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|
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 |
| 101 |
 |
Mãe preta (Black Mother) | Lucilio de Albuquerque | 1912 CE |
| 102 |
 |
Iemanjá figure | | |
| 103 |
 |
Map: Brazil | | |
| 104 |
 |
Depiction of Indigenous rite with dance and tobacco smoking, illustrating a passage labeled ‘Caraibes barbaros exsufflantes' (The Barbarian Caribs Blow Smoke) | | 1590s CE |
| 105 |
 |
First exhibition at Museum of Modern Art, Sao Paulo: Ruptura | | 1952 CE |
| 106 |
 |
Shapes | Ivan Serpa | 1951 CE |
| 107 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 108 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 109 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 110 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 111 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 112 |
 |
Sketch of A Negra I | Tarsila do Amaral | c. 1923 CE |
| 113 |
 |
A Negra III | Tarsila do Amaral | 1923 CE |
| 114 |
 |
A Cuca | Tarsila do Amaral | 1924 CE |
| 115 |
 |
Sketchbook with Drawing of A Negra | Tarsila do Amaral | undated (c. 1924 CE) |
| 116 |
 |
Twelve Prophets (Last Supper) | | 1800 - 1805 CE |
| 117 |
 |
Chapels in the Sanctuary of Bom Jesus de Matosinhos | | 1757 - 1872 CE |
| 118 |
 |
Church of São Francisco de Assis | | 1766 CE |
| 119 |
 |
View of Ouro Preto | | |
| 120 |
 |
Semana de Arte Moderna (Week of Modern Art), Theater Program | | 1922 CE |
| 121 |
 |
Revista de Antropofagia (Anthropophagous Review), No. 1, May 1928 | | 1928 CE |
| 122 |
 |
Esclaves nègres, de différentes nations (Black Women / Black Slaves from Different Nations) | Jean Baptiste Debret | 1835 CE |
| 123 |
 |
Portrait of the painter Jean Baptiste Debret | Rodolfo Amoedo | unknown date |
| 124 |
 |
Semana de Arte Moderna (Week of Modern Art), Exhibition Catalog | | 1922 CE |
| 125 |
 |
Sanctuary of Bom Jesus do Congonhas, view of the façade | Antônio Francisco Lisboa (Aleijadinho) | 18th Century CE |
| 126 |
 |
Brasilia, Congress Complex | Oscar Niemeyer | 1958 - 1960 CE |
| 127 |
 |
Brasilia, Congress Complex | Oscar Niemeyer | 1958 - 1960 CE |
| 128 |
 |
Juscelino Kubitschek with Lucio Costa, in 1957, at the center of the Pilot Plan to be built, Brasilia | | 1957 CE |
| 129 |
 |
New Hydrographic and Geographic Map of Brazil, containing the Provinces of Ciriji, with Itapuama in Paranambuca, Itamaraca, Paraiba, and Potigi to the Rio Grande | Georg Marcgraf; Johan Blaeu (engraver) | 1643 CE |
| 130 |
 |
Map of America | attributed to Diogo Ribeiro | c. 1532 CE |
| 131 |
 |
The Island of Brazil (2) | Anonymous | c. 1550 CE |
| 132 |
 |
The Island of Brazil (1) | Anonymous | c. 1550 CE |
| 133 |
 |
Sugar Mill (detail) | Frans Post | 1660s CE |
| 134 |
 |
Sugar Mill | Frans Post | 1660s CE |
| 135 |
 |
Ruins of the Jesuit Church in Olinda | Frans Post | 1660s CE |
| 136 |
 |
Ruins of Olinda (detail) | Frans Post | 1666 CE |
| 137 |
 |
Ruins of Olinda | Frans Post | 1666 CE |
| 138 |
 |
Map: Areas in northeast Brazil occupied by the Dutch, showing the main regions under Johan Maurits van Nassau's rule, 1637 - 1644 | | |
| 139 |
 |
Portrait of Johan Maurits van Nassau-Siegen | Anonymous | 1647 CE |
| 140 |
 |
View of the Church of Glória | Nicolas Antoine Taunay | |
| 141 |
 |
View of the Sugar Loaf | Nicolas Antoine Taunay | |
| 142 |
 |
Tapuias Indians, Manaus | Albert Frisch | c. 1865 CE |
| 143 |
 |
King João VI and Queen Carlota Joaquina on Quinta da Boa Vista | Nicolas Antoine Taunay | |
| 144 |
 |
Indians of Amazonas | Albert Frisch | c. 1865 CE |
| 145 |
 |
Slaves of the Naturalist | Jean Baptiste Debret | |
| 146 |
 |
Inhabitant of Minas Crossing a River | Jean Baptiste Debret | |
| 147 |
 |
Maritime View of Rio de Janeiro | Nicolas Antoine Taunay | |
| 148 |
 |
Amazons | André de Thevet | 1557 CE |
| 149 |
 |
Amazons | Amerigo Vespucci | 1509 CE |
| 150 |
 |
Serro Frio: Two Overseers Search a Slave (or Whipping an Enslaved Male) | Carlos Julião | ca. 1780 CE |
| 151 |
 |
Indian Hunter | Manufacture des Gobelins | 1692 - 1700 CE |
| 152 |
 |
View of Rio de Janeiro | Thomas Ender | 1817 CE |
| 153 |
 |
O Homem das Sete Cores (Man in Seven Colors) | Anita Malfatti | 1915 - 1916 CE |
| 154 |
 |
Founding of the City of São Paulo, 1554 | Oscar Pereira da Silva | 1903 CE |
| 155 |
 |
A Brazilian | Johannes Nieuhof | 1682 CE |
| 156 |
 |
Art Cookie | Regina Silveira | 1976 CE |
| 157 |
 |
Art Cookie | Regina Silveira | 1976 CE |
| 158 |
 |
Portrait of the Intrepid Mariner Simão, Coalman of the Steamship Pernambucana | José Correia de Lima | 1853 CE |
| 159 |
 |
Objeto Ativo (Active Object) | Willys de Castro | c. 1960 CE |
| 160 |
 |
Map: Rio de Janeiro | | |
| 161 |
 |
View of the Monumental Axis with the Triangular Praça dos Três Poderes at its Eastern Tip and the Ceremonial Esplanade Leading to the National Congress | | |
| 162 |
 |
The Mall on the Monumental Axis, Brasília | | |
| 163 |
 |
Inauguration Day (View of the National Congress Palace) | Thomaz Farkas | 1960 CE |
| 164 |
 |
Arte Física: Clareira (Caixas de Brasília) [Physical Art: Clearing (Brasília Boxes)], detail of map | Cildo Meireles | 1969 CE |
| 165 |
 |
Vermelho Cortando o Branco (Red and White Cutting) | Hélio Oiticica | 1958 CE |
| 166 |
 |
Assumption of the Virgin, with King David and Angelic Choir | Manuel da Costa Ataíde | 1801 - 1802 CE |
| 167 |
 |
Assumption of the Virgin, with King David and Angelic Choir (detail) | Manuel da Costa Ataíde | 1801 - 1802 CE |
| 168 |
 |
Assumption of the Virgin, with King David and Angelic Choir | Manuel da Costa Ataíde | 1801 - 1802 CE |
| 169 |
 |
Church of São Francisco de Assis | | 1766 CE |
| 170 |
 |
Church of São Francisco de Assis | | 1766 CE |
| 171 |
 |
Carrying a Sedan Chair (Palanquin), Rio de Janeiro | Carlos Julião | ca. 1770s CE |
| 172 |
 |
Male Hawkers or Marketers, Rio de Janeiro | Carlos Julião | ca. 1770 CE |
| 173 |
 |
Market Woman or Hawkers | Carlos Julião | ca. 1770s CE |
| 174 |
 |
Serro Frio: Two Overseers Search a Slave (or Whipping an Enslaved Male) | Carlos Julião | ca. 1780 CE |
| 175 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 176 |
 |
Bichos (Critters or Beasts) | Lygia Clark | 1960 CE |
| 177 |
 |
Tripartite Unity | Max Bill | 1948 - 1949 CE |
| 178 |
 |
Quête nommée la folie de l'empereur du St. Esprit; Drapeau et pavillon brésiliens (Hunt Presided by hte Emperor of St. Esprit, 1826) | Jean Baptiste Debret | 1834 - 1839 CE |
| 179 |
 |
Quête nommée la folie de l'empereur du St. Esprit; Drapeau et pavillon brésiliens (Hunt Presided by hte Emperor of St. Esprit, 1826) | Jean Baptiste Debret | 1834 - 1839 CE |
| 180 |
 |
Chef de Bororenos partant pour une attaque (Leader of the Bororenas setting off to Attack | Jean Baptiste Debret | 1834 - 1839 CE |
| 181 |
 |
Chef de Bororenos partant pour une attaque (Leader of the Bororenas setting off to Attack | Jean Baptiste Debret | 1834 - 1839 CE |
| 182 |
 |
Aldea de Cabocles à Canta-Gallo (Native Village in Cantagalo) | Jean Baptiste Debret | 1834 - 1839 CE |
| 183 |
 |
Aldea de Cabocles à Canta-Gallo (Native Village in Cantagalo) | Jean Baptiste Debret | 1834 - 1839 CE |
| 184 |
 |
The Dinner, a white couple being served and fanned by black slaves | Jean Baptiste Debret | 1839 CE |
| 185 |
 |
Enslaved Africans in the Hold of a Slave Ship | Johann Moritz Rugendas | ca. 1830 CE |
| 186 |
 |
Slavery in Brazil | Jean Baptiste Debret | 1835 CE |
| 187 |
 |
Nègres chasseurs rentrant en ville [left], Le retour des nègres d'un naturaliste [right] (Return of the Negro Hunters to the City / Return of the Naturalist Negroes) | Jean Baptiste Debret | 1835 CE |
| 188 |
 |
Nègres chasseurs rentrant en ville [left], Le retour des nègres d'un naturaliste [right] (Return of the Negro Hunters to the City / Return of the Naturalist Negroes) | Jean Baptiste Debret | 1835 CE |
| 189 |
 |
Public Whipping of a Slave | Johann Moritz Rugendas | after 1827, before 1835 CE |
| 190 |
 |
Landing of Doña Leopoldina, First Empress of Brazil | Jean Baptiste Debret | 1839 CE |
| 191 |
 |
Princess Maria Leopoldina of Austria, Empress of Brazil (1822) | Georgina Albuquerque | 1922 CE |
| 192 |
 |
Dom Pedro I | Manuel de Araujo Porto Alegre | c. 1826 CE |
| 193 |
 |
New Brazilian Flag | Jean Baptiste Debret | November 16, 1822 |
| 194 |
 |
Self Portrait | Manuel de Araujo Porto Alegre | c. 1823 CE |
| 195 |
 |
Church of Gloria, Rio de Janeiro | Nicolas Antoine Taunay | 1824 CE |
| 196 |
 |
Women Selling | Jean Baptiste Debret | c. 1826 CE |
| 197 |
 |
First Mass in Brazil | Victor Meirelles de Lima | 1861 CE |
| 198 |
 |
Serro Frio: Slaves Washing Precious Stones | Carlos Julião | ca. 1780 CE |
| 199 |
 |
Tarsila do Amaral at Galerie Percier, Paris, July 1926 | | 1926 CE |
| 200 |
 |
Indigenous Protest over land rights at the Brazilian National Congress | | April 2017 |
