Rubem Valentim

Rubem Valentim (9 November 1922 – 30 November 1991) was born in Salvador, Bahia, Brazil. A self-taught artist, he started to paint as a child, doing figure and landscapes for Christmas crèches.

Biography Valentim graduated in dentistry in 1946, and practiced the profession while continuing to paint. In 1948, he left dentistry to devote himself entirely to plastic arts. He went on to study Journalism and received his bachelor's degree from the School of Philosophy of Bahia in 1953. He participated in the renovative movement in the arts, which began in Bahia in 1978–1948. Valentim was devoted to his religion, even becoming a pai-de-santo, or priest, of a famous terreiro in Salvador, Bahia, Brazil. This specific area was home to a budding Afro-Brazilian culture due to being a hub for the Brazilian slave. He was also awarded a Special Prize for "Contribution to Brazilian Painting".

Valentim's contributions to the art world as writer and essayist are documented in the archives of research institutes and museum libraries across the Americas. He authored and published the Manifesto ainda que tardio (“Manifesto, albeit belated“) in 1976. In the text, he proposes an anticolonial agenda in the arts. His work has received scholarly attention both in Brazil and abroad.

In 2018, the São Paulo Museum of Art (MASP) organized a major career survey showcasing 99 artworks by Valentim, who is a key figure in the 20th-century Brazilian art.

Artistic Styles Valentim's early artwork and mediums were inspired by mentor, Arthur Come-Só, a local wall painter. From an early age, Valentim's works were heavily influenced by both politics and religion. His art was a very strong contributor to the African diaspora, implementing key symbols from African communities and religion.

After moving to Rio de Janeiro in 1957, Valentim engaged in Geometric Abstraction. This form of artwork uses geometric shapes to create abstract art representative of what the artist wants to portray. After moving to Europe in 1962, Valentim's focus shifted to African influences. The source of his involvement was also due in part to his participation in the religion Candomblé. Valentim's work includes symbols such as tools and altars that are common imagery of the Candomblé religion. Of these, Xango's double axe is a consistently reoccurring symbol in Valentim's paintings. With its symmetry and upward movement, the piece evokes an image of an altar. One sculpture in particular, The Temple of Oxalá represents one of the most important entities to the Yoruba religion. Pintura 1 (Painting 1), 1964. Museum of Fine Arts, Boston Emblema logotipo poético de cultura afro-brasileira - No 8, 1976. São Paulo Museum of Art, São Paulo