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Painting is silent poetry, and poetry is painting that speaks. Simonides

CARYBÉ - Hector Julio Páride Bernabó




Héctor Julio Páride Bernabó or Carybé (Lanús, Buenos Aires province, Argentina, 7 February 1911 - Salvador, Bahia, Brazil, 2 October 1997) was a painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist. He settled in Brazil and naturalized as a Brazilian.

While living in Rio de Janeiro, he was a scout. There, scouts were nicknamed after types of fish, and he was given the nickname of Carybé (a kind of piranha). So the artist used it as an alias for his Christian name, which was very similar to his brother’s name, who was also an artist.

He produced five thousand pieces of work, including paintings, drawings, sculptures and sketches. He illustrated books by Jorge Amado as well as Gabriel Gárcia Márquez's One Hundred Years of Solitude. He was an Obá de Xangô, an honorary position in candomblé. He died of heart failure during a session in a candomblé yard.

Some of Carybé’s work can be found in the Afro-Brazilian Museum of Salvador: 27 panels representing the orixás. of the Bahian candomblé. Each board shows an orixá with his weapons and his animal of worship. They were sculpted on cedar wood, with engravings and scaling of various kinds of material. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which installed them in its branch on Avenida Sete de Setembro in 1968.

Carybé produced more than 5,000 works; his art was expressed through paintings, engravings, illustrations, wood carvings, mosaics and murals.



























 Hector Julio Páride Bernabó (Lanús Argentina 1911 - Salvador BA 1997). Pintor, gravador, desenhista, ceramista, escultor, muralista. Freqüenta o ateliê de cerâmica de seu irmão mais velho, Arnaldo Bernabó, no Rio de Janeiro, por volta de 1925. Estuda na Escola Nacional de Belas Artes - Enba, no Rio de Janeiro, de 1927 a 1929. Entre 1941 e 1942, realiza viagem de estudos por vários países da América do Sul. De volta à Argentina, junto com Raul Brié, traduz para o espanhol o livro Macunaíma, de Mário de Andrade (1893-1945), em 1943. Nesse mesmo ano, realiza sua primeira individual na Galeria Nordiska, em Buenos Aires. Em Salvador, freqüenta aulas de capoeira, visita candomblés e realiza desenhos e pinturas, em 1944. Auxilia na montagem do jornal Diário Carioca, em 1946, sendo chamado depois, por Carlos Lacerda, para trabalhar no jornal Tribuna da Imprensa, entre 1949 e 1950. Nesse mesmo ano, com recomendação feita do escritor Rubem Braga (1913-1990) ao Secretário da Educação do Estado da Bahia, Anísio Teixeira (1900-1971), muda-se para a Salvador, para produzir painéis para o Centro Educacional Carneiro Ribeiro (Escola Parque). Na Bahia, participa ativamente do movimento de renovação das artes plásticas, ao lado de Mario Cravo Júnior (1923), Genaro (1926-1971) e Jenner Augusto (1924-2003). Em 1952, atua como figurante, como diretor artístico e faz os desenhos de cenas do filme O Cangaceiro, de Lima Barreto. Em 1957, naturaliza-se brasileiro. Autor e co-autor de vários livros, publica em 1981, após 30 anos de pesquisa, Iconografia dos Deuses Africanos no Candomblé da Bahia, pela Editora Raízes. Como ilustrador, executa trabalhos para livros de autores de grande expressão, como Mário de Andrade, Gabriel Garcia Marquez, Jorge Amado (1912-2001) e Pierre Verger (1902-1996).
 Fonte: Itaú Cultural











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