Critical Mentions

“This fellow has a very nice touch."

Di Cavalcanti, O Estado de São Paulo newspaper, "Gustavo Rosa paints the mystery. Do you have it?" (1969).

"Gustavo Rosa has a passion for the human figure, the ongoing theme of his drawings and paintings. He attempts to visually fix the impression of the moment in its essence, with no retouching or alterations afterwards. To do this, he has developed a simple and agile linear language, suitable for quick and spontaneous execution. It reveals a very personal sensitivity to the rhythm of the lines of the human body, outlining the monochromatic space. He has been refining his canvases more and more, suppressing all details that are not absolutely necessary. He has reduced the use of color, limiting himself to using isolated patches (...). His female figures and his nudes possess an imposing truth that fascinate with his grasp of human expressiveness through lines and spatiality. "

Mario Schenberg, on Gustavo Rosa’s exposition at the Bonfiglioli Gallery, 1970.

 "His portraits, which he paints in a very smooth and simple way, both quickly and confidently, are at the Espade Gallery. In most of them, a child looks and is seen from his world of discovery; in the others, adults—because Gustavo Rosa also portrays adults—also question, but what comes from their lifeless gaze is more perplexity than questioning."

Folha de S. Paulo, "The truth about Gustavo Rosa" (1973)

 "Gustavo Rosa was in danger of being just another portrait painter of people from a certain class of Brazilian society, in spite of having a very personal, Spartan, smooth and lyrical style in his portraits. A restless and lucid artist, he has taken stock of his past. A profound self-critic. And he has changed. The change is radical and makes it clear that he wants to use color, unravel its mysteries—to know how to paint. He could choose forceful and aggressive colors to attract attention, but instead uses the softest ones; almost as soft as a delicate watercolor. And then he proposes and begins an intelligent game between the viewer of his work and the technique he uses. The question is then: Where is the collage? Where is the painting? In this game, he is seeking a truth already known: the technique used by the artist doesn’t matter if he has something (important) to say. And Gustavo has. This new one-man show that he has now reveals a Gustavo Rosa rediscovering the figure (always possible of being interpreted) of the clown (...). Happily, Gustavo Rosa does not concern himself with the clown the way he is. He takes the figure apart, makes oblique cuts, (...) leaves the most obvious brush strokes. He demystifies the clown, painting, collage, art. And he helps himself to the healthy influences of Cubism and Paul Klee. And he enters the mysterious world of humor (...). We are looking at an artist who has left his concern about the fussy outward beauty of men and women to devote himself to what the face does not always reveal, because the essential is always hidden within us. For this to be well defined, Gustavo Rosa has chosen the tragic figure of the clown. The result is beautiful and disturbing. Which is a good thing."

Olney Kruse, on the exhibition "Gustavo Rosa – Clowns.” Ipanema Gallery/SP (1975)

"The collage, opaque paint, smooth curved lines and rigorously geometric hard features: such are the clowns of Gustavo Rosa on 28 canvases he is exhibiting at the Ipanema Gallery—an unexpected transposition of reality to unusual, ironic, fun situations. A clown reads a newspaper, the newspaper is a collage, one of the clown’s eyes is also a collage, and he's sitting, his grotesque face hidden by the opened newspaper, which says 'The Clown.' This 'realistic' intention, however, is ephemeral. It doesn’t dominate everything Gustavo Rosa has created on his 28 canvases. His clowns are very far from the critical attitude conventionally called 'protest.' And so the artist has created something original, technically edgy and very well laid out in the space of the canvases. With these clowns that he has painted, he has allowed himself to play freely, to the point that the viewer (and even the painter) wonders, where is the collage? Where is the painting? (...) The proof of his seriousness, if anyone needs it, really is in his clowns. There’s no need to go any further. One soon realizes that Gustavo Rosa is also a mature colorist with a busy brush that changes his little brush strokes according to the action of certain areas he defines to his liking, in cross-sections. In these small areas (caution, it could be a collage) fragments of his geometry stand out, which he has harmoniously installed throughout the core of his painting. Agitated lines that are distributed unsteadily, chasing their final form, complete and join with the geometric design of the whole. A pursuit of magic. "

Nelson Merlin, Folha de S. Paulo, on the exposition "Gustavo Rosa—Clowns.” Ipanema Gallery/SP (1975)

"As a painter myself, I remember well a very good one who continues to be misunderstood: Gustavo Rosa. Not long ago he took up the overused clown theme and revitalized the whole thing in a very personal way."

Walter Levy, "Art in Brazil According to Levy," O Estado de São Paulo (1975)

"Gustavo Rosa makes paintings that are full of joy, i.e.: the joy of painting, playing with colors, shapes. Paintings that are humorous, playful, creative: A reminder of the kind of painting that people, more and more, don’t have the courage to do."

Ziraldo, O Pasquim (1976)

"Among the more abstract or unusual contemporary offerings, the human figure undeniably still occupies a prominent place—when it is treated the way Gustavo Rosa, the young artist from São Paulo, treats it. An intelligent and sensitive observer, he captures in the simplest of these beings—who daily revolve around us without our noticing them—and their most spontaneous attitudes. Through his paintings we discover surprises that pass through life without our paying attention to them, with our view turned inward to ourselves or lost in intellectualized visions that are often sterile. It is in the works of Gustavo Rosa that we pay attention to the ‘sailor on his first voyage,’ in his brand new uniform. With his startled look, arriving perhaps for the first time in a foreign port; to the fat woman in a printed dress that makes her look fatter, indulging in a forbidden ice cream; to another one, just as fat, floating in green waters with the help of a huge, obviously unnecessary, lifebuoy; to the ice cream man and his ubiquitous cart; to the boy and the bicycle he longs for, and so on, in so many human specimens we could observe even from our windows. We would simply have to wait for them. They would pass by. And all these subjects, who might seem banal or satirical in just any painting, when revealed by this artist, who is sensitive to the world they live in, acquire undeniably artistic values. He does not need to dream or invent. It’s enough for him to look and feel, to paint. He knows how to place his figures, rearrange them so that the viewer can reconstruct them in a gestalt manner, and integrate them into the rectangle of the canvas to finally color them. He disdains the scientific problems of form or color, but resolves them all instinctively with a magical power conferred by nature only to authentic artists. And so his lyrical, pure paintings are transformed into what he most wishes them to be: authentic works of art. "

Ernestina Karman, presentation text for the exhibition "Bicycles" at the Ipanema Gallery/RJ 1976.

“Gustavo Rosa suggests the facial expression in his characters by replacing the eyes with little round dots. We believe that the result he achieves with this imaginative treatment is one of the most interesting aspects of Gustavo Rosa’s work. By simply changing the placement of these dots, the figures become happy, sad, shy, malicious, etc. The free geometry of the overall composition meshes well with the background theme. His generous coloring, chosen with sensitivity, complements the works of this artist.

Ernestina Karman, Folha da Tarde (1976)

"Skillfully and suitably illustrated by Gustavo Rosa, 'Contravérbios' is a volume that invites reflection and laughter."

Renato Bittencourt on the Gustavo Rosa’s illustrations for the book ‘Contravérbios’ in "Beauty is not to be placed on a table. Put it in a bed," Visão Magazine (1977)

"Gustavo Rosa—a figurative painter who has made inroads into several themes, is now exploring the square. Or rather, his satirical figures, with their lightness of color, set the limits of his creative diversification by using four interlinked straight lines to subtly express what he has imagined."

Ivo Zanini, "The major news is the opening of the Gustavo Rosa show." Folha de S. Paulo (1977)

"Because he doesn’t aspire to an end result that satisfies him completely, the artist Gustavo Rosa changes his style in every new exhibition. This time he has executed the theme 'The Square,' in 25 works (vinyl on waxed canvas) that is on exhibition today at the Ipanema Art Gallery of São Paulo (...) He himself believes that he is a restless painter. This justifies the fact of always after new ideas. Gustavo Rosa views an exposition as a challenge that arouses in him the desire not to fall into repetition and to ensure that the journey into his pictorial world becomes increasingly exciting and rich."

O Estado de São Paulo, "The new phase of Gustavo Rosa" (1977)

"Rosa explores the figurative theme of everyday life, satirizing its characters."

Folha de S. Paulo, "The everyday and the informal are back" (1978).

"Gustavo Rosa is not parti pris. He moves along tranquilly—which inspires his sensitivity and is always on the mark. No commitments, no radicalism (...) And he has freedom to spare. The human figure is a constant and appears in everyday life in a thousand hypotheses. With sprinklings of healthy humor, Gustavo reveals the irony of certain human aspirations in his paintings. And his tendency to irony makes you think, which is very good. In his current phase, the artist is virtually Spartan, with economy of lines and colors, achieving an unusual output. Inspired by children's drawings, he traces the human figure in picaresque poses, full of humor. He is a creative artist in the true meaning of the word. Always bubbling. Flying high."

Paul Bueno Wolf, on Gustavo Rosa’s exposition at the Art Gallery of the Brazil-US Cultural Center (1979)

 "The elegant poignancy of the colors, lines and themes that he ravages with humor, mercilessly, has a very well-planned place within his paintings. But they would also work perfectly for the cover of The New Yorker. Gustavo Rosa is an exception to the mock seriousness that is the embarrassing obligation of local artists. "

Telmo Martino, "Pre-debut of the week," Jornal da Tarde/O Estado de São Paulo (1979)

"The works presented offer as a general novelty, the technique: tempera on canvas, which the artist has been researching for about a year, starting with guidelines given by the master Alfredo Volpi. Along the same lines of critical humor he has been following for about ten years, Gustavo Rosa has occupied himself with the figure of the executive and has even given himself permission to make fun of Volpi’s little flags where, in an untitled painting, a dour man is looking at a work of the Cambuci master. A tribute (...). As for the rest, in his current work Gustavo Rosa emphasizes freer drawing, almost childlike at times, along with the richer colors that tempera allows. In some of his works, the artist makes use of collage, a medium he has used since the start of his career (...) "

Ivo Zanini, "The critical humor of Gustavo Rosa," Folha da Tarde/Folha de São Paulo (1979)

"After his success in New York in 1978, Gustavo Rosa had equal success here in São Paulo, at the Documenta Gallery—a critical and popular success, and the sale of all his latest works. Rua Padre João Manuel was blocked off because of the number of people who were squeezing in to bid for his paintings. Those who arrived too late were in tears because of their unsatisfied desire (...). Gustavo Rosa has always had a simple, objective and clear language to define his work. He is a lucid artist who has not indulged in fads to gain attention. He has evolved and found himself looking for new ways, new techniques, new motives."

Gallery Around Magazine - "Gustavo Rosa, painter, drawer, engraver" (1979)

"Gustavo Rosa adds his elements of humor afterwards. They follow naturally from the very development of each work (...) and he never has everything prepared inside his head. (...) Gustavo Rosa’s work is beautiful, poetic, and fun, with unexpected details that allow for many interpretations (...) they contain much of the boy addressing a childlike, playful universe. "

Fanny Abramovich, "Playing with Gustavo Rosa," Jornal da Tarde (1979)

"At a time when most young artists are dedicating themselves fully to painting, in search of better prices—confusing further the already complicated and chaotic art market—it’s refreshing to see a show like that of the painter Glauco Pinto de Moraes, that exhibits only drawings. And it is similar to another one, in Porto Alegre, by the no less graphic Gustavo Rosa, showing paintings and drawings with collage. The two are similar because of the dialogue between their use of color, even when it only divides areas and spaces. Gustavo Rosa refers to children's drawings to compose lyrical characters and situations and his touch is illogical, uncontrolled, exactly like the childlike vision before it becomes adulterated. (...) Gustavo Rosa, in turn, presents drawings with collage that are more collage than drawing in an attempt to capture nursery rhymes in flight. In this way it approaches naïve art, without refinement or sophistication, with a naked, raw approach, like the primitive dreams of children. (...) Rosa is one of the rare Brazilian artists to make use of the cartoon and of Brazilian good humor to create a work that, while erudite, is nonetheless also popular."

Alberto Beuttenmüller, "Idea and humor. Two painters who draw," Revista Visão (1980)

"Recently back from the United States, where he exhibited with great success at the Kourus Gallery, a sophisticated gallery, painter Gustavo Rosa opens a one-man show today (...) considered by the São Paulo critic to be one of the most important painters of the new generation of artists, Gustavo Rosa’s painting stands out for certain personal characteristics, such as its vibrant colors, visible brush strokes, his tendency to geometrize figures and extract the essence from his landscapes, all seasoned with a good dose of humor."

A Tribuna, "The humor and art of Gustavo Rosa are at the Guarujá” (1983)

"Yet another artist who is leaving advertising art: Gustavo Rosa (...) With an already strong resume, Rosa exhibited for the first time in 1964, participated in several important group shows in Brazil and abroad, and has received several awards. These facts are important for those who don’t know him, for there is something seemingly childlike, caricature-like, in his painting (...) but if one observes the refinement of his tones or impact of his reds, if one looks carefully at the curious deformations to which he subjects the human figure...if one pays attention to the subtlety of his greens and blues, without prejudice, many will conclude that Gustavo Rosa is a lyrical painter, simply and wisely perfected."

Flávio de Aquino, "From advertising with love (and color)," Manchete magazine (1983)

"Finally, an unpretentious painter, Gustavo Rosa, has inaugurated a painting exposition this week at the Paulo Prado Gallery. In this exposition, Gustavo Rosa celebrates the summer with candid “shots” at Picasso Beach, seen through his sense of humor (...) It’s also hard to say why Gustavo Rosa doesn’t show his paintings to the editors of The New Yorker, still the most handsome magazine in the world. They would certainly be well-received as a cover. "

Telmo Martino, "Simply Painting," Jornal da Tarde/O Estado de São Paulo (1983)

"Gustavo Rosa is one of the most prominent figures in the field of Brazilian visual arts, a distinction he has won with his playful, ironic, aggressive and mentally lucid painting. With simple and pragmatic design, he creates his terse figures, aggressively outlined, flippantly simplified, ironic and playful, products of a humor that makes fun of all human figures. There is a lot of sharp criticism in his jokes, and there is also a lot perceptive lucidity in his compositions, or rather, presentations. But this criticism is not malicious, it is not destructive nor negative, although it is an authentic critique (...) Its design is exact, unconcerned, mathematical, simple, aggressive, and ironic. The emotivity is in his beautiful and pure coloring, although contained and controlled. Gustavo is not romantic, nor a rebel or accuser. He plays with our weaknesses and shortcomings. He pokes fun at everything with everyone’s participation. He offers us a smile of irony, and sometimes a stifled chuckle (...) among the figurative painters of São Paulo today, he stands out for his originality and his strong artistic language that is reminiscent of no one in his choice of intimate themes. Sometimes more sophisticated, sometimes more naive (a purposeful ingenuity), he ventures from painting to painting with the same good humor of a very healthy, lucid and critical child, yet loving and kind in his playfulness. A beautiful and invaluable figure in the current painting panorama. A great talent, with the charisma of a sharp and very pure, clear spirit."

Theon Spanudis, "The playfulness of Gustavo Rosa," a text from the catalog of the exposition at the Bonfiglioli Gallery, commemorating 20 years of Gustavo Rosa’s career. (1985)

 "The profuse images that inhabit Gustavo Rosa’s current universe have various origins. They are reminiscent of the cartoon, the filming of animations, caricatures, comic books, children's drawings. But it is the quality of humor, joking, the resultant comical tone of these images that inspires the construction of this artist’s expressive vocabulary (...) Gustavo Rosa takes upon himself the affective and recognized style of the images that live in the viewer's memory (...) The characters are, however, the subliminal vehicle of the painting (...) Gustavo Rosa’s sensitive, descriptive touch, a stage of the persistent work that unraveled the vice of his drawing skills, redraws the forms of his images. This touch is sharp, and in a way holds within itself the freshness of the ingenuous drawing of children trying to record the idea of a form. The compositional structure of his paintings is created by linear undulating lines and the vertical lines of the striped clothing of the figures. The opposition of these lines builds the graphic tension of the composition, giving it powerful balance. The surface of the paintings is treated with a paste that gives it texture, turning it into a sensitive material to embrace the sharp design of the figures. This artistic workmanship also creates another set of oppositions that provide important plastic tension to the work. The fine and sharp lines of the drawing contrasts with the plasticity of the base material of the painting’s surface. The drawing is incorporated into the color and is part of the light, softer tones of the paint. It participates in the composition without supplanting the descriptive lines that mischievously distract the viewer."

Radha Abramo, "Gustavo Rosa - 20 Years of Painting," a text from the catalog of the exposition at the Bonfiglioli Gallery, commemorating 20 years of Gustavo Rosa’s career. (1985)

"His themes are diverse, with no lack of fat people, the uncouth of soul and body, the American tourists. But all of them have an air of being good people. They smile politely, whistle as they ride their bicycles, and recline in geometrical chairs. In fact, Gustavo Rosa geometrizes his whole world, and on the surfaces he thus creates, he plays with little nuances and harmonious tones. But if the subjects of Gustavo Rosa are varied, there is an element—or rather, an animal—that is a always constant: the cat. The cat turns up being pet by its owner or she walks it with a dog leash. It morphs into a colorful critter accompanying ladies, or even as the main character in many of his works. It’s a gentle cat, a fondler, an interrogator, a symbol creator, the painter’s logo (...) The predominance of his straight lines corresponds to colors that are predominately neutral. Gustavo Rosa’s art is playful, ironic, sometimes sweet and sometimes aggressive with its imposing figures, drawn as if they were cut out of paper. There is a sharp criticism in them, although it is a more a criticism of individual expression than of markedly social content. It remains in the realm of a simultaneously grotesque and poetic representation of the daily life of an interpretation of the human being and of an extremely personal cat—obviously controlled, and with subtle and pure color. Apparently naive, Gustavo is actually a sophisticate."

Flávio de Aquino, "Gustavo Rosa, a Touch of Criticism, Irony and Humor," Fatos e Fotos magazine (1985)

"Like every artist, he has passed through phases. He had the animal one, the still life one, and the objects one, to return once again to the human figure, only no longer academic and geometric like the ones he previously depicted. The motives for putting them on canvas are those of the most varied everyday situations. It could be in the street, at home or even in New York. The bathers series now showing at this exhibition, for example, appeared after a winter spent in that American city. Cats also arise in profusion. On a 2 x 1,20m canvas, for instance, a huge striped cat tries to frighten a small bird. Then the next sequence is reversed: On a canvas of the same size, it’s now a huge bird’s turn to chase down a tiny cat in the corner."

Olney Kruse, "Gustavo Rosa. Light, colorful strokes with great humor," Jornal da Tarde/O Estado de São Paulo (1985)

"Gustavo Rosa has acquired an admirable level of expression. Somehow, in recent years, he has gathered all the parts of his artistic work into a single direction, and the result is the savory maturity of this moment. It’s odd to refer to flavor with regard to a painting, but in the case of Gustavo Rosa it’s special. First of all, he is endowed with a genuine sense of humor. He doesn’t make jokes or create grotesque characters. Instead, his simplification has a Picasso-esque origin. His humor comes from the singularity of his vision, the way observes and approaches his subject. Gustavo Rosa looks at the world with a resigned acceptance in which he notes the reasons, vanities, illusions and desires of the human being. And then, as a complement to his humor, there is the artist's workmanship, the way he does things, the touch of his brush, his placement of colors. The paintings are tactile, and their use of colors is lyrical, recalling something of childhood. This tactibility of his paintings, the obvious unpretentiousness of his colors, and the spontaneity of this combination, bring the artist close to his childhood. But, it is clear that he is an adult who retains this childhood freedom. In short, it is poetry (...) The artist became aware of his need for a subject, of its facility of description, and that the narrative nature of his work removed him from abstraction and drew him toward the mural and a particular type of work. A kind of magical illumination. All the elements came into focus. Like a great deal of art created to date in the world, in every age, Gustavo Rosa is working from a definite plan—something ordered. His painting must be challenged, and his creativity, his lyrical process must be stimulated by a concrete basis of reality. Gustavo Rosa has created his work, in large part, from a challenge. Sometimes the challenge is to create a mural linked to commerce or any theme linked to business activities. Other times, such as in his prostitute series, it is the tenderness and humor of his observation of nightlife and bohemia. It is an exhibition that has flavor, emotion of taste, sensuality of perception, and discrimination of the palate. And he completely avoids the depressive trend of the cultural expressions of the time, because it is a series of images that contain the good old pleasure of being alive. "

Jacob Klintowitz, "Gustavo Rosa, painting poetry on canvas," Jornal da Tarde/O Estado de São Paulo (1988)

"Gustavo Rosa was the first Brazilian artist to openly use names, brands and logos in his works, not unlike the American artist Andy Warhol, who depicted famous people and successful products to portray everyday life. Gustavo Rosa says that the presence of these elements in his work has nothing to do with merchandising. "

Folha da Tarde, "Gustavo Rosa" (1989)

"The only Brazilian artist to be invited by Russell-Newman Inc., to sign an exclusive designer label for the American market. His drawings will be on clothes, dishes, posters and cards. The launch will be held simultaneously at Bloomingdale's and Sack's Fifth Avenue with a bilingual catalog of the artist's work."

Cesar Giobbi, O Estado de São Paulo in (1990)

"Gustavo Rosa, who represented the ninth article of the declaration, said that the universe is round—it was man who invented the square one. 'We invented walls, borders, prisons,' he added. His lithography deals with graphics that show a bird chained to an iron ball."

Daniel Piza, in the article "Images remind us of human rights" in the Jornal da Tarde/O Estado de São Paulo (1991), about the lithographs commemorating the 200th anniversary of the Universal Declaration of Human Rights.

 "Among the figurative painters of São Paulo today, Gustavo Rosa stands out for his originality, his playful, ironic painting, and his cheerful, pointed, and subtle critiques. Using a simple language, where his descriptive style embraces the freshness of children's ingenuous drawing, Gustavo Rosa redesigns shapes, seeking his own individual vocabulary, regardless of any fad or market trend. Tourists from São Paulo going to the beach, the postman delivering a huge sealed letter, a newsboy distributing periodicals—the profuse images that inhabit the current universe of Gustavo Rosa reminds us of cartoons, caricatures, and the magic of comic books. He is amazed by the inexplicable things in our lives, the ridiculousness of our passions and customs, and with an inexhaustible good-natured cartoonish humor, creates his terse figures, completely altered and stripped of any erotic charge. The emotivity is left to his beautiful, pure colors, and to his sensitive touch that makes us smile, and even stifle a laugh."

Geraldo Edson de Andrade, 15 Brazilian contemporary painters, Spala Publishers, Rio de Janeiro (1991)

"Starting with Miss Ray, a humorous and obese version of the dancer Claudia Raia, all the canvases in Gustavo Rosa’s exhibition—which opens today at the Vital Art Gallery under the name 'Independent Work'—have titles in English. It's not snobbery. Gustavo Rosa doesn’t make mistakes when it comes to a good marketing strategy. ‘I gave them English titles to facilitate sales in the US market.' Rosa has a dealer in Los Angeles and another in Germany."

Brenda Fukuda, "The visual strategy of Gustavo Rosa," O Estado de São Paulo (1991)

"Accustomed to winning titles, the Sao Paulo Football Club has won an unexpected gift. After courting the idea for a year and a half, the artist Gustavo Rosa, a São Paulo native at heart, has finally finished his project for the team’s new shirt. The result is at the very least, curious. First of all, the red and black stripes start where the sleeves begin and continue on to the chest, forming the letter 'V.' The shield is separate on a white background, while the number two uniform emphasizes black, again with the isolated shield on white."

Visão magazine, "The New uniform with signature" (1991)

"The artist Gustavo Rosa actually tried to resist, but he couldn’t avoid two seductive invitations: To participate in an inaugural show at an informal exhibition space, and to design the new uniform for the São Paulo Soccer Club. After all, as he made a point of stressing, 'Alternative spaces are increasingly important. If there are people who are afraid even to enter an art gallery, it’s even harder for them to frequent one.' He understands that this type of initiative makes fine art become increasingly more public, 'as it definitely should be.’ In the exposition, Gustavo divides the Namour Space in São Paulo, with two other artists: painter Luiz Áquila and sculptor Caciporé Torres. As for the tricolor uniform, he’s keeping mum. But he guarantees that it will be modern and bold, since he obeys only his so-called instinct to create. 'That's how I grow.'"

Veja São Paulo magazine, in the article "Forms and space" (1991)

 "Woe to the poor wretch who decides to make money in Brazil at the expense of art itself. For intellectualized people (...) it is inconceivable that a painter or sculptor use his skills to illustrate any vehicle of popular consumption. That is, using art to supply any material that is not on the shelves of the Michelangelo Emporium is the same as signing a death sentence. That's why the artist Gustavo Rosa didn’t hesitate to accept the invitation of an American firm, Russell-Newman, to create unique designs that will be printed on shirts, towels and other paraphernalia to be marketed throughout the United States. ‘Brazilians are not ready to accept the idea that an artist can put his art on a consumer object,’ says Gustavo Rosa. 'Outside Brazil it’s exactly the opposite: The artist who popularizes his art is greatly prized.’ A tempting offer came from the president of the company, Jene Faul, who after acquiring an oil on canvas by the painter, decided to meet him in person. Starting in September, the works of Gustavo Rosa will be available on the shelves of large department stores such as Bloomingdale's, Macy's and Saks and Newman. If American consumers identify with his work, they’ll have access to the painter’s canvases and engravings in several American galleries."

Christiane Campos, "Rosa’s Art invades the US," Jornal da Tarde (1994)

"The scenes that seem trivial in the scenario of large cities, with bright, cheerful colors and a touch of irony, are transformed into art by the painter Gustavo Rosa. Thanks to his keen creativity, he has been winning fans from every corner of the planet. The chubby woman eating ice cream in Jardins or cycling in Ibirapuera, or even a stylized cat wearing the colors of the American flag and drinking Coca-Cola through a straw, are some of the great attractions being exhibited at the AmCham. The art of Gustavo Rosa is multidisciplinary. He creates sculptures, logos and oil paintings all with the same agility, and believes that his work can’t be something that remains untouchable, but should be lived in daily life."

São Paulo Journal, "Gustavo Rosa’s straw” (1998)

"The work that artist Gustavo Rosa creates for Globo Network follows a different—and more humorous line. He and his friend Luiz Gustavo had the idea of ​​using portraits of the characters in scenes from the program Sai de Baixo. Rosa drew the six actors, and the pictures are already on the air. 'The writers are creating scenes around the pictures, and the audience likes to see a new face every week,' says the artist (...) The actors enjoyed the partnership with Gustavo Rosa and have stated that when the pictures are no longer on the scene, they intend to hang them on their walls at home. Until then, Rosa will celebrate his first foray into television. ‘I'm sure that many people who see my paintings in Sai de Baixo have never been to a gallery. I’m reaching a new audience. Art should not be just for a few. The more people who can see it, the better.’”

Beatriz Vellozo, Época magazine (1999)

"The genius (of this artist) is in getting to the essential, the simple, and in this way he emphasizes the aspects of reality in which we live that often go unnoticed to our eyes. In other words: Gustavo Rosa, with his pragmatism and without false romanticism, strips the everyday world and lays it bare, showing its intriguing, comic, ironic aspects. His paintings are testimonials of the modern world, and therefore they can tell stories, with no cover-up, about everyday life. Rosa’s work (...) is to be seen and admired as a whole and in the details, starting with the care that the artist takes with the texture of the pictorial space, which starts with the meticulous priming of the canvases and ends with its features absolutely stripped of any excess, through balancing straight lines and curves, and especially with the beauty of the colors used—richly combined, intuitively chosen—that are integrated into fantastic qualities. "

Guido Arturo Palomba at the Cultural Supplement of the Paulista Medical Association (2001)

"This child is serious when he doesn’t jump, asks when he doesn’t understand. And he isn’t understood by adults because he is beyond them. Gustavo Rosa wants to show all of this in a simple, clear, clean way—pictures with few lines that transmit moments of childhood seriousness. So his children don’t smile. They appear as a moment of childhood, a moment of maturing. If looked at superficially, a picture by Gustavo Rosa might even reveal a hard, aggressive look closer to an adult than a child, and perhaps painful."

Laura Wie, "Painting is an artist’s fingerprint," Go Where Magazine (2006)

"The figure is not just of a person who has won money on the stock exchange, but of someone who is happy. The pictorial execution is flawless, with its well-organized composition, use of colors and economic and creative design. The painting is a direct and humorous reference to the stock exchange, but it’s not an exception in the entirety of Gustavo Rosa's work, where humor is the cornerstone. The artist always structures his paintings geometrically and often emphasizes the unexpected, visual play, and a sense of humor—characteristics that bring him close to the world of communications. He uses the everyday commercial world and urban scenes as his subjects, in which he highlights quality and tenderness with his human figures. "

Jacob Kintowitz, analyzing the work of Gustavo Rosa belonging to the Bovespa Collection for the book Brazilian Art of the Nineteenth and Twentieth Centuries, edited by Bovespa.

"His characters, captured with insight in essential strokes, hold the subtleties of their models who, given back to the world in light and balanced—even economic—lines, are revealed on a changing panel of bright colors and a generally cheerful atmosphere. What is evident, in observing his latest work, it is that Rosa impresses his own style on the work he does, a characteristic of great artists who do nearly the same thing as many others, but with an unmistakable personal stamp. "

Paulo Klein. Gustavo Rosa, Décor Publishers: São Paulo (2007)

"His women are colorful, playful and relaxed. On the other hand, however, one can not fail to consider a possible critique of contemporary life in the works of this artist, insofar as his women, who are always chubby and at the same time so cheerful, seem to contradict the media as to the ideal thin and svelte female body as a prerequisite for happiness."

Janice Fields Ferra, in her Master's thesis entitled "Gustavo Rosa and female human figure: From laundress to pear-shaped woman," delivered at the Federal University of Mato Grosso do Sul. (2011).

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