|
|
Title | Creator | Creation Date |
| 1 |
 |
Native Brazil (1a) | Anna Bella Geiger | 1977 CE |
| 2 |
 |
Cantino Planisphere | unknown | 1502 CE |
| 3 |
 |
Engraving from "True Story: An Account of Cannibal Captivity in Brazil" | Hans Staden | 1557 CE |
| 4 |
 |
Terra Brasilis (detail) | Lopo Homem; Pedro Reinel; Jorge Reinel | 1515 - 1519 CE |
| 5 |
 |
Alien Brazil (1b) | Anna Bella Geiger | 1977 CE |
| 6 |
 |
Engraving from "True Story: An Account of Cannibal Captivity in Brazil" | Hans Staden | 1557 CE |
| 7 |
 |
Native Brazil (2a) | Anna Bella Geiger | 1977 CE |
| 8 |
 |
New World Map | Diogo Homem | 1568 CE |
| 9 |
 |
Engraving from "True Story: An Account of Cannibal Captivity in Brazil" | Hans Staden | 1557 CE |
| 10 |
 |
Alien Brazil (2b) | Anna Bella Geiger | 1977 CE |
| 11 |
 |
Engraving from "True Story: An Account of Cannibal Captivity in Brazil" | Hans Staden | 1557 CE |
| 12 |
 |
Native Brazil (3a) | Anna Bella Geiger | 1977 CE |
| 13 |
 |
Alien Brazil (3b) | Anna Bella Geiger | 1977 CE |
| 14 |
 |
Americae tertia pars memorabilē provinciæ Brasiliæ historiam, Frontispiece | Theodor de Bry | 1592 CE |
| 15 |
 |
Native Brazil (4a) | Anna Bella Geiger | 1977 CE |
| 16 |
 |
Americae tertia pars memorabilē provinciæ Brasiliæ historiam, Cooking and Eating Scene | Theodor de Bry | 1592 CE |
| 17 |
 |
Alien Brazil (4b) | Anna Bella Geiger | 1977 CE |
| 18 |
 |
Native Brazil (5a) | Anna Bella Geiger | 1977 CE |
| 19 |
 |
Alien Brazil (5b) | Anna Bella Geiger | 1977 CE |
| 20 |
 |
Native Brazil (6a) | Anna Bella Geiger | 1977 CE |
| 21 |
 |
Alien Brazil (6b) | Anna Bella Geiger | 1977 CE |
| 22 |
 |
Native Brazil (7a) | Anna Bella Geiger | 1977 CE |
| 23 |
 |
Alien Brazil (7b) | Anna Bella Geiger | 1977 CE |
| 24 |
 |
Native Brazil (8a) | Anna Bella Geiger | 1977 CE |
| 25 |
 |
Alien Brazil (8b) | Anna Bella Geiger | 1977 CE |
| 26 |
 |
Native Brazil (9a) | Anna Bella Geiger | 1977 CE |
| 27 |
 |
Alien Brazil (9b) | Anna Bella Geiger | 1977 CE |
| 28 |
 |
Construction of Trans Amazon Highway | | 1970 CE |
| 29 |
 |
Brasilia, The Monumental Axis (fuselage) | Cildo Meireles | 1969 CE |
| 30 |
 |
Metropolitan Cathedral of Nossa Senhora Aparecida | Oscar Niemeyer | 1958 - 1971 CE, refurbished in 1987 CE |
| 31 |
 |
Brasilia, Congress Complex | Oscar Niemeyer | 1958 - 1960 CE |
| 32 |
 |
Brasilia, Congress Complex | Oscar Niemeyer | 1958 - 1960 CE |
| 33 |
 |
Six-banded armadillo (Euphractus sexcinctus) | Frans Jansz. Post | 1637 - 1644 CE |
| 34 |
 |
Lowland tapir (Tapirus terrestris) | Frans Jansz. Post | 1637 - 1644 CE |
| 35 |
 |
Little anteater (Tamandua tetradactyla) | Frans Jansz. Post | 1637 - 1644 CE |
| 36 |
 |
Capybara (Hydrochoerus hydrochaeris) | Frans Jansz. Post | 1637 - 1644 CE |
| 37 |
 |
Plan of Brasilia, called Plano Piloto or Pilot Plan | Lucio Costa | |
| 38 |
 |
Slaves diamond mining in the Serro Frio region, Minas Gerais, Brazil | Carlos Julião | c. 1770 CE |
| 39 |
 |
Diamond Mine, Serro Frio region, Minas Gerais, Brazil | Carlos Julião | 1775 CE |
| 40 |
 |
Washing the Diamonds | unidentified artist | 1775 CE |
| 41 |
 |
Gold Mining | unidentified artist | c. 1780 CE |
| 42 |
 |
Antropophagos do Brasil devorando huns Portuguezes | unidentified artist | 18th Century CE |
| 43 |
 |
Portrait of the Conductor Henrique Alves de Mosquita | Vitor Meireles | 1862 CE |
| 44 |
 |
View of Corcovado and Rodrigo de Freitas Lagoon seen from Gávea | Abraham Louis Buvelot | ca. 1844 CE |
| 45 |
 |
View of Sugar Loaf Cliff, Rio de Janeiro | Nicolau Antonio Facchinetti | 1868 CE |
| 46 |
 |
Sharpening the Knife | Abigail de Andrade | 1887 CE |
| 47 |
 |
Hanging the Laundry | Abigail de Andrade | 1888 CE |
| 48 |
 |
Bandeirante | Henrique Bernardelli | |
| 49 |
 |
View of the Entrance of the Bay of Rio de Janeiro | Hendrich | 1889 CE |
| 50 |
 |
Bandeirante | Henrique Bernardelli | |
| 51 |
 |
Study for the Naval Battle of Riachuelo | Vitor Meireles | |
| 52 |
 |
Scene of the Battle of Riachuelo | Vitor Meireles | |
| 53 |
 |
Allegory of the Departure of Dom Pedro II for Europe after the Declaration of the Republic | Anonymous | 1890 CE |
| 54 |
 |
Landing of Doña Leopoldina, First Empress of Brazil (study) | Jean-Baptiste Debret | undated |
| 55 |
 |
Untitled | Rubem Ludolf | 1958 CE |
| 56 |
 |
The Expedition of Lt. Colonel Afonso Botelho e Souza into the Tibagi Backlands (1) | attributed to Joaquim José de Miranda | 1771 - 1773 CE |
| 57 |
 |
The Expedition of Lt. Colonel Afonso Botelho e Souza into the Tibagi Backlands (2) | attributed to Joaquim José de Miranda | 1771 - 1773 CE |
| 58 |
 |
The Expedition of Lt. Colonel Afonso Botelho e Souza into the Tibagi Backlands (3) | attributed to Joaquim José de Miranda | 1771 - 1773 CE |
| 59 |
 |
Habitation des Apiácas Sur l'Arinos (Apiácas Dwelling on the Arinos River) | Hercule Florence | 1828 CE |
| 60 |
 |
Négres a Fond de Calle (Blacks in the Ship's Hold) | Johann Moritz Rugendas | 1827 CE |
| 61 |
 |
Metaesquema | Hélio Oiticica | 1957 CE |
| 62 |
 |
Caipirinha (Country Girl) | Tarsila do Amaral | 1923 CE |
| 63 |
 |
City (The Street) | Tarsila do Amaral | 1929 CE |
| 64 |
 |
Carnaval en Madureira | Tarsila do Amaral | 1924 CE |
| 65 |
 |
Morro da Favela (Hills of the Favela) | Tarsila do Amaral | 1924 CE |
| 66 |
 |
Self Portrait with Cloak | Tarsila do Amaral | 1923 CE |
| 67 |
 |
Brazilian 50000 Reais Bank Note | | |
| 68 |
 |
Brazilian 50000 Reais Bank Note | | |
| 69 |
 |
Brazilian 50 Reais Bank Note | | |
| 70 |
 |
Brazilian Five Cruzeiros Bank Note | | |
| 71 |
 |
Brazilian One Cruzeiros Bank Note | | |
| 72 |
 |
Artists Join Hands forming Human Chains in a 'Cem Mil' (100,000) Protest March, June 26, 1978, in Rio de Janeiro | | 1978 CE |
| 73 |
 |
Photographs of 'A Popular Poet' and 'I Do Not Change My Opinion' | | 1965 CE |
| 74 |
 |
Animados Pelo Mesmo Principio (Animated by the Same Principle) | João Câmara Filho | 1974 - 1976 CE |
| 75 |
 |
Antropofogia Matinal (Anthropophagic Morning) | João Câmara Filho | 1974 - 1976 CE |
| 76 |
 |
Uma Prova de Virilidade (Proof of Virility) | João Câmara Filho | 1974 - 1976 CE |
| 77 |
 |
Jogos de Guerra (War Games) | João Câmara Filho | 1974 - 1976 CE |
| 78 |
 |
Magazine Page Showing Placement of Little Trees as a Way to Report to their Readers the Presence of Prior Censorship | | 1976 CE |
| 79 |
 |
Pasquim Censura (Pasquinade Censorship) | | |
| 80 |
 |
Posters by Renato da Silveira (top and middle) and a Recent Picture of the Artist Reproduces as a Postcard | Renato da Silveira | |
| 81 |
 |
Vladimir and Clarice Herzog in New York | | 1973 CE |
| 82 |
 |
Plano Piloto (Pilot Plan) | Lúcio Costa | 1957 CE |
| 83 |
 |
Brasília, diagram of typical neighborhood unit comprising four Superquadras | | |
| 84 |
 |
Juscelino Kubitschek and Lúcio Costa locating the Monumental Axis of Brasília | | April 1957 CE |
| 85 |
 |
The Battle of Avaí | Pedro Américo | 1872 - 1879 CE |
| 86 |
 |
America | Maerten de Vos (designer) and Adriaen Collaert (engraver) | 16th - 17th Century CE |
| 87 |
 |
Redemption of Cain | Modesto Brocos y Gómez | 1895 CE |
| 88 |
 |
The Brazilian Wood-Cutter | José Ferraz de Almeida Júnior | 1879 CE |
| 89 |
 |
The Yellow Man | Anita Malfatti | 1915 CE |
| 90 |
 |
A Boba | Anita Malfatti | 1915 - 1916 CE |
| 91 |
 |
O Homem das Sete Cores (Man in Seven Colors) | Anita Malfatti | 1915 - 1916 CE |
| 92 |
 |
A Cubist Nude | Anita Malfatti | 1915 - 1916 CE |
| 93 |
 |
São Paulo Courthouse | | 1920s CE |
| 94 |
 |
Modern Art Week Program, São Paulo, Brazil | | February 13-17, 1922 CE |
| 95 |
 |
Municipal Theatre of São Paulo | Ramos de Azevedo, Claudio Rossi, and Domiziano Rossi | 1903 - 1922 CE |
| 96 |
 |
Municipal Theatre of São Paulo | | ca. 1921 - 1930 CE |
| 97 |
 |
São Paulo City Scene | | 1920s CE |
| 98 |
 |
São Paulo City Scene | | 1920s CE |
| 99 |
 |
Tarsila do Amaral | | |
| 100 |
 |
Portrait of the Intrepid Sailor Simão, Coal-Heaver on the Steamship Pernambucana | José Correia de Lima | c. 1855 CE |
