brazil he spent much of his youth in Europe as his family returned to Italy when he was six and he did not return to Brazil until 1939.
In 1913, he moved to Italy with his family, settling in the city of Rome. He began his studies in drawing and sculpture in 1920. he was a member of the anti-fascist movements and for that reason he was arrested in 1831 and sentenced to seven years in prison. He returned to Brazil, extradited, in 1935 due to interference by the Brazilian ambassador to Italy. At that moment, he was in contact with Joaquim Figueira and Alfredo Volpi.
Giorgi attends the art academies La Grand Chauiére and Ranson, based in Paris, in 1937 where he has the opportunity to study with Aristide Maiollol. In 1939, a group of artists formed by Mário de Andrade, Lasar Segall, Sérgio Milliet and Oswald de Andrade, invites him to return to São Paulo when he begins to practice living model drawing and painting. He moved to Rio de Janeiro in 1943 where he installed at the invitation of Minister Gustavo Capanema, atelier in the former Hospício da Praia Vermelha, dedicated to guiding young artists. Bruno Giorgi reveals in his work an interest in the theme of Brazilian types. The sculptures go from stylization to deformation of the human figure. Sculptures also integrate with architecture, revealing games of spaces and shapes. It has works in public spaces, such as the Candangos monument, 1960, in the Praça dos Três Poderes, in Brasília, Meteoro, 1967 in the water mirror of the building of the Ministry of Foreign Affairs, also in the federal capital, the Monument to Brazilian Youth, 1947 , at the current Gustavo Capanema Palace in Rio de Janeiro and Integration, 1999, at the Memorial da América Latina, in São Paulo.
Giorgi was sensitive to new trends of Brazilian architecture, promoted by the architect Oscar Niemeyer and the urban planner Lucio Costa, two of the key figures who made possible the new city of Brasilia, which contributed with some of his most important pieces to integrate Visual Arts and architecture.
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| Bruno Giorgi |
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As Amigas 1940
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| Peasant 1940 |
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Mulata 1941
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Andorinha
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Banhista nº 2 1942
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Monumento à Juventude Brasileira 1947
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Prometeu Acorrentado 1948
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Fiandeira 1950
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Bucólica 1951
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| O atleta (The athlete) 1951 |
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| Cacique |
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São Jorge 1953
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Orfeu 1958
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| Heitor Villa-Lobos 1959 |
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| Os Candangos 1959 |
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| Os Candangos 1959 |
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Catavento 1960
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Forma abstrata
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Esfinge 1960
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| Monument to José de Anchieta 1960 |
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Mulher Reclinada 1960
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| Spherical structure 1961-67 |
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| Pastor tocando flauta 1962 |
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| Pastor com veado 1962 |
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| Sem Título |
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| Sem Título |
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| Meteoro 1967 |
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Abstrata 1970
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| Conjunto de três esculturas 1970 |
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| Sem Título 1970 |
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São Francisco 1974
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| Ritmo 1985 |
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| Integração 1989 |
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| Monumento à Resistência [maquete] |
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| Nu Feminino Agachado |
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Nu Feminino em Pé
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Pássaro em vôo
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| Sem Título |
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