1958
Born on August 15th in Rio de Janeiro, son of poet Lêdo Ivo (1924) and teacher Maria Leda Sarmento de Medeiros Ivo (1923-2004). Much younger brother of Patrícia and Maria da Graça.
His first contact with painting is through his parents' collection and the relationship they had with intellectual circles of that period. During his childhood and youth, Gonçalo met João Cabral de Melo Neto (1920-1999), Marques Rebelo (1907-1973), Rubem Braga (1913-1990), Manuel Bandeira (1886-1968), among others. He also frequents the newsrooms of the papers his father works for, Correio da Manhã and Tribuna da Imprensa.

1967
At the age of nine, he travels with his parents to Barbacena, where painter Emeric Marcier (1916-1990) paints his father's portrait. "I do not know if this is memory or imagination, but I see Emeric Marcier feeding the fire with eucalyptus branches in the Franciscan ambience of his studio. I was very impressed by a skull my father held while posing, and by the somber result of the portrait." This portrait of Lêdo Ivo by Emeric Marcier currently belongs to the collection of the Academia Brasileira de Letras.

1970
Leda and Lêdo buy a small farm high on the Serra dos Órgãos Range, on the road which links Teresópolis to Friburgo. The following summer, during school vacation, Gonçalo sets up his first studio in an old tool shed. He draws a lot and listens to music, his other passion. The results are shown to the painter and poet José Paulo Moreira da Fonseca (1922-2004). "One afternoon my father left me at José Paulo's studio. I took the drawings I had produced the previous summer. He thought it was time to start with oil paints. I established a great friendship with José Paulo. It was he who introduced me to the world of oil painting by presenting me with a case of Le Franc professional paints, jars of turpentine, linseed oil and a spatula which I still use today at my Teresópolis studio. We had also another affinity - music. José Paulo, like me, appreciated Mahler, Bach, etc. It was a pleasure to visit his studio at the end of Leblon and smell the oil paint from the corridor...."

1973
During his teenage years he begins to frequent a number of artists' studios. Augusto Rodrigues (1913-1993), Abelardo Zaluar (1924-1987), Iberê Camargo (1914-1994), etc. "Iberê Camargo was the first to give me a lesson in observation drawing. He would set a few objects (pots, tubes, paintbrushes) on the table and draw them. I think of the privilege I had in frequenting the studios of Iberê and so many others. It was probably during this period that I realized the importance of this space for construction of a masterpiece and its ethical implications. As all great artists, Iberê was capable of destroying a piece of work from dissatisfaction. Doubt must accompany the artist throughout his trajectory."

1976
He enters the Universidade Federal Fluminense where he studies Architecture and Urban Planning. He also takes courses at the Museum of Modern Art in Rio de Janeiro, studying drawing with Aluísio Carvão and painting with Sérgio Campos Mello. "At the same time I took drawing with Aluísio Carvão (1920-2001) and painting with Sérgio Campos Mello (1932) from March to July. These courses only confirmed my option for a more solid training. Sérgio and Carvão's classes had the same atmosphere as the studios of Iberê and Zaluar. As a teacher, Sérgio was always very demanding and critical. While there was studio practice, there was also a theoretical part. Much of what I know of modern and contemporary art I learnt through Sérgio. Through him I had contact with the art of Joseph Beuys and the "land art" of Robert Smithson. Carvão's lessons were completely different. He taught the basics of drawing and observation drawing. I became friends with both. Sérgio went to live in France, and when I moved to Paris in 1999 we renewed the friendship. Carvão was perhaps the sole witness of all my individual exhibitions. He was a very sensitive person."
Trip to Chile and Argentina.

1978
Takes part of the 1st Salão Nacional de Artes Plásticas at the MEC (Ministry of Education and Culture) building, in the center of Rio de Janeiro. The following year, he is selected to take part in the IV Brazil-Japan Exhibition. This is an itinerant exhibition in the cities of Tokyo, Kyoto, Atami and at the MAM in São Paulo.

1980
In the summer of 1980 he travels to the city of Recife. There he begins to use watercolors. "My first watercolors date from the summer of 1980. They were painted in the city of Recife and are figurative pieces. I would head over to the Horto Municipal to draw. The images would emerge; full of pink suburban houses, ornate rooftops, sheds and sugar cane refineries lost amid plantations and coconut groves. In July of that same year, at the Sítio São João in Vargem Grande (Teresópolis), I began to draw and paint watercolors straight from nature. I would go out with my watercolor box and register the rural landscape of the edge of the Órgãos Range. A friend from my teenage years, Ricardo Van Steen, suggested the use of this technique. Ricardo, an extraordinary watercolor painter and sketch artist - who studied with Marcelo Grassman and Wesley Duke Lee - saw the world in a manner similar to mine. We were both influenced by the work of Edward Hopper." He takes part in the IV Salão Carioca de Arte.

December 1980 - First individual exhibition at the Galeria Rodrigo de Mello Franco, FUNARTE, in the building of the Museu Nacional de Belas Artes. He exhibits paintings, watercolors, drawings and pastels. The exhibition receives a warm review in the Jornal do Comércio by Walmir Ayala with the title O Trivial Analisado [The Trivial Analyzed] -: "... There is a latent mastery within the apparent superficiality of these landscapes, mostly urban, and which he transcends by placing, as a divider of waters, the translucent rectangle of the windows. The spectator is then invited to reflect on the here and beyond, on what comes before and after the measured space, in an ideal passage from circumstance to metaphysical.

One piece specifically captures and represents this silence of the spirit, in the tranquility of the materialized present. It is a night piece, with deep blues, visually revealing, on an immediate plane, a table with a vase of flowers, and next the correction provided by the window which defines the landscape as a compact and suffocating mass. The detail of one flower which has fallen from the vase upon the table in the first plane captures a notion of time, with everything defined as before and after this silent fall. The all acquires a metaphysical imposition, with the plastic exercise illuminated by the powerful solitude of inanimate things, upon which the artist exerts the exorcism of the genesis touch. Gonçalo Ivo resolves all of this with exemplary youth, careful technique and coherent expression. The sunny details, the play of shadows, the intensity of the projection of light, create a dynamic which draws the eye to the perception of rigorously structured forms... We are faced with the first documentation of a new artist, with the energy and imagination to create a vertical experience in terms of vocation. May time be giving and generous to him."

1981
First trip to Europe. He travels to England, Spain and Portugal. "In the first days of January I went to Europe. It was my first trip alone and with my own resources, earned from sales at the FUNARTE exhibition. I spent four months between London, Madrid, Porto, Barcelona and Lisbon. The days I dedicated to sightseeing, museums, food and wine. At night I worked compulsively on watercolors, drawings and small notebooks. I stayed longer in Lisbon. I found the city beautiful, it was the end of winter and the light bathed the houses in gold and copper. I returned from this trip at the end of April. I decided, then, to wait until the second semester to return to the Architecture course. I remained in Teresópolis and dedicated my time to watercolors. I began two series, The Painter's Table and another I called Vulgar Landscape."

He takes part in the V Salão Carioca de Arte and the IV Salão Nacional de Artes Plásticas, both in Rio de Janeiro. Back at university, he sits the exam for a position at the Instituto Brasileiro de Administração Municipal (IBAM) and is chosen to work as a researcher for architect and urban planner Carlos Nelson Ferreira dos Santos. "Carlos Nelson was very important in my training. I even considered the possibility of working with urban research, city growth, low income housing, etc. Carlos Nelson would have us read antagonistic things such as French philosopher Michel Foucault, the American architects Robert Venturi and Jane Jacobs, the theories of Le Corbusier, Levi Strauss, etc. This was a very rich period for me and my colleagues Ronald Ingberg, Manolo Morales, Eramir Russo and José Cardoso. We made a sort of installation within a room at the university which reproduced the labyrinths within a shantytown. We made the whole thing out of string and newspapers."

1982
He sells his first watercolors to art dealer and sculptor Evandro Carneiro, who buys nine watercolors from the series Vulgar Landscape. By invitation from his painter friend Abelardo Zaluar, he participates in the exhibition "Interiores", homage to Jacinto de Morais, at the Piccola Galeria, Italian Cultural Institute. He also participates in the VI Salão Carioca de Artes Plásticas and the V Salão Nacional. He travels to Mexico and New York. He holds his second individual exhibition, entirely dedicated to watercolor, at the Galeria Divulgação e Pesquisa which he names "The Painter's Table, Vulgar Landscape and Other Subjects". This receives critical mention in the O Globo newspaper by Frederico Morais: "... Gonçalo Ivo holds his second individual exhibition in Rio de Janeiro. At the Galeria Divulgação e Pesquisa, he exhibits watercolors painted during the last two years, with images that show the painter's work table in different moments and places, in an attempt to document his own daily life; and others, small in dimension, grouped under the title "Vulgar Landscape". In these, Gonçalo Ivo investigates in fragmented fashion the essential elements of a landscape. Another series focuses on urban landscape...." At the end of the year he meets the artist José Maria Dias da Cruz (1935) at the house of poet João Cabral de Melo Neto. A strong friendship develops.

1983
In the beginning of January he makes a second trip to Europe. He visits an exhibition of William Turner's watercolors and his travel notebooks at the Prado Museum. During this European visit, Gonçalo Ivo is taken by his friend, Portuguese poet Antonio Osório de Castro, to visit the studio of watercolor artist Mario Botas (1952-1983). "Mario liked my work a lot, the three of us spent the night talking about art and watercolor technique. Mario taught e several resources that I still use in my watercolors."

At Dora Basílio's invitation, he holds an individual exhibition at the Galeria Contemporânea, Rio de Janeiro. He takes part in the VII Salão Carioca de Arte and the exhibition "Artes no Parque", of the School of visual arts of the Parque Lage. In an essay published in Portuguese magazine Colóquio Artes, Roberto Pontual, the Brazilian critic living in Paris, points out the mark left by the sensitive constructivism of Joaquim Torres Garcia in Gonçalo Ivo's recent work.
He deepens his friendship with artists from other generations such as Abelardo Zaluar and Carlos Martins, as well as with names from his generation; Hilton Berredo, Fernando Barata, Amador Perez, Jadir Freire , João Atanásio and Otávio Roth.

In a letter to Gonçalo Ivo, Abelardo Zaluar declares: "His paintings, notably the watercolors, reveal a fine and investigative spirit in approaching themes that range from an interest in popular architecture to the sophisticated objects of man. I have accompanied his artistic trajectory with interest through the several exhibitions he has held and I can observe constancy, method and coherence in his work, revealing in unequalled fashion his creative talent and personal qualities which qualify him as a serious and studious artist." He finishes the Architecture course and begins to work for Global publishers in São Paulo and Record publishers in Rio de Janeiro. He begins to work with the Galeria Estampa, specialized in art on paper.

1984
He participates in the following exhibitions: "Seis Artistas e o Pequeno Formato" at the Galeria de Arte of the UFF, Niterói; VII Salão de Artes Plásticas, MAM, Rio; VIII Salão Carioca de Arte, where he wins the third prize in drawing; "Geração 80" at the Escola de Artes Visuais of the Parque Lage, Rio and Galeria MP2, Rio. He also takes part in the Exposição Arte Contemporânea en Latino America at the Escuela Nacional de Artes Plásticas in Mexico City. "The year of '84 was important not just for me as for an entire generation of young artists. My work began to take a more definite direction." By indication of Abelardo Zaluar and José Maria Dias da Cruz he begins to teach watercolors at the Museum of Modern Art in Rio de Janeiro.

1985
He takes part in the exhibitions "Encontros, homage to Maria Leontina (1917-1984)", at the Petite Galerie and "O Fazer e seus Modos" at the Museum shop along with Ligia Pape, Ronaldo Macedo and Ascanio MMM among others, with curatorship by Marcio Doctors. At the invitation of Paulo Leal, he participates in the exhibition "Nova Geometria" at the Galeria Saramenha in Rio de Janeiro. By invitation of Vitor and José Roberto Arruda he begins to work exclusively for the Galeria Saramenha. He returns to oil painting. He has his work acquired by collector João Leão Satamini. He rents a studio in the neighborhood of Santa Teresa, at the corner of the Rua Áurea with the Rua Aarão Reis. "In September I managed to rent a studio. José Maria was my broker. The apartment is very light. In the living room I am working on the larger pieces. The first room contains João Atanasio's press and the canvas storage. The second room has the watercolor table. Here I spend my nights until late. From here one can see all of Catumbi, the cemetery, the cobbled streets and the old houses with gardens at the back. At night one hears the never-ending bark of dogs and the creaking of the trams along the curve of the Rua Àurea." He makes a series of small engravings in metal under instruction in the studio of engraver João Atanásio (1948). He holds an individual exhibition of watercolors at the Galeria Artespaço. He holds his first individual exhibition in São Paulo, at the Galeria Arco of Bruno Musatti. This exhibition brings the work of Gonçalo Ivo to the attention of poet and critic Theon Spanudis (1915-1985) and collector Ladi Biezus, who becomes an admirer of his work. He begins work at FUNARTE and by invitation of Paulo Herkenhoff coordinates the project "Melhoria dos Materiais de Arte no Brasil". On this occasion he encourages FUNARTE to publish the book " Materiais de Arte no Brasil / Análise das tintas a óleo ", Instituto Nacional de Artes Plásticas.

1986
He marries biologist Denise Esquenazi. He takes part in an inaugural exhibition of the Galeria Usina in Vitória, Espírito Santo. He has three simultaneous individual exhibitions: at the Centro Cultural Cândido Mendes, Rio (watercolors), the Galeria de Arte e Pesquisa, of the Universidade Federal do Espírito Santo, Capela Santa Luzia, Vitória (watercolors) and at the Galeria Usina, Vitória (oil paintings). For the first time he shows his wooden objects as well as his temperas and collages upon the lids and bottoms of cigar boxes. He takes part in the collective exhibition "Six Brazilian Artists" in New York, besides the exhibition Arte e Educação, of the painting workshop of the teachers of MAM Rio, at the IMPA, organized by Enéas Vale. Other collective participations: Sala Exibição Especial - Arte de Hoje, Galeria Eliseu Visconti, Museu Nacional de Belas Artes, Rio, International Contemporary Art Fair, Los Angeles, California and "Brazil Works on Paper", Sonoma State University, California (travelling exhibition). He is nominated visiting professor at the Universidade Federal do Rio de Janeiro, where he teaches painting for six months. On the occasion of the Gonçalo Ivo exhibition at the Centro Cultural Cândido Mendes, Walmir Ayala writes in the Jornal do Comércio: "What use are words in painting?", questions Gonçalo Ivo, in the fine catalog of his exhibition, which opens tomorrow at the Centro Cultural Cândido Mendes. Evidently, the artist dispenses verbal commentary, where there are "pictorial issues". For those, such as myself, who only know (or intend to know) how to write, the point of view is different. Seeing the wonders of the laboratory in the pictorial work of Gonçalo Ivo, words gather like thoughts, linked to thought, and are an another attempt at painting, relationship and pleasure.

Gonçalo Ivo gives us a catalog without any words, only photographs of paintings and of the ambiences he has experienced. In these environments there is an aura of work. In the watercolors, a delicate and correct poetry, organized with formulas that are modeled and fit like notes in a romantic sheet of music. I have accompanied Gonçalo Ivo since his first plastic attempts, and I am always surprised by the instrumental decision and instrumental skill that he bears witness to. Despite the care one has today to avoid discourse, he is not shy to hand over a few keys to reading his work by saying that the current work "brings urban references that are nocturnal, historic (relating to the tradition of painting) and autobiographical". The figurative references, for example; he confesses himself that they add nothing. The proposed visual equations are so well resolved, that the most concrete references that I, particularly, can find, refer to inanimate pulsations, rich perceptions of life expressed in informal and palpitating structures. Klee, Mondrian, Schumann and Satie give out messages which are consciously filtered through the gaps of what this young mature artist proposes. His face, at the end of the catalog, has the sweetness and determination of the stigmatized. And a gleam in the eye which seems to say: I see, therefore I sing. I especially recommend this exhibition."

1987
He participates in the following collective exhibitions: "O Rosto e a Obra", Galeria IBEU, Rio, National Watercolor Society, 66th Annual Exhibition (travelling exhibition), USA. He holds two simultaneous individual exhibitions: Galeria de Arte do Centro Empresarial Rio, RJ (paintings, objects, watercolors and drawings), coordinated at the time by Ronaldo do Rego Macedo and Ascânio MMM, and Galeria Arco, SP (objects and watercolors). He acquires an apartment on the Rua Almirante Alexandrino in Santa Teresa which also serves as a studio. He puts teaching activities and the bureaucratic work at FUNARTE aside and begins to work exclusively off his work as a painter. He lives most of the time in Teresópolis.

1988
He participates in the "International Contemporary Art Fair", Los Angeles, California, and the "Six Contemporary Brazilian Artists" at the Memphis College of Art, Tennessee, USA. Also the exhibition "Brazil" at the ISD in New York, organized by Sergio Tissembaun. He makes contact with the Brasília based dealer Oscar Seráphico, participating in the exhibition "4 Abstratos" at his gallery. He begins to travel frequently with his wife Denise throughout the northeastern backcountry and coast. "The work with Oscar Seráphico in Brasilia was a form of getting to know new places and returning to a few essentials. Denise and I would take the car and explore the interior of Bahia. We visited the several small towns of the São Francisco and the Chapada da Diamantina. Then we would travel the coast. The car would return loaded with dozens of pieces of wood, tree branches, rocks and sacks with sand and earth of various colors. The watercolor sketchbooks would become stained with the impressions these places left. There is nothing like the sky of the backcountry or the sea at the Pontal do Coruripe and its fisheries."

1989
Individual exhibitions of oil paintings at the Galeria Saramenha. Text and catalog by Fernando Cocchiarale. "A confirmed talent. With his new individual exhibition at the Galeria Saramenha, one must recognize that Gonçalo Ivo is one of the best artists of his generation. (...) With his drawings, he had marked his presence and already announced the painter who explodes in the current exhibition, although previously he had shown paintings at the I Salão Nacional de Artes Plásticas (1978). Gonçalo Ivo is a very special abstractionist. The links with the real coexist, for in his painting it is evident the fascination he feels for the fisheries of the northeastern beaches (in their origin) and elements of a remotely inherited culture, without isolating this or that motive, as he integrates them in the abstraction itself. Above all, he is a born colorist, dominating the use of color as do few of his generation, not just in the great dimensions of canvas but equally in smaller canvasses, also present in the exhibition in three fine pieces. Without a doubt, one of the best shows of this semester." - Geraldo Edson de Andrade.

"The work of Gonçalo Ivo emerges from the precise control over and the growing comprehension of materials and techniques, situating him among the most complete artists of his generation." - Fernando Cocchiarale.

In a text published by the Jornal do Brasil with the title of Afirmação do Ofício, critic Reynaldo Roels Jr. detects in Gonçalo...." a singular artist on the Rio scene, a painter preoccupied almost exclusively with the affirmation and discussion of his trade. Gonçalo's objective is clearly to recuperate a tradition of visual excellence, diluted to an extent as the weight begins to transfer to expressiveness or to the concept.... The emphasis of Gonçalo's paintings is centered exactly at this point: the excellence of artistic production, which is still capable of assuring the gaze a central position in contemporary society, where it tends to be numbed by the excess of visual information..."

"The Galeria Saramenha opened last night the individual show of plastic artist Gonçalo Ivo, a young man who emerged at the beginning of the decade, but who has managed to stand apart from the expressionist tide of his generation. An architect by training, Gonçalo shows within his painting the experience accumulated during his time as a researcher for Ibam, in constant contact with the popular architecture of the suburbs. It is easy to detect within his canvases the allusions to urban housing, obviously submitted to his graphic and geometric constructions. Gonçalo Ivo uses several sources to think about his work and, in general, many of the references are linked to archaic and popular cultures. African sculpture, which had already directed the cubist thought; the body painting and pottery of the Brazilian Indians; popular craft work, such as the weaving of straw, or of twigs of vine and arumã; these are some of the allusions his work makes immediately in its apparent mesh. But Gonçalo does not only feed off popular sources; in truth, this reference to primitive origins in his painting is strongly tied to the modern tradition itself. From Cubism to Constructivism, we find there a little of Cézanne, a lot of Klee, something of Miró and, more remotely, Mondrian. As for Brazilian history, without a doubt there are reminiscences of our concrete and neo-concrete past, in a sort of fusion between Volpi and Leontina. But certainly it is Paul Klee who is beneath all this information and if we look, for example, at his painting "Estrada principal e estradas laterais", from 1929, we can distinguish there the center of Gonçalo's issues. Also linked to primary structures, Klee retreats to the graphic procedures of children and of the oriental civilizations as basic sources of his own graphic art. As to the structure of this graphic art, it was ambivalent, able both to point to the surface as to the depth; something, by the way, that our Volpi developed brilliantly. The canvasses of Gonçalo Ivo are also located somewhere between the perspective and the plane, heavy with affective values in use of color, which borders Miró. And it is exactly this subjective factor that, little by little, and recently, begins to dominate the work of Gonçalo. To the point of, in the last pieces of the series presented in this Saramenha exhibition, allowing us to notice a desire for "disorder", for "deconstruction", that is leading him to other procedures, closer to abstract expressionism, as observed by De Kooning. One can see that the spectrum of references which inform the work of Gonçalo Ivo is highly diversified, although still following the same line of ideas and determined destinations of the tradition of modern painting..." - Ligia Canongia, O Globo.

"Here is a painter who never ceases to amaze me. Correct, professional, poetically rich at each moment of his trajectory, he seems always complete when explaining a new phase of his production. I could not help remembering Maria Helena Vieira da Silva, when visually feeling the transparency of her "city". Like the great Portuguese from Paris, Gonçalo Ivo illuminates his construction of a mental order which does not refuse the intensity of beauty and of dreams. The "constructions" pass by in a chamber-like compass, burn with a spontaneous but rigorously controlled graphic quality and allow color to pass as a sign of life in a mutant and passionate organism. All duly restrained. His work is magic and beautiful. We applaud...." - Walmir Ayala, Jornal do Comércio.

1990
Two individual exhibitions open on the same night, with the launch of the first two books dedicated to his work. He shows 14 watercolors at the Galeria Artespaço, with the launch of the book "The Whitechapel Drawing Book" organized by Elizabeth Fonseca, with texts by Fernando Cocchiarale, Ladi Biezus and the artist himself. "These "wordless books" of Gonçalo Ivo serve me as true "prayer books", for personal devotion. The museums and good exhibitions represent the place for "public devotion", for connecting with transcendence in public and socially. The "wordless books" of Gonçalo Ivo are the companions for connecting with transcendence in intimacy. There is, of course, an intellectual link. But our time is saturated with intellectualism and we need to recover other accesses, and above all recover the capacity to connect to God with all of our being; body and soul. The door of our gaze, of all, without a doubt, has been the most instrumental in the sense of possession and domination. We almost always see with a gaze of appropriation or the gaze of an invader. What we need to connect with transcendence is the gaze of surrender. To surrender ourselves without the intellectual project of "appropriation", without the indiscreet gaze which invades to dominate, but simply to embark upon a voyage in which the voyage is the end in itself, as this will lead us to God through the gaze; and this is what these books of painted prayer, without narration, by Gonçalo Ivo teach us to rediscover." - Ladi Biezus.


The Galeria Saramenha presents paintings and objects and the launch of the book Gonçalo Ivo/Roberto Pontual, edited by the Galeria Saramenha. "...Crossings, the whisper of things and of people, veins of life: thus, through the etchings and balanced song of Gonçalo Ivo, one must cross the forest to the barrier that separates the jubilant garden of existence from the cold, blind and invariable field of Emptiness." - Roberto Pontual. The São Paulo art magazine Guia das Artes year 5, nº 23 dedicates its cover story to Gonçalo Ivo with text by Len Berg: "Two simultaneous exhibitions in November/December in Rio de Janeiro, fuelled by the launch of two books about Carioca painter Gonçalo Ivo, 32 years old, end a decade of plastic production, emphasizing some of the best painting carried out today in the country, and carrying on the debate on the visceral aspect and personality of his work, in opposition to a production presided over by a pretentious ideological rigor and critical control which leads to the almost complete inhibition of talent." He spends three months travelling with his wife through Holland, Spain, France and England.

1991
Several trips to Europe and the Northeast of Brazil. Ne begins to work with dealer Cláudio Gil.
He works at his Teresópolis studio.

1992
He participates in the following collective exhibitions: Gonçalo Ivo and José Maria Dias da Cruz, Galeria Rodrigo Melo Franco de Andrade, Museu Nacional de Belas Artes, Rio; Eco Art, MAM, Rio; permanent collection of the Centro Cultural Cândido Mendes, MAM, Rio: Coleção João Sattamini, Paço Imperial (Rio) and Centro Cultural São Paulo (SP). He begins to work with the DAN Galeria in São Paulo. Gonçalo and Denise travel once again to Europe.

1993
He takes part in the collective exhibitions: Art Chicago (Arte do Brasil), USA and Galerie Debret, Paris. He travels through Europe: Italy, France and Holland. He rents an apartment in Paris on the rue du Mont Thabor . He travels to Caracas, Venezuela to produce a print for the Bozano Simonsen Bank. He is invited by the artist Bob Nugent to create labels for the Benziger Family Winery in Glen Ellen, Califórnia in the collection "Imagery Series". On August 14th, his daughter Antonia is born in Rio de Janeiro.

1994
He takes part in the following collective exhibitions: Gonçalo Ivo, José Maria Dias da Cruz and Ronaldo Macedo, at the Paço Imperial, Rio and Art Miami, Joel Edelstine, USA. He holds three individual exhibitions: Museum of Modern Art do Rio (paintings and objects), catalog with text by Marcos Lontra and Gonçalo Ivo, sponsorship obtained with the help of his friend, Rio collector Luiz Chrysóstomo; Pinacoteca do Estado de São Paulo (paintings, drawings, watercolors and objects, anthology of ten years of work), SP and DAN Galeria in São Paulo (paintings and objects), with text and curatorship by Maria Alice Milliet. "...The painting of Gonçalo Ivo is inserted in the modern tradition, in language which reminds of Cézanne and Braque and which, in Brazil, has in Volpi a paradigm: plastic construction saturated by a sensed reality...." - Maria Alice Milliet. In November he travels to Europe with Denise and Antonia. He is invited by his American friend, artist Bob Nugent (1947), to draw labels for the Benzinger Winery, California.

1995
He takes part in the show "Exposición Internacional de Aquarela - Agrupación de Aquarelistas Vascos" in Bilbao, Spain. On March 27th, his second child, Leonardo, is born. He travels to Paris with his friend and collector Ladi Biezus to see the retrospective of Cézanne (1839-1906) at the Grand Palais. He begins a series of figurative work which has as its center the figure of a dead tree. He paints a series of baked clay vases. He also begins a series of seven paintings for a chapel in Concórdia, Paraná, ordered by Ladi Biezus. He begins to work with Rio art dealer Anita Schwartz.

1996
Inaugural exhibition of the Museu de Arte Contemporânea de Niterói (MAC), João Satamini collection. He takes part in the Projeto Fachadas Imaginárias - Laboratoire Sculpture Urbaine - Arcos da Lapa, Rio de Janeiro.

1997
He publishes the book Diário de Imagens with text by Ladi Biezus and Gonçalo Ivo, Edições do Kivu, with two individual exhibitions, Paço Imperial Rio and DAN Galeria, São Paulo. He takes part in two collective exhibitions in Vancouver, Canada, "Art 97" and "Texture and Sensibility", both at the Lewarne Galleries.

1998
He holds an individual exhibition at the Museum of Modern Art in Rio de Janeiro, launching at the same time the book Gonçalo Ivo/Frederico Morais, of the series Tres Identidades na Pintura Brasileira, coordinated by Laura Marsiaj and Aldo Macedo, Editora Salamandra. This exhibition will generate much debate. Gonçalo Ivo presents monumental figurative work, all from the series Árvores. At the same time he denounces the art system dominated by curators and critics who give almost exclusive preference to contemporary mediums such as video, installations and photographs, leaving aside traditional language such as painting, engraving and drawing. All this debate generates coverage in all of the Brazilian media; Jornal O Globo (1st page), the magazine of the Banco do Brasil, the Estado de Minas, Jornal do Brasil, etc. He takes part in three collective exhibitions: "Obras em Destaque:Primavera 1998", MAC Niterói; "Recent Works", Lewarne Galleries, Vancouver; "Art International" Lewarne Galleries, New York, USA. He publishes with his friend, American artist Bob Nugent, a book of original watercolor engravings entitled "Sob a Camada Vital". By invitation of the cultural magazine of the Banco do Brasil, he publishes a text on Pablo Picasso and his famous Vollard suite entitles "Caligrafia Ancestral" (revista Veredas, year 4, nº 38, Rio de Janeiro, February). He also publishes in Bravo magazine a text on the influence of Marcel Duchamp on Brazilian art, entitled "Viúvas subdesenvolvidas" (revista Bravo, year 2, nº 19, São Paulo, April). He works as front cover designer for American publishers Pine Press. He produces the cover of the book "The Festival of Familiar Light", by American poet Kerry Shawn Keys and of an anthology of his father's poetry, among others published by the same company.

1999
Collective exhibitions: Galeria Anita Schwartz in Rio de Janeiro and Galerie Collis in Lausanne, Switzerland. He meets art dealers Rolland and Edith Flak, who begin to represent him in France.
He spends six months in Paris with Denise, Antonia and Leonardo and holds his first individual exhibition in Europe at the Galerie Flak in Paris. "...Dans ses huiles sur toile éclatent son sens de la couleur et un souci évident de la construction qui est la conséquence de son activité d'architecte qu'il mène parallèlement à celle de la peinture. Ses compositions sont influencées par une culture métissée où cohabitent classicisme et baroque, effusion colorée et sérénité lumineuse, imaginaire et volonté. Gonçalo Ivo, qui est aussi poète, tronque les mots pour les couleurs qu'il emprunte aux somptueux tissus chatoyants des pêcheurs de Bahia ou de Recife hérités de la culture africaine. Cette ivresse de couleurs est soustendue par des structures qui évoquent les architectures de Brasilia. Ses huiles sur toile, ses aquarelles qu'elles se nomment "Rio Araguaia", "Fête africaine" ou "Fête Brésilienne" sont des invitations au voyage dont il nous révèle la fascination visuelle. La rigueur de la composition divisée en compartiments renfermant un alphabet pictural fait penser à Torres Garcia ou à Vieira da Silva. Quelques toiles montrent des bandes colorées horizontales dont la saturation des pigments détient un fort pouvoir lumineux". - Lydia Harambourg in La Gazette de l'Hôtel Drouot, nº34.

"Aux couleurs brésiliennes: celles des toiles et aquarelles de Gonçalo Ivo, véritables fêtes picturales, baignées de la somptuosité des tissus colorés des pêcheurs de Bahia ou de Recife. Une influence africaine aussi revendiquée et baignée, en prime, par les eaux puissantes de l'Amazone ou par l'architecture de Brasilia. Bref et en quatre mots: plus brésilien, tu meurs!" - in Art Actuel, nº 4, September/October 1999.

On returning to Brazil he holds an individual exhibition of paintings at the Galeria Anita Schwartz in Rio. He takes part in the Projeto Fachadas Imaginárias - Laboratoire de Sculpture Urbaine - Pacaembu, São Paulo.

2000
He moves with his family to France. They first live in Neuilly-sur-Seine. Months later, they move to the center of Paris. They live on the rue de Liège, facing the Place de l'Europe and the Gare St. Lazare. Once again, invited by French artist Philippe Mouillon, he takes part in the Projeto Fachadas Imaginárias - À la Nuit Tombée, opus 1, on the banks of the Isère River in Grenoble, France. He also takes part in the collective exhibition "Art et Cigare" at the Galerie Flak in Paris. He returns to Brazil for the launch of "Livro das Árvores" at the DAN Galeria in São Paulo.

2001
He holds his second individual show at the Galerie Flak, "Le Temps des Arbres". In Brazil he takes part in two collective exhibitions: "Espelho cego: seleções de uma coleção contemporânea", Marcantonio Villaça collection, Paço Imperial (RJ) and MAM (SP) and "Aquarela Brasileira" at the Centro Cultural Light, Rio de Janeiro with curatorship by watercolor painter Alberto Kaplan. He travels with his French dealers and his family to the opening of the exhibition "Art et Cigare" at the Museu Jan van der Togt in Amstelveen, Holland, where other participants include Arman, Corneille, Antonio Segui, photographer André Villers, Julio Le Parc.

2002
He spends the winter holiday in Italy. He visits Rome and Venice. He is hired by the Venice Design Art Gallery and in that same year holds his first individual exhibition in Venice. He also participates in the inaugural exhibition of the Condé Galeria de Arte and the exhibition of the permanent collection of the Centro Cultural Cândido Mendes, both in Rio de Janeiro. The Andrea Jakobsson Estúdio publishes the book "Aquarelas" with text by Edgar Lyra, José Maria Dias da Cruz and the artist himself. He travels to Spain for the Madrid opening of the Feira Internacional de Arte Contemporânea (ARCO) where he is represented by DAN Galeria.

2003
In June, along with an exhibition, a book is launched in Venice with text by Italian critic Lionello Puppi, entitled Gonçalo Ivo, edition by Galeria Venice Design. He opens in São Paulo, invited by the superintendent of the Instituto Moreira Salles, poet Antonio Fernando de Franceschi, an exhibition of watercolors and temperas, which travels through all the Institute's cultural centers (Rio de Janeiro, Belo Horizonte, Poços de Caldas and Porto Alegre, 2003/2005).
A catalog is launched with text by Antonio Fernando de Franceschi and a long interview with the artist. He participates with the Laboratoire de Sculpture Urbaine in an urban intervention in Algiers, in Algeria. He also takes part in two collective exhibitions in Rio de Janeiro, one at the Centro Cultural Cândido Mendes and "Pintura Atemporal" at the Espaço Cultural dos Correios.
He takes part in the Feira Internacional de Arte Contemporânea (ARCO) in Madrid, Spain, represented by DAN Galeria.

2004
In Paris, the Book of Gonçalo Ivo is published by the collection "L'Enfance de l'Art", edited by the Galerie Flak, with text by French critic and poet Gilbert Lascault. On the occasion, Gonçalo opens his third individual exhibition in Paris at the Galerie Flak. Lydia Harambourg writes: "Cet artiste brésilien revient pour sa troisième exposition avec des peintures éclatantes et lumineuses, marquées par les rythmes et les harmonies de sa musique natale. Les lignes qui divisent la surface de la toile établissent une géométrie dans laquelle jouent les découpes colorées dont il cherche les accords. L'huile, longuement travailée en larges bandes comme sur "Les fleuves" ou en petits triangles comme sur "Pano da Costa", laisse monter une saturation vibrante. La gamme de jaune, de rouge, de bleu s'exaltent alors que les lignes de séparation entre les fragments retiennent, dans ce cloisonnement imperceptible, une tension lumineuse réactivant toute la surface. Lorsqu'il recourt à la tempera, celle-ci atténue une flamboyance au profit d'une intensité chromatique particulière rappelant ces étoffes tissées par les Indiens d'Amazonie. Ici l'image n'est d'aucun secours quand il s'agit d'éxprimer un climat poétique dont Gonçalo Ivo connaît l'efficacité: il fut élevé dans la culture des mots rassemblés par son père, le poète Lêdo Ivo." - in La Gazette de l'Hôtel Drouot. He holds an individual exhibition with his Rio dealer Anita Schwartz, paintings and objects, catalog published with text by Edgar Lyra. In this exhibition Gonçalo Ivo presents for the first time his tri-dimensional objects (small and medium format sculptures in wood with the interference of gold, silver and copper leaf, etc). Some of these pieces are "objets trouvés", with marks left by time. He also presents a series of temperas, collages and large scale paintings. "Rivers, churches, objects, at the same time totemic and sensual... what is reaffirmed in this exhibition prepared by Gonçalo Ivo for the Galeria Anita Schwartz is an art committed to beauty, or rather, to elevating skin-deep beauty to the level of the sacred, as if, like Valéry, it was affirmed that the deepest level is the skin..." - Edgar Lyra.

He takes part in the following collective exhibitions:
Museum of Latin American Art, Long Beach, California, USA;
Palo Alto Center, California, USA;
Connecticut College, New London, USA;
Como Está Você, Geração 80?, curatorship by Marcus de Lontra Costa, commemorative exhibition of the 20 years of the Generation 80, Centro Cultural Banco do Brasil, Rio de Janeiro, Brasília and Recife.
General Archive, Jardim Botânico, Rio. On March 23rd of this year his mother Leda passes away.
He begins three new series in Paris: Mandalas - small temperas in casein, gold and copper leaf and collage; flags - work in tempera inspired on the Asafo banners of Gana; Prière - series of work where Gonçalo uses prayer papers, gluing them on the canvas and adding copper, gold or silver leaf. At the end of this year, building work at his Teresópolis studio is completed. A great warehouse with a seven-meter ceiling height is built so that the artist can work with monumental canvases for future exhibitions at the Pinacoteca do Estado de São Paulo and the Museu Nacional de Belas Artes.

2005
Individual exhibition at the Venice Design Art Gallery in Venice, with paintings and objects, also held at the gallery of the Éditions Charactères in Paris. He participates in the following collective exhibitions: 59º Salon Réalités Nouvelles, Parc Floral, Paris; Feira Internacional de Arte Contemporânea de São Paulo, SP/ Arte, Fundação Bienal de São Paulo, SP. Simões de Assis Galeria de Arte, Curitiba, Paraná. The book Contos sobre tela is published by Edições Pinakotheke with preface by José Castello and short story by Arnaldo Bloch, inspired on the 2002 watercolor As Pedras by Gonçalo Ivo.

2006
He takes part in the following collective exhibitions: Art en Capital, Grand Palais, Paris; Arte Moderna e Contemporanea in the collection of the Museu Nacional de Belas Artes, Rio; 60º Salon Réalités Nouvelles, Parc Floral, Paris; Feira Internacional de Arte Contemporânea de São Paulo, SP/ Arte, Fundação Bienal de São Paulo, SP and Arquivo Geral, Centro Cultural Hélio Oiticica, Rio de Janeiro, with curatorship by Paulo Venâncio Filho.

Attending the request of the then curator of the Museu Nacional de Belas Artes of Rio de Janeiro, Paulo Herkenhoff, Gonçalo Ivo donates to the institution a painting from the flag series, a series of watercolors and a copy of the watercolor book "Sob a Camada Vital". He makes a statement to architect and designer León Hepner, published in the magazine Ponto Art, Brazilian edition, nº1, winter 2006, pages. 24 to 27, which is launched accompanied by an "accrochage" at the DAN Galeria in São Paulo. He begins a new series of work which he baptizes Tissu d'Afrique. These paintings have a formal structure similar to the extensive Rios series (São Francisco River, Zaire River…) - "... The sky of Giotto, the sea of Volpi and the rivers of Gonçalo Ivo reveal the same spatial ambiguity. The artist has another geography, as well as geometry. The sea of Volpi is in the sky, just as in Gonçalo Ivo's painting the waters of the river, immobilized in the background of the canvas, are metamorphosed into a star-strewn sky....The São Francisco River is submitted to an identical metamorphosis. Its source may not be in Minas Gerais, in the Serra da Canastra, but in some watercolor or small painting by Klee, with those swathes of color that are vertical on the immediate plane. In the painting of Gonçalo Ivo, these stripes, horizontally situated, are extensive, virtually infinite. In this case, what we have is a division, the temporary immobilization of these waters, sometimes heavy or muddied, purple and orange, at times giving way to more delicate pinks, blues or greens, as though they were not one but several rivers travelling the same bed, some tranquil, others rushing by. And, in fact, this is no longer the "Velho Chico", but the Negro River of the Amazon, the river which comes from Iboitirana, or the Zaire, which is an African river, all watering at the immense estuary of his painting, and at times it is not even a river any longer but a solitary evening star, announcing the arrival of night and that the sky will soon fill with stars. Or it is a fish farm. And again, back to the rhythm of the river, we find small linear and irregular cuts, as though this was a sheet of music which interrupts the horizontal monotony. Gonçalo Ivo paints his own paintings..." - Frederico Morais in Gonçalo Ivo, Editora Salamandra, 1997.

Contrary to the work in the river series, the recent work from the series "Tissu d'Afrique" is supported on both sides as if in a frame ..." The theme appears as a reference, dealing with geometric representation, purifying the image like in the series "Tissu d'Afrique". The myriad straight lines in an exuberant vibration suggest the circular pattern of a Kaleidoscope. Maps of the artist's geography, which conduct our gaze through the tropical lights which do not admit half tones, or earth colors, or shadows. They are direct lights which tinge the fabric of the canvas with vigor, in a ritual of covering matter to reveal the spirit. An introductory alphabet, fabric which transports to ecstasy....."

The Alceu magazine, nº12, Editora PUC, Rio publishes an essay by the teacher from the Universidade do Espírito Santo, Julia Almeida, entitled "Entre Texto e Imagem".


2007
By invitation of the Brazilian ambassador in Paris, Vera Pedrosa, he holds an individual show at the end of the event "Entre Deux Lumières, des Artistes Brésiliens en France", with paintings and objects. Participants in this cycle of exhibitions include Flávio Shiró, Fernando Barata, Artur Luiz Piza and Sebastião Salgado. Individual exhibitions at the DAN Galeria, São Paulo, SP and the Galeria Murilo Castro, Belo Horizonte, MG. "Color work can be a good dream. "At times I go to see the work of Paul Klee and to see all that united is a good and stimulating dream ", says artist Gonçalo Ivo. One wants never to leave the exhibition which has just opened at the DAN Galeria: canvas and painted wooden objects carry fascinating colors, calm, warm, with meshes, textures; in all, they reveal work which has, from the start, "a contemplative and jubilant vocation", to use the artist's own words. And there is nothing petty in this, on the contrary: it would be too obvious, he warns, to consider his work as alienated just because it does not mirror in a literal and direct manner the bizarre nature and violence of present times. Gonçalo Ivo, maybe a "black sheep of contemporary art", follows his own line: production which is refined and experimental in the subtle use of so many materials and colors, always directed at beauty, ""internal order and symmetry of all things." The painting of Gonçalo Ivo moves within this standard of beauty: from his first watercolors, while very young, a creative vortex already announced an unquiet work, fearless, enchanting, coherent" in the citation by Saint Thomas Aquinas by Ligia de Franceschi, in her text on the current exhibition of the artist. Tempera, oils, watercolor. There is something spiritual in seeing the work of Carioca Gonçalo Ivo gathered in the Gallery room. At the same time, something ancestral and primitive is translated into contemporary work...." - Camila Molina in O Estado de São Paulo, April 2007.

"...An admirer of painters such as Volpi, Maria Leontina and Ione Saldanha, Gonçalo didn't need to leave Brazil to find his masters. He left to show what he can do and to do what he knows." - Maria Alice Milliet in the exhibition catalog at the Galeria Murilo Castro.
Collective exhibitions: 61º Salon Réalités Nouvelles, Parc Floral, Paris; Art en Capital, Grand Palais, Paris; Arte en Expansion, Museu de Arte Contemporanea Francisco Navares, Marguerita, Venezuela. He is invited to produce especially for this event a piece which can be manipulated.
Feira Internacional de Arte Contemporânea (ARCO) in Madrid, Spain, represented by DAN Galeria. Published in Portugal, by Edições Quasi, a poetic anthology of poet Maria Valupi with a Gonçalo Ivo watercolor on the cover.

2008
He takes part in the Feira Internacional de Arte Contemporânea (ARCO) in Madrid, Spain, represented by DAN Galeria. He participates in the exhibition "Art en Amérique Latine" in Charenton-le-Pont, France, together with artists such as Antonio Segui and Malena Santillana.
Feira Internacional de Arte Contemporânea de São Paulo, SP/ Arte, Fundação Bienal de São Paulo, SP. Publication of the book Vozes Íntimas of Portuguese poet and writer do António Osório by publishers Assírio e Alvim, reproducing a watercolor by Gonçalo Ivo on the cover.
An exhibition of paintings opens on January 25th, with curatorship by Fernando Cocchiarale, at the Pinacoteca do Estado de São Paulo. This exhibition has two monumental paintings and wooden objects. In an article for the newspaper A Folha de São Paulo, professor Jorge Coli comments on the exhibitions of Lasar Segall, Tarsila do Amaral, photographer Boris Kossoy and Gonçalo Ivo: "Another exhibition at the Pinacoteca, as notable as the preceding ones, gathers work by Gonçalo Ivo. There are canvases with horizontal stripes and sculptures made from painted stumps. Geometry is present, but a certain subtle and irregular materiality contaminates the colors and forms."