In the sections below, the texts from the “Sisson, 200 Years” exhibition.
Rare Books Room
Introduction
Two Centuries of Friendship
Sébastien Auguste Sisson created a drawing for the Brazilian Empire that attracted great interest and made a significant impact, becoming an integral part of our collective imagination. The Álbum do Rio de Janeiro moderno [Album of Modern Rio de Janeiro] represents the successful intersection of art, documentation, and vision.
Observe Guanabara bay, where the ships evoke something of William Turner, devoid of smoke and chromaticism, traversed by deep solitude. Feel the old English cemetery, so close to the waves, revealing the insatiable hunger of the landfills. Hear the Igreja do Santíssimo Sacramento [Church of the Most Holy Sacrament], whose faceless figures, forever unreachable, recall the technique of a Kaspar David Friedrich. Think of the palm trees of the Botanical Garden, as if the perspective were eternal: from yesterday and today. Look at the almost impalpable island of Boa Viagem, even more beautiful and almost impenetrable.
Images that do not rest, turned toward the dream, from a subtle and delicate net or retina. This is how they emerge in the pages of Machado de Assis’ O velho senado [The Old Senate], one of the fundamental chapters of Brazilian memorialism:
“Regarding some of Sisson’s lithographs, I had a vision of the Senate of 1860 the other day. Visions are only as meaningful as the retina on which they are cast. A politician, seeing that body again, would find in it the same soul of his extinct allies, and a historian would glean elements for History. A mere curious observer would only see the picturesque aspect of the time and the expression of the lines, with that general tone that dead and buried things convey.”
Machado de Assis refers to the visual power of Sisson’s lithographs, poised between memory and resurrection, of the dead summoned to life, with whom Brás Cubas was so intimate. Machado was referring to the 90 lithographed portraits that inhabit in the Galeria dos brasileiros ilustres [Gallery of illustrious Brazilians]. And the fact that he inspired the author of the book Quincas Borba deserves our recognition and applause.
Sisson is one of the valuable lenses of Imperial Brazil, through whose drawings and lithography he gave a face to what today might otherwise remain just a phrase, a name, or a paragraph. He fostered the connection between image and word, essential to biographical portraiture. And by using the same chiaroscuro, he lent the immobile figures – frozen in life, those who had not yet deceased but already tenants of the national pantheon – a secret dynamic: the solitary dimension of the hero. Absolutely solitary, distinguishing neither the living nor the dead, whose fate corresponds to the eternal life of national memory. Thus says the author of the Galeria:
“It was and is our intention to only sketch, from a historical perspective, the life and character of the individuals who have distinguished themselves in the beautiful American Empire; to depict the principal figures who have left traces of their passage in this country and its political scene from Independence to the present day; in short, to present the portraits and the history of Brazil during this period, showing both the portraits, the deeds of the men who have most distinguished themselves.”
A philosophy of history tied to the singular, the exemplary hero, embodied in the unrepeatable and absolute biography, forever fixed: from the dramatic impression of Monte Alverne to the unusual vigor of Pereira da Silva; from the hesitant Marquês de Maricá to the impassive head of Pedro II; from Evaristo da Veiga, condemned to eternally youthful, to the stern gaze of Gomes de Campos; from the vain Marquês de Barbacena to the modern pose of Jequitinhonha.
Sisson’s work is not limited to grand subjects. It transition from the slow display of power insignias to the agile and incisive form of caricature. See the pages of Brasil Ilustrado or Iride Italiana, where he spares neither maestros, politicians, nor singers, descending well beyond the Galeria in his biting critique of the Empire’s capital.
Thus, the same author presents us a relative dialectic of song and counter-song, of affirmation and negation, though through different narratives.
Sisson was also a friend of the National Library, making significant donations to the Institution’s collection, helped preserve certain images with utmost care and generosity. The records of the National Library acknowledge the restoration of the “precious araujense collection, whose volumes are mostly well bound. Among the nearly all the displayed prints are those depicting the battles of Alexander, whose drawings were restored by Mr. Sebastião Augusto Sisson, the distinguished French lithographer, well known for his works. With great benevolence, he became a free collaborator of the National Library.”
All this is present in the thoughtful curation by Barbara Ferreira, renowned artist, genealogist, and researcher, to whom we extend our gratitude for the dedication and care in this remarkable exhibition.
Marco Lucchesi
President of the National Library
Curator's Introduction
SISSON 200 YEARS
1824 – 2024
“A precious treasure reserved for posterity,” wrote Sisson, describing the content of his most important work: the Galeria dos Brasileiros Ilustres [Gallery of Illustrious Brazilians].
Like the notable Brazilians he portrayed, Sisson himself became an illustrious figure for Brazil through his historical and iconographic legacy, as well as his cultural contributions to the Biblioteca Nacional – this important Brazilian institution that now presents us with a grand commemorative exhibition celebrating the bicentenary of Sébastien Auguste Sisson, the French artist who arrived in Brazil in 1852 at the age of 28 and passed away here in 1898.
Two hundred years after his birth, we gather to celebrate celebrating his legacy, admire his “precious treasure,” his work, his life – bringing to fruition what he envisioned in the past: the glorification of glorify this great country.
Here, we learn and are inspired through his beautiful work. A lifetime’s achievement, the result of daily dedication, the kind each of us makes in our own lives, a precious path of service to others. The care and commitment with which Sisson approached his work benefit us today, as he beautifully immortalized the memory of our people and our country. In doing so, he helped deepen our understanding of our past and solidified our sense of national pride.
This is the beauty of a life lived with consciousness and purpose. It serves as inspiration to this generation, reminding us that through small, daily acts, we each contribute to the ongoing, grand project called Brazil.
Bárbara Ferreira
Curator of the exhibition and Director of the Sébastien Sisson Institute
Brief Introduction to Sébastien A. Sisson
Sébastien Auguste SISSON, who sometimes signed his work as S. A. Sisson or simply A. Sisson, reveals through his words – particularly in the thank-you note to the Lord in the second volume of his grand Galeria – that he was a devoted citizen in service to Brazil.
Both from this text and from his entire body of work, we can infer many of his virtues, chief among them being his perseverance in tackling difficult and arduous tasks. Sisson took on bold projects, which he executed with mastery, primarily employing lithography as his technique.
Although he was, above all, a specialist in portrait art, he also dedicated himself to illustrating landscapes and monuments, especially in Rio de Janeiro. He brought his talents to the art of caricature, playing a significant role in the history of graphic humor in Brazil.
Born in Issenheim, Alsace, France, on May 2, 1824, Sisson exhibited his paintings at the prestigious Paris Salons before emigrating to Rio de Janeiro, where he established himself as a lithographer and spent the latter half of the 19th century.
Specialist in portraits
Sisson was a specialist in lithographed portraits. With his hands, he ecrafteddrawings on lithographic stone with delicate refinement and perfect precision, capturing the likeness of his subjects with remarkable technical mastery.
The textures of the garments are represented with impressive realism, bringing life and relevance to the pieces, showcasing the artist’s exceptional skill in capturing not only the appearance but also the material richness of the fabrics.
Sisson employs shading techniques that added depth and emotion to this portrayed, capturing the emotional essence of the individuals.
Main Works
Galeria dos Brasileiros Ilustres [Gallery of Illustrious Brazilians]
In gratitude for the generous hospitality he found within the Empire of Brazil, Sisson undertook the difficult and laborious task of editing Galeria dos Brasileiros Ilustres (Os contemporâneos), recognizing the immense importance of visually and textually documenting biographies of the country’s most distinguished figures, those who contributed to the moral and material progress of the nation.
Sisson’s Galeria is a two-volume foli work, featuring 90 portraits of proiminent figures since Brazil’s independence, who left remarkable marks during their time in this country. These portraits, beautifully lithographed by the artist from oils, drawings, and photographs, are accompanied by the signatures and biographies of each portrayed individual.
The biographical texts were initially intended to be written solely by José de Alencar; however, this plan was not fully realized. The work ultimately included contributions not only from this esteemed writer but also from others, such as Bezerra de Menezes, Araújo Porto Alegre, Barão de Mauá, and Antônio Ferreira Viana.
To make the work more accessible, Sisson released it in installments, each containing three portraits along with their respective biographies. The first installment, dated September 14, 1857, featured Marques de Paraná, Eusébio de Queiroz, and Barão de Mauá.
In 1859, Sisson completed the first volume, which contained 45 portraits and biographies. Two years later, in 1861, the final installment was published, concluding this significant editorial project. Although it was initially intended to be completed in three volumes, it was ultimately finished in two due to the challenges encountered along the way.
It took Sisson four years of dedication and perseverance to complete his work. Thanks to his resilience, we now have this beautiful piece before us, which, due to its historical significance, has been reedited twice: first in 1948 by Livraria Martins Editora and again in 1999 by the Federal Senate, as part of the collection Brasil 500 Anos.
As Borba de Morais notes in the foreword to the second edition: “Sisson’s Galeria is among the four works considered fundamental to Brazilian iconography in the 19th century. While those of Debret, Rugendas, and Ribeyrolles address the customs, traditions, and landscapes of Brazil, Sisson’s work focuses on the study of men, providing, through their biographies and portraits, a faithful reflection of their personalities and the era in which they lived.”
Álbum do Rio de Janeiro Moderno [Album of Modern Rio de Janeiro]
Sisson’s Álbum, beautifully presented with a title page adorned with a floral frame and elegant typography, consists of twelve colored engravings in oval format, dating back to approximately 1860. One of the rarest works among collections of engravings depicting Rio de Janeiro, the Album of Modern Rio de Janeiro was donated by Sisson to the National Library in 1880.
Legacy at the National Library
Sisson and the National Library
A Legacy of Art and Preservation
Sisson’s relationship with the National Library was highly productive. The renowned French lithographer maintained a close collaboration with the institution throughout much of the 1880s. He donated a vast number of his magnificent works, as well as pieces by other artists, and volunteered for the restoration of prints in the collection, executing the work with precision. In recognition of his remarkable contributions, he was honored by the Emperor.
The historical documents preserved here reveal the deep admiration and gratitude that the National Library held for this illustrious artist.
Organized by the exemplary director of the National Library, Mr. Ramiz Galvão, the 1881 Exhibition of Brazilian History—held in the institution’s former facilities near Passeio Público—showcased 290 works by Sisson, making him the most frequently mentioned artist in the exhibition catalog.
“…particularly mentioning A. S. Sisson, lithographer, who has not only donated valuable prints of his own work specifically created for the National Library but has also voluntarily and selflessly undertaken challenging and important repairs on precious prints from the National Library that were damaged…
“…I must highlight the significant services rendered to the National Library by Sebastião A. Sisson, who, with great dedication, restored the drawings of six of the aforementioned prints in such an admirable manner that it is often very difficult to discern where they were damaged.”
José Zepherino de Menezes Brum
Head of the prints section of the National Library, 1882
Donations of works by Sisson, along with those from other artists, were made to the National Library, resulting in 31 entries in the institution’s record book between 1880 and 1887, totaling 94 items. Sisson also volunteered his expertise for the admirable restoration of prints in the National Library’s collection, some of which were displayed in the Exposição Permanente dos Cimélios in 1885.
For this significant restoration work, Sisson was honored by the Emperor as a Knight of the Order of the Rose in May 1882.
Restored work by Sisson
“…Battles of Alexander, whose drawing was admirably restored by Mr. Sebastião Augusto Sisson, a distinguished French lithographer well known for his works, who, with great kindness, volunteered his services as a collaborator for the National Library.”
Caricatures and Cartoons
Sisson in the history of caricature and graphic humor in Brazil
Sisson was a pioneer of comics in Brazil, as well as an important caricaturist of the Empire. His cartoons and caricatures illustrated two significant publications of the time – L’Iride Italiana and O Brasil Ilustrado.
L’Iride Italiana
(1854-1856)
The bilingual publication, written in Portuguese and Italian, covered topics such as theater, fine arts, literature, industry, and news. Following an editorial reform on October 4, 1855, Sisson became the exclusive illustrator and caricaturist for the periodical.
Sisson’s caricatures in L’Iride Italiana primarily consisted of portraits-charges (caricatured portraits) of theatrical and musical figures of the time, adding humor and lightness to the publication’s pages.
Brazil’s First Comic Book
O Namoro, quadros ao vivo [The courtship, live scenes]
Sisson is now recognized as the author of the first Brazilian comic strip. Published on October 15, 1855, in O Brasil Ilustrado, O Namoro, Quadros ao Vivo [The courtship, live scenes] narrates, through a sequence of panels, the various stages of courtship in that era.
This work, of undeniable historical and artistic value, received special attention from Carlos Drummond de Andrade during the A Caricatura na Imprensa do Rio de Janeiro exhibition, held at the National Library in 1954. On that occasion, Drummond expressed his admiration for the series.
O Brasil Ilustrado
(1855-1856)
Published biweekly in Rio de Janeiro, this tabloid-format magazine featured caricatures, cartoons, landscapes, and portraits by Sisson. Notably, the lithograph of the young Emperor D. Pedro II appeared on the cover of the first issue of the magazine.
Credits
President of the Republic: Luiz Inácio Lula da Silva
Minister of Culture: Margareth Menezes
NATIONAL LIBRARY FOUNDATION
President: Marco Lucchesi
Executive Director: Suely Dias
Center for Collections and Reader Services: Maria José da Silva Fernandes
General Coordination of Planning and Administration :Tânia Pacheco
Center for Cooperation and Dissemination: Verônica Lessa
Center for Processing and Preservation Gabriela Ayres
General Coordination of Research and Editing: Naira Christofoletti Silveira
COLLECTIONS
Special Collection Coordination: Mônica Carneiro Alves
Iconography Section: Diana Ramos
Rare Works Section: Valéria Werneck
Cartographic Section: Maria Dulce de Faria
COLLECTION PRESERVATION
Preservation Coordination: Sirle Rebeca Simas Rodrigues
Section for Conservation: Gilvânia Faria de Lima
Digitalization Laboratory: Danielle Peçanha da Silva
BN Digital: Otávio Oliveira
Administrative Maintenance Division: João César Baptista da Silva
Restoration section: Jandira Flaeschen
EXHIBITION
Curator and general direction: Instituto Sébastien Sisson | Bárbara Ferreira
Assistant curator and research assistant: Maria Moretto
Expographic project: Estúdio gru | Jeanine Menezes – Lia Untem assistant
Visual Identity: Older and Bolder
Production Coordination: Stella Paiva
Executive Production: Julia Baker
Production Assistance: Juliana Feitosa and Nathalia Simonetti
Event Production: Iuna Patacho
Content Production: Primeira Opção Produtora
Video Editing and Capture: Wagner Depintor
Programming: Daniel Morena
Multimedia Assembly and Lighting: MMV and Primeira Opção
Scenography: Gabarito Scenography
Image Treatment: Humberto Cesar
Fine Art Printing: Casa 2 Imagem
Framing: Metara
Plotting: Ginga Design
Graphic Printing: WSM Gráfica
Revision and English Version: Numa Editora
Media relations: DFreire
Production Management: Rodrigo Ramalho Giolito
Production team: Isabel Neves, Raquel Brandão, Paulo Jorge Silva, Alberto Teixeira, Renato Moulin, Otávio Fontes and Flávia Werneck Machado
Thanks to:
Andrea Brazil, Adriano Gasparini, Ailton Silva, Andressa de Oliveira, Carlos Roberto Maciel Levy, Christian Sisson, Departamento de Manutenção Administrativa da FBN, Diana Ramos, Eli Bomtempo, Escola de Artes Visuais do Parque Lage, FBN Administrative Maintenance Department, Filipe Sisson, Flavia Fabbriziani, Franklin Leal, Germana Monte-Mór, Ivana Almeida (Alma Vera Escritório de Arte), José Carlos dos Santos, Luciana Sellus, Lucio Muruci, Monica Carneiro Alves, Rodrigo Ramalho, Tina Velha, Veronica Lessa, Virginio Mantesso, Zaida Sisson
Third Floor Corridor
Notable Portraits
Sisson, recognized for his mastery in lithographic art, portrayed royalty, artists, military personnel, religious figures, politicians, intellectuals, and entrepreneurs. He specialized in portraiture.
Much can be discerned about the human figure through the analysis of a well-executed portrait: the facial expression, the arrangement of the hair, the clothing, the posture, and the gaze, all of which powerfully convey the essence of the person depicted.
This set of five engravings of the Imperial Family provides historical insights not only through the physical characteristics expertly depicted by Sisson but also through the richness of the surrounding setting, which offers elements for historical analysis and a deeper understanding of the past.
Álbum do Rio de Janeiro [Album of Modern Rio de Janeiro]
A beautiful set of twelve engravings comprises Sisson’s Album do Rio de Janeiro Moderno [Album of Modern Rio de Janeiro]. In this work, the artist showcases the beauty of everyday scenes, capturing the simple moments of 19th-century Rio de Janeiro. All we need are the eyes to see and the heart to feel.
About lithography
Touch the stone and feel the texture of the lithographic limestone.
Example of a lithographic stone used to print chocolate powder packaging
In the early days of lithographic printing, when Sisson worked, the process used was exclusively lithographic. Soon after the beginning of the 20th century, printing using the offset lithography process became popular, allowing for large print runs.
In offset lithography, unlike the lithography of Sisson’s time, where the designs and images (especially the letters) were engraved inverted on the stone — like a horizontally mirrored image of the future print —, the image is first transferred from the stone (matrix) to a soft rubber roller and then from the rubber roller to the paper. This results in two inversions, which means that the final image is printed in the same orientation as it was engraved on the stone.
This stone, used in the 1920s, was used to print chocolate powder packaging using the offset lithography process.
Timeline
1824 – Birth in Issenheim, Alsace, France
1847 c. – Training in lithography in Paris under the guidance of Lemecier
1848 – Exhibition of two paintings at the Paris Salon, at Louvre
1852 – Arrival in Rio de Janeiro
1852 – Participation in the Exposição Geral de Belas Artes (first exhibition in Brazil)
1853 – Start of professional activities in Brazil
1855 – Opening of Sisson’s first lithographic studio
1855 – Illustration of the magazines L’Iride Italiana and O Brasil Ilustrado; creation of the first comic strip in Brazil
1857 – Start of the publication of Galeria dos Brasileiros Ilustres, the largest collection of portraits in Brazil
1859 – Release of the first volume of Galeria dos Brasileiros Ilustres
1860 c. – Publication of Álbum do Rio de Janeiro Moderno
1861 – Release of the second volume of Galeria dos Brasileiros Ilustres
1863 – Marriage in Paris to Marie Justine Faller
1863 – Birth of the first son (Augusto Maria Sisson)
1864 – Decoration by the Academia de Belas Artes for two lithographic portraits
1865 – Birth of the second son (Henrique Eugênio Sisson)
1866 – Title of imperial lithographer
1871 – Birth of the third daughter (Marie Adele Sisson)
1873 – Birth of the fourth son (André Sisson)
1880 – Start of donations to the National Library
1881 – Participation in the Exposição de História do Brasil with 200 works
1882 – Decoration as Knight of the Order of the Rose
1898 – Death
Cartoons and Caricatures
Criticism of public administration
Satire of social customs
Caricature portraits
Come and see the cartoons and caricatures drawn by Sisson and have fun.
Brazil's First Comic Book
Human life is a sequence of stories — some real, others imagined.
Human life is narrative, woven between the truth of facts and the freedom of fiction.
The human soul pursues stories, whether they are lived or dreamed.
