Biography
Alberto Valença (Alagoinhas/BA, Brazil, 1890- Salvador, BA, Brazil, 1983) is one of the last painters of the Escola Baiana de Pintura (Bahia’s Art School of Painting). His talent was identified by Professor Manuel Lopes Rodrigues (1859-1917) when he was fifteen years old, as a student of a Drawing course at Liceu de Artes e Ofícios, Salvador, Bahia, an institution focused on art crafting.
Although he has spent most of his life in Bahia, he has attended the Julian Academy of Fine Arts, in Paris; has lived in Brittany, northwestern France; and has worked in Rio de Janeiro for three years. He has taught at the School of Fine Arts of Bahia, which is part of the Federal University of Bahia, for almost three decades, becoming the master of several generations of fine artists.
We present Alberto Valença’s brief biography, with remarkable facts of his life and work.
Photograph of young Alberto Valença
June 7th1890
Alberto de Aguiar Pires Valença was born in Alagoinhas, Bahia, Brazil, son of the telegraph operator Manuel Joaquim Pires Valença and Olympia de Aguiar Pires Valença. The couple has had four children: Almiro, Alberto, Heitor, and Ezilda. Due to their father’s death in 1898, Almiro and Alberto had to work during their childhood, besides going to school.
Portrait of the painter Manuel Lopes Rodrigues
1905
Valença attended drawing lessons at Liceu de Artes e Ofícios, an institution focused on art crafting, as a student of the painter Manuel Lopes Rodrigues. He used to study in the evening due to his humble job tasks.
School of Fine Arts of Bahia, 1940
1908
Sponsored by his master, painter Manuel Lopes Rodrigues, he enrolled at the School of Fine Arts of Bahia where he graduated in November 1914.
A Suburb
1911
He painted Um arrabalde. The place is not identified, but it seems to be a seaside fishing port. The landscape is dominated by a house kwnown as Casa de Oitão, whose main front is narrow in relation to its wide, high and long side. The house might have had a splendorous past. It is surrounded by huts, with few people depicting street scenes.
1912-1920
He worked as a technical designer at Cia. de Energia Elétrica (Electric Power Company), whose director engineer Américo Simas supported his artistic and professional career. He acquired consistent domain of architecture drafting.
1913
He started painting landscapes in open air in the surroundings of Salvador together with painter Presciliano Silva (1883-1965), who had just arrived from a period of studies in France where he was influenced by the impressionist way of painting.
Warehouse and Boats
1914
He painted Trapiche e Barcos, Avenida Jequitaia
Still Boats
1915
He painted Barcos Parados. Saveiros na Feira de Água de Meninos, Salvador.
1917
Death of professor Manuel Lopes Rodrigues at the age of 58.
Ladeira da Montanha (and old São João Theater)
1918
He painted Ladeira da Montanha e Teatro São João.
Carmo Convent Cloister
1919
He painted Claustro do Convento do Carmo and two canvases on the same landscape: Ubarana Luz da Manhã and Ubarana Luz Vespertina.
Fishing Port
1920
He started working at Inspetoria das Obras contra as Secas (Inspectorate of Works against Droughts) as a designer.
He joined a group of intellectuals named A Távola, led by Carlos Chiachio (journalist, writer, and art critic); besides Admar Guimarães (sociologist and writer); Presciliano Silva (painter); Eugênio Gomes (journalist and writer); Aloísio de Carvalho Filho (lawyer, politician, and writer); Roberto Correia (poet).
He painted Porto de Pesca, Manhã em Ubarana, Pátio interno do Convento de São Francisco, Forte de Monte Serrat I and II, Igreja da Saúde.
Rocks at Barra II
1921
He painted Rochedos no Farol da Barra II.
Portrait of Claudionor
1922
He painted Retrato de Claudionor.
Old Woman’s Head
1923
He participated in the collective art exhibition, organized by the painter Presciliano Silva, celebrating the centenary of independence of the state of Bahia from Portuguese domination, and inaugurating the new headquarters of the Instituto Geográfico e Histórico da Bahia (Historical and Geographic Institute of Bahia).
The exhibition was also held in Rio de Janeiro. Besides Valença, the exhibitors were Presciliano Silva, Oséas dos Santos, Pasquale De Chirico, Carlos Sepúlveda, Robespierre de Faria, Raimundo Aguiar.
Afterwards, Valença held his first individual exhibition.
He painted Cabeça de Velha, Autorretrato and Meditação.
Penha Gate
1924-1925
He painted two versions of "Fráguas", landscapes of Ondina beach, Salvador, Bahia. Upon his return from France, he painted "Fráguas III" between 1928-29, totaling five canvases with the same theme and title.
He painted Portão da Penha, Porto dos Tainheiros, Tamarindeiros sobre o cais do Porto dos Tainheiros, São Lázaro, Estrada de Amaralina.
Still Waters
1925
Second solo exhibition in Bahia.
Paints Retrato de Dom Ruperto (1877-1929), abbot of the São Bento Monastery from 1920 to 1929.
He also painted: Águas paradas, Reflexos n'água, Marinha, Claustro do Convento de São Francisco, Porta da Sala do Capítulo, Barcos em Porto dos Tainheiros, Paisagem com Cajueiro.
October 1925
He traveled to France for a two-year study period, sponsored by the government of the state of Bahia. He attended the Julian Academy in Paris, and later painter Émile Renard’s atelier
Place de la Concorde
1926
In Paris, he produced a big number of studies and portraits at Émile Renard’s atelier, who recommended him to remain in France or to accept a job in Canada at a painting school.
He painted Place de la Concorde, Mulher rezando, Zingara and Nu feminino (painted in Renard's atelier)
Breton man
1927-1928
He moved to Concarneau, in Brittany, northwest of France, where he developed different kinds of paintings, including landscapes, seascapes, and portraits. He used to work together with New Zealand’s painter Sydney Lough Thompson (1877-1973).
He painted: Bretão, Cabeça de velha, Mercado de Concarneau, Atuneiros na Bretanha, Atuneiro na Bretanha em Pochade, Luar na Bretanha, Paisagem francesa, Torre de Concarneau, Cais de Concarneau, Pescador Bretão, Campos do Finistère, Barcos Atuneiros em Concarneau Bretanha, Atuneiros em Concarneau.
Desterro Convent under Twilight
1928
He returned to Salvador, Bahia, Brazil, in October, bringing about 30 canvases painted during his stay in France.
In December he held an individual exhibition totaling 60 paintings, half of them done in France. At this moment, he experienced success and recognition as an artist.
He painted Pôr do sol sobre o Convento do Desterro.
1928-1930
He taught Drawing at Ginásio da Bahia, a public High School in Salvador, Bahia.
Interior of a Church or a Convent
1929
He painted Interior de Igreja ou Convento and Farol da Barra.
Caminho de Areia
1930
He painted Caminho de Areia, Praia do Bogari, Retrato de Moça, Boca do Rio, Passagem para o Refeitório and O Breviário.
Alberto Valença (on the right) in Rio de Janeiro
1931
He painted Antessala da Enfermaria.
He moved to Rio de Janeiro, which was the capital of Brazil, where he participated in the exhibition promoted by the Brazilian Association of Artists, in the Palace Hotel.
He used to teach technical drawing at Freycinet School and at Lafayette High School.
Lectícia Machado, Alberto Valença’s future wife, won an award at the Fine Art National Exhibition, Bahia, 1931. She hadn’t met Valença yet.
Ana Cerqueira Lima’s Portrait
1932-1933
He used to exhibit his works at Georges Petit Gallery. During his stay in Rio de Janeiro he painted mainly portraits, like the portrait of Ana Cerqueira Lima and of Cardinal Dom Sebastião Leme, which belongs to the Brotherhood of the SS Sacramento da Candelária of Rio de Janeiro.
He participated in the Fine Art National Saloon and was awarded with a silver medal in honor of Ana Cerqueira Lima’s portrait.
1933
He returned to Salvador, Bahia, where he remained for the rest of his life.
He was appointed professor of Live Model Drawing at the School of Fine Arts of Bahia, which later became part of the Federal University of Bahia. He also resumed the job as Drawing professor at Ginásio da Bahia (Bahia High School)
Cardinal Dom Sebastião Leme’s Portrait
1934
He visited Rio de Janeiro to conclude and inaugurate Cardinal Dom Leme’s portrait - Candelária, Rio de Janeiro.
Tamarind Trees at Penha
1936
He joined the group ALA – Ala das Letras e das Artes, formed by writers, artists, journalists, who had belonged to A Távola Group. This group promoted different cultural activities.
He painted Tamarindeiros da Penha and Trapiche.
Santana Church
1937
He held an individual exhibition in the lobby of the Rio Branco Palace, which used to be the headquarters of the state government.
Participate in the First ALA Saloon.
He painted Igreja de Santana.
Santo Antônio da Barra
1938
He exhibited nineteen art works at the Second ALA Saloon.
He painted Santo Antônio da Barra.
Alberto Valença and Lectícia Machado
1939
He married Lecticia Machado when he was 48 years old and she was 30. She was his student at the School of Fine Arts of Bahia.
Lecticia and Alberto’s only son, Antônio Alberto, was born in December 21st .
Portrait of Renan as a Boy
1939
He painted Retrato de Renan Menino.
Armação under Afternoon Light
1940
He was appointed consultant of the Museu do Estado da Bahia (State Museum of Bahia). He held this position until his retirement at 70 years old.
He painted Armação Luz da Tarde, Porto da Barra, Baía de Todos os Santos, Cotidiano à Beira-Mar, Madre de Deus, Paisagem de Madre Deus.
João da Silva Campos’s Portrait
1941
He painted Retrato de João da Silva Campos.
Portrait of Solange as a girl
1942
He participated in the 6th ALA Saloon.
He painted Retrato de Solange Menina.
Madre de Deus Landscape
1943
Death of his 34-year-old wife Lectícia Valença.
He painted Paisagem Madre de Deus, Porto de pesca. Madre de Deus, Saveiro Encalhado I, Coqueiros Madre de Deus.
Humberto Peixoto’s Portrait
1945
He was hired by EPUCS - Escritório de Planejamento Urbanístico da Cidade do Salvador (Salvador City Urban Planning Office) to draft a series of historical buildings that were constructed in earlier periods.
He painted Retrato de Humberto Peixoto and Orla de Salvador.
Vera Costa Pinto’s Portrait
1946-1947
He participated in two ALA Art Saloons.
He painted Retrato de Vera Costa Pinto and A Caboclinha.
Professors at the School of Fine Arts of Bahia
1949
He received the highest award (golden medal) at the 1st Bahia’s National Saloon of Fine Arts, celebrating the 4 th centenary of the city’s foundation, with Ana Cerqueira Lima’s portrait. The exhibition was organized by Anísio Spínola Teixeira, Presciliano Silva, José Valladares, Admar Guimarães, Diógenes Rebouças, Ismael de Barros e Godofredo Filho.
He painted Igreja de Santana e Casario.
Alberto Valença by Presciliano Silva
1950
Presciliano Silva draws a portrait of Alberto Valença.
He painted Trapiche Adelaide and Mar Grande.
Live model drawing class
1951
He was appointed by President Getúlio Vargas full professor of the course Live Model Drawing at the School of Fine Arts of Bahia, which had become part of the Federal University of Bahia.
August 22nd – Birth of Maria Amélia Valença, Joana Amélia de Jesus and Alberto Valença’s daughter.
He painted Retrato de Olympia Valença.
Ilhota
1953
He painted Ilhota (Mar Grande).
Mrs. Romana Calmon’s Portrait
1954
He painted Retrato de Dona Romana Calmon.
Painter Mendonça Filho’s Portrait
1955
He participated in the 5th Bahia Art Saloon with a drawing.
He painted Retrato do Pintor Mendonça Filho.
Houses at Itaparica I
1960
Compulsory retirement, at the age of 70, from the Federal University of Bahia.
He painted Casario de Itaparica I e II.
Senhor dos Passos Church and Houses
1961
At 70 years old he discovered the Carmelite Convent as a supporting point to continuing painting.
He was awarded with the title of Emeritus Professor of the Federal University of Bahia.
The Brazilian Academy of Fine Arts conferred on him the Medal of Academic Degree and Commendation Tie, as well as Chair 46, patronymic of Eugênio Latour.
In this decade he painted: Igreja do Senhor dos Passos e casario, Pátio e Claustro do Convento do Carmo I e II, Clausura do Convento do Carmo.
All Saints’ Bay
1962
He painted Baía Todos os Santos.
Jorge Costa Pinto’s Portrait
1963
He painted Retrato de Jorge Costa Pinto.
Desterro Convent’s Tower
1968
He painted Torre do Convento do Desterro.
Interior, Carmo Convent
1969
He painted Interior – Convento do Carmo and Porta da Sacristia.
1970's Exhibition Catalog
1970
Considerable reduction of his sight capacity.
Retrospective exhibition at Museu de Arte Sacra da Bahia (Sacred Art Museum of Bahia).
He received the Odorico Tavares Award granted by the State Government of Bahia.
1971
He tended to fall into melancholy. He started burning the pictures that did not reach the level of perfection he expected.
82-year-old Valença painting in Gameleira beach, Itaparica Island, Bahia, Brazil
1972
Begins painting Praia da Gameleira.
He painted Retrato de Marta Valença, while she was married to his son.
Gameleira Beach
1973
In January during the summer season in Itaparica Island (Bahia), he tried but wasn’t able to paint a seascape. The unfinished and non-signed seascape was kept by his family.
Urinary retention crisis, cataract surgery.
Finishes Praia da Gameleira (the last signed seascape).
1977
Clarival do Prado Valladares visited him telling about the project of publishing a book about his work.
Clarival Valladares' book cover
1980
The fine art book Alberto Valença: um estudo biográfico e crítico (Alberto Valença: a biographical and critical study), written by Clarival do Prado Valladares, was published by Construtora Norberto Odebrecht.
in the night between 20th and 21th August1983
Death of 93-year-old Alberto Valença due to natural causes.
1990
Alberto Valença’s centenary.
Galeria Cañizares' Façade
1991
Exhibition O Poeta da Cor (The Poet of Color) at Cañizares Gallery, Salvador, Bahia, celebrating Alberto Valença’s centenary, organized by Professor Márcia Magno
"Talking with Alberto Valença's Painting" by Vera Spínola, book cover
2020
After completing a research that lasted for five years, professor Vera Spínola, his son Antônio Alberto’s spouse, published the biographic novel Conversando com a Pintura de Alberto Valença (Talking with Alberto Valença’s painting). She has never met the painter, since she met her husband in 1991, eight years after Alberto Valença’s death.
Poster an folder of the exhibition Conversando com a Pintura de Alberto Valença
2021-2022
From Oct. 20th 2021 to Jan. 30th 2022, the Museu de Arte da Bahia (Museum of Art of Bahia) and at the Museu Carlos Costa Pinto (Carlos Costa Pinto Museum), both in the city of Salvador, BA, Brazil, held a retrospective exhibition Conversando com a Pintura de Alberto Valença (Talking with Alberto Valença’s painting) on Alberto Valença’s works, putting together 95 art works, from the museums’ collection and from private collections. It was sponsored by Vera Spínola.