BIOGRAPHY
Renato de Almeida was a Brazilian painter, self-taught, who was born in Juiz de Fora, Minas Gerais, on June 8, 1921, but was registered on November 12 of that year. He is the seventh and last son of the couple Jose Guilherme and Harodilla de Almeida. His father passed away when Renato was only 2 years old, forcing his mother to work out as a laundress to support the children. At the age of 12 he began to practice guitar lessons with Argentine composer and guitarist Juan Angel Rodriguez Vega (1885-Buenos Aires / Argentina - 1944-Juiz de Fora / MG). Besides being an excellent painter, Renato de Almeida played guitar with great skill, but he affirmed that music represented a moment of rest in his life. On June 29, 1950 he married Ophelia Monterisi with whom he had four children: Renato, Roberto, Angela and Denise.
His desire to paint was born early and turned into forms in an autodidatic way. From a very young and without financial conditions, in order to improve his vocation, he made several and several drawings as a study to supply the need of a teacher and to vent his anxieties.
In 1949 he participated in the 55th National Salon of Fine Arts, promoted by the National Museum of Fine Arts in Rio de Janeiro, where he was distinguished with the Honorable Mention. In 1950 he was awarded the 3rd place in the Municipal Hall of Fine Arts Antonio Parreiras in Juiz de Fora and in 1953 was the winner receiving the 1st Prize in this same contest. The two paintings related to these awards are integral parts of the Mariano Procópio Museum collection, in Juiz de Fora / MG. In 1956 he competed for the 61st National Salon of Fine Arts, where he received the Silver Medal for the works entitled "Pelada", "Portrait of the painter Gil" and "Landscape", these three works are part of the collection of the National Museum of Fine Arts of Rio de Janeiro. He was part of the group of plastic artists composed by Heitor de Alencar, Silvio Aragão, Dnar Rocha, Renato Stehling. In 1960, he moved with his family to Rio de Janeiro because he felt he needed to live in an environment where he could expand his art and where he became close friends with the painter and restorer Edson Motta (1910-Juiz de Fora / MG - 1981-Rio de Janeiro / RJ) and the composer and conductor Guido Santórsola (1904-Canosa de Puglia / Italy - 1994-Montevideo / Uruguay). Renato made exhibitions of his works in several cities such as Rio de Janeiro, São Paulo, Curitiba, Belo Horizonte, Juiz de Fora, among others. Renato de Almeida was an authentic representative of the natural elite. He entered into life, exclusively, with the gifts and talent that God gave him. He did not bury the talent, but made it fruitful through continued effort. By study. By devotion to his Art. He lived only for it. He accomplished himself day by day in the painting and in his music. Renato de Almeida had, as few, the intimacy of colors. They coexist in their paintings, without conflict, without friction, as true friends. He died on March 31, 1980, at the age of 58, in Juiz de Fora, as a result of a running over as he prepared to open his painting exhibition. He was honored, after his death, by the Centro Cultural Pró Música in Juiz de Fora, Minas Gerais, with a room for exhibitions that takes the name of "Renato de Almeida Gallery".
His desire to paint was born early and turned into forms in an autodidatic way. From a very young and without financial conditions, in order to improve his vocation, he made several and several drawings as a study to supply the need of a teacher and to vent his anxieties.
In 1949 he participated in the 55th National Salon of Fine Arts, promoted by the National Museum of Fine Arts in Rio de Janeiro, where he was distinguished with the Honorable Mention. In 1950 he was awarded the 3rd place in the Municipal Hall of Fine Arts Antonio Parreiras in Juiz de Fora and in 1953 was the winner receiving the 1st Prize in this same contest. The two paintings related to these awards are integral parts of the Mariano Procópio Museum collection, in Juiz de Fora / MG. In 1956 he competed for the 61st National Salon of Fine Arts, where he received the Silver Medal for the works entitled "Pelada", "Portrait of the painter Gil" and "Landscape", these three works are part of the collection of the National Museum of Fine Arts of Rio de Janeiro. He was part of the group of plastic artists composed by Heitor de Alencar, Silvio Aragão, Dnar Rocha, Renato Stehling. In 1960, he moved with his family to Rio de Janeiro because he felt he needed to live in an environment where he could expand his art and where he became close friends with the painter and restorer Edson Motta (1910-Juiz de Fora / MG - 1981-Rio de Janeiro / RJ) and the composer and conductor Guido Santórsola (1904-Canosa de Puglia / Italy - 1994-Montevideo / Uruguay). Renato made exhibitions of his works in several cities such as Rio de Janeiro, São Paulo, Curitiba, Belo Horizonte, Juiz de Fora, among others. Renato de Almeida was an authentic representative of the natural elite. He entered into life, exclusively, with the gifts and talent that God gave him. He did not bury the talent, but made it fruitful through continued effort. By study. By devotion to his Art. He lived only for it. He accomplished himself day by day in the painting and in his music. Renato de Almeida had, as few, the intimacy of colors. They coexist in their paintings, without conflict, without friction, as true friends. He died on March 31, 1980, at the age of 58, in Juiz de Fora, as a result of a running over as he prepared to open his painting exhibition. He was honored, after his death, by the Centro Cultural Pró Música in Juiz de Fora, Minas Gerais, with a room for exhibitions that takes the name of "Renato de Almeida Gallery".
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Always following a personal style, which is pure but not naive. In the old streets of Ouro Preto, Renato de Almeida observes the rich texture of the walls tainted by the time, a way of expressing romanticaly the past of the urban scenery that silently stares the pedestrians nowadays. Renato extracts affectionately the colors that feed his work from the subtle tones that his eye unconsciously notices. The visual realism turns into color lyricism, that communicates everything that moved the artist