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|
Title | Creator | Creation Date |
1 |
|
Monument to the Third International | Vladimir Tatlin | 1920 CE |
2 |
|
Project for the Monument to the Third International | Vladimir Tatlin | 1919 - 1920 CE, recreated in 1968 for exhibition at the Moderna Museet, Stockholm |
3 |
|
Composition | Joaquín Torres-García | 1931 CE |
4 |
|
Column | Naum Gabo | 1922 - 1923 CE, reconstructed in 1937 CE |
5 |
|
Desenho No.2: Equilibrio Restabelecido (Design No.2: Balance Restored) | Lothar Charoux | 1967 CE |
6 |
|
Vermelho e Verde em Formas Contrarias (Red and Green in a Contrary Manner) | Geraldo de Barros | 1952 CE |
7 |
|
Construção No.78 (Construction No.78) | Ivan Serpa | 1955 CE |
8 |
|
Conceito Espacial (Space Concept) | Lucio Fontana | 1965 CE |
9 |
|
Concretion 5629 | Luiz Sacilotto | 1956 CE |
10 |
|
Concretion 5732 | Luiz Sacilotto | 1957 CE |
11 |
|
Composição VI: Distribuição Rítmica Sobre um Sistema Modulado (Composition VI: Rhythmic Distribution of a Modular System) | Willys de Castro | 1953 CE |
12 |
|
Objeto Ritmico No.1 (Rhythmic Object No.1) | Maurício Nogueira Lima | 1953 CE |
13 |
|
Construção No.87 (Construction No.87) | Ivan Serpa | 1955 CE |
14 |
|
Desenho (Design) | Lothar Charoux | 1956 CE |
15 |
|
Invitation for the Exhibition of Atelier Abstração at Museu de Arte Moderna de São Paulo | Norberto Nicola | 1956 CE |
16 |
|
Poster for the International Festival of Brazilian Cinema | Alexandre Wollner; Geraldo de Barros | 1954 CE |
17 |
|
Poster for the First São Paulo Biennial | Antônio Maluf | 1951 CE |
18 |
|
Metaesquema I | Hélio Oiticica | 1958 CE |
19 |
|
Metaesquema 519 | Hélio Oiticica | 1958 CE |
20 |
|
K VII | Lászlo Moholy-Nagy | 1922 CE |
21 |
|
Spatial Composition 4 | Katarzyna Kobro | 1929 CE |
22 |
|
Ball, Plane, and Hole | Barbara Hepworth | 1936 CE |
23 |
|
Oval Hanging Construction No. 12 (view 1) | Alexander Rodchenko | ca. 1920 CE |
24 |
|
Traveler | Liubov Popova | 1915 CE |
25 |
|
Painterly Architectonic | Liubov Popova | 1917 CE |
26 |
|
Dobrolet Poster | Alexander Rodchenko | 1923 CE |
27 |
|
A Negra (The Black) | Tarsila do Amaral | 1923 CE |
28 |
|
Calmaria II (Marinha) [Calm II (Sea)] | Tarsila do Amaral | 1929 CE |
29 |
|
Objecto Rítmico No. 2 (segunda versão), Déc. 70 (Rhythmic Object No. 2 [second version], December 1970) | Maurício Nogueira Lima | 1970 CE |
30 |
|
Composiçāo Ortogonal no. 2 (Orthogonal Composition no. 2) | Anatol Wladyslaw | 1952 CE |
31 |
|
Abstracto Geométrico (Geometric Abstraction) | Lothar Charoux | 1952 CE |
32 |
|
Ruptura Manifesto (English translation with photo of Ruptura group in a Sao Paulo Bar) | | December 1952 CE |
33 |
|
Manifesto Ruptura (Ruptura Manifesto) | Ruptura Group | 1952 CE |
34 |
|
Ruptura Exhibition in the Museum of Modern Art, Sao Paolo | | 1952 CE |
35 |
|
Manto Tupinambá (Tupinambá Cape) | Lygia Pape | 2000 CE |
36 |
|
Decorative Motif Study for the Olivia Guedes Penteado Pavillon of Modern Art | Lasar Segall | c. 1924 CE |
37 |
|
Composição Abstrata (Abstract Composition) | Vicente do Rêgo Monteiro | 1922 CE |
38 |
|
Abstract Geometric Details in Vertical Format for Olivia Guedes Penteado's Modern Pavilion | Lasar Segall | c. 1924 CE |
39 |
|
Retrato de Tarsila (Portrait of Tarsila) | Cícero Dias | 1929 CE |
40 |
|
Composição (Composition) | Georges Valmier | 1921 CE |
41 |
|
Untitled (Geometric Abstract) | Ismael Nery | |
42 |
|
Stained Glass for Mário Cunha Bueno's Residence | John Graz | c. 1930 CE |
43 |
|
Untitled | Cássio M'Boy | c. 1935 CE |
44 |
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Untitled | Cássio M'Boy | c. 1935 CE |
45 |
|
Manifesto do III Salão de Maio (Manifesto of the Third May Salon) | Flávio de Carvalho | 1939 CE |
46 |
|
Untitled | Arthur Amora | late 1940s CE |
47 |
|
View of Geraldo de Barros work in the Fotoforma Exhibition, in the São Paulo Museum of Art | Geraldo de Barros | 1950 CE |
48 |
|
Composição Geométrica (Geometric Composition) | Antonio Gomide | c. 1922 CE |
49 |
|
Lock for Celso Figueiredo's Residence | John Graz | c. 1930 CE |
50 |
|
Detail of the Ceiling of Olivia Guedes Penteado Modern Pavilion | Lasar Segall | c. 1924 CE |
51 |
|
Panneau (Panel) | Regina Gomide Graz | 1920s CE |
52 |
|
Tapete (Tapestry) | Regina Gomide Graz | 1930s CE |
53 |
|
Tapete (Tapestry) | Regina Gomide Graz | 1930s CE |
54 |
|
Untitled | Antônio Gomide | 1920s CE |
55 |
|
Painel (Panel) | John Graz | c. 1938 CE |
56 |
|
Patio and Garden of Mário Cunha Bueno's Residence | John Graz | c. 1930 CE |
57 |
|
Estrutura Plástica (Plastic Structure) | Waldemar Cordeiro | 1949 CE |
58 |
|
Composição (Composition) | Luís Sacilotto | 1948 CE |
59 |
|
Mural for the Secretary of Finance of Recife | Cícero Dias | 1948 CE |
60 |
|
Mural for the Secretary of Finance of Recife | Cícero Dias | 1948 CE |
61 |
|
Pintura (Painting) | Cícero Dias | 1948 CE |
62 |
|
Léon Dégand in an interview with 'Journal of the Arts' in front of works by Cesar Domela and Jean Arp | | c. 1949 CE |
63 |
|
Espaços (Spaces) | Jacob Ruchti | c. 1939 CE |
64 |
|
Idéia Visível (Visibilty Idea) | Waldemar Cordeiro | 1956 CE |
65 |
|
Untitled | Alexandre Wollner | 1957 CE |
66 |
|
Luís Sacilotti, Waldemar Cordeiro and Geraldo de Barros | | 1953 CE |
67 |
|
Variação de Quadrados (Variation of Squares) | Judith Lauand | 1957 CE |
68 |
|
Concreção 5942 | Luís Sacilotto | 1959 CE |
69 |
|
Concreção 6045 | Luís Sacilotto | 1960 CE |
70 |
|
Virtual XIV | Hermelindo Fiaminghi | 1958 CE |
71 |
|
Virtual XII | Hermelindo Fiaminghi | 1958 CE |
72 |
|
Concreção 5521 | Luís Sacilotto | 1955 CE |
73 |
|
Concreção 5730 | Luís Sacilotto | 1957 CE |
74 |
|
Untitled | Raul Porto | 1960 CE |
75 |
|
Pintura 2 (Painting 2) | Maurício Nogueira Lima | 1961 CE |
76 |
|
Concreto (Concrete) | Geraldo de Barros | 1958 CE |
77 |
|
Untitled | Maurício Nogueira Lima | 1962 CE |
78 |
|
Retícula | Maurício Nogueira Lima | 1960 CE |
79 |
|
Composiçāo Linear (Linear Composition) | Anatol Wladyslaw | 1953 CE |
80 |
|
Composiçāo (Composition) | Anatol Wladyslaw | 1952 CE |
81 |
|
Sem título, déc. 50 (Untitled, December, 1950) | Lothar Charoux | 1950 CE |
82 |
|
Composiçāo 1 (Composition 1) | Maurício Nogueira Lima | 1952 CE |
83 |
|
Sem titulo (Untitled) | Anatol Wladyslaw | 1956 CE |
84 |
|
Sheet from the Portfolio for Walter Gropius (1) | Lászlo Moholy-Nagy | 1924 CE |
85 |
|
Constructivo en blanco y negro con pez (Constructive in white and black with fish) | Joaquín Torres-García | 1931 CE |
86 |
|
Constructivo con varillas superpuestas (Constructive with superimposed bars) | Joaquín Torres-García | 1930 CE |
87 |
|
Estructura en color (Color Structure) | Joaquín Torres-García | 1930 CE |
88 |
|
Constructive Composition | Joaquín Torres-García | 1943 CE |
89 |
|
Physique (Physics) | Joaquín Torres-García | 1929 CE |
90 |
|
Joaquín Torres-García in his inscribed "New York" overalls | Joaquín Torres-García | 1921 CE |
91 |
|
"New York" overalls | Joaquín Torres-García | 1921 CE |
92 |
|
"New York" overalls | Joaquín Torres-García | 1921 CE |
93 |
|
Constructif à l'ancre centrale (Constructive with central anchor) | Joaquín Torres-García | 1932 CE |
94 |
|
Construccíon con triángulo (Construction with triangle) | Joaquín Torres-García | 1929 CE |
95 |
|
Construcción universal (Universal Construction) | Joaquín Torres-García | 1931 CE |
96 |
|
Plano em Superfícies Moduladas No.2 (Plan in Modulated Areas No.2) | Lygia Clark | 1956 CE |
97 |
|
Composition with Temple Pediment | Joaquín Torres-García | 1932 CE |
98 |
|
Universal Structure with Three Arches | Joaquín Torres-García | 1945 CE |
99 |
|
Constructive Composition | Joaquín Torres-García | 1943 CE |
100 |
|
Constructive Composition No. 548 | Joaquín Torres-García | 1932 CE |