Artists pay homage to Iran Martins, victim of Covid-19

Artists pay homage to Iran Martins, victim of Covid-19
Artists pay homage to Iran Martins, victim of Covid-19
The molder and dealer Iran Martins da Silva died on Wednesday (7), at 69, victim of Covid-19. Iran had been hospitalized for 15 days due to complications from the coronavirus and could not resist a cardiac arrest during the early hours of Wednesday. He was one of the most prominent agents in the plastic arts of Juiz de Fora, since works from Ângelo Bigi to Dnar Rocha, including Carlos Bracher, passed through his hands. The molder leaves his wife, Zaira Rangel Tonassi Martins, as well as three children. He was the owner of Iran Molduras for over 40 years, a store and gallery located at Rua Batista de Oliveira, whose workshop was located at Rua Fonseca Hermes. There was no wake, and neither the place nor the time of the burial were revealed by the family.
Iran Martins da Silva, owner of Iran Molduras and art negotiator (Photo: Reproduction / Facebook)

In addition to being a molder, Iran was a dealer, a dual function highlighted by the painter and friend Carlos Bracher, whose works were sold at the gallery. Bracher met him as a “good guy” when Iran worked for Sidivan Ribeiro at Capela – Galeria de Arte while still an assistant. “There, Iran learned the trade, started to consign itself to the world of the arts and became a person more and more painstaking in the sense of commitment and love for art and the entire artistic universe”, he says. After leaving the Chapel, Iran founded not only the molding shop from which he made his name in Juiz de Fora, but also the gallery. “Iran’s presence was extremely important for the art of Juiz de Fora. We have to be very grateful for the performance of this brilliant figure and a dear friend. ”

For decades, Iran was the only dealer in Juiz de Fora, since, although there were some private individuals, only he had a gallery, adds Bracher. “It is not easy to maintain a gallery, a place like this open to the public.” The representativeness of the molder in the visual arts of Juiz de Fora is such that, according to the painter, most judge-foran houses have pictures, engravings and “sometimes even a common photo” that passed through Iran’s hands. “The route traced by Iran was very beautiful, because he is a person who became attached to the artistic world. From apprentice with Sidivan to molder and dealer. Iran was a very humble, elegant and dignified person. It was built with a lot of integrity. Both he and his wife, Zaira, are people of great virtue. That God has.”

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‘Iran was an artist’

Plastic artist Fernanda Cruzick first met Iran in the 1980s and has worked with him ever since. In deploring the “priceless loss” for the visual arts of Juiz de Fora, Fernanda points to the vacuum that will be left by Iran. “Everything I did, it was Iran. Everything. There are very rare exceptions. I don’t even know how I’m going to continue. Whenever he needed it, he was there. It was a very partner. Iran’s work, work and dedication are in every job, every home. ” For Fernanda, the work of plastic artists would not exist without the finishing of the molder. “He always finished the artist’s work in some way. And the artist faces challenges all the time. Within that, Iran faced these challenges. He has already done unconventional jobs for me. We can say, yes, that Iran was an artist, because, within what we proposed, he always looked for solutions. ”

According to Fernanda, Iran knew the history of painting in Juiz de Fora, valued and knew people closely. “I knew what each one was like. It held the particularities of several generations of visual artists and photographers. ” In addition to works by Carlos Bracher and Fernanda Cruzick, those by artists such as Arlindo Daibert, Renato Stehling, Sylvio Aragão, Heitor de Alencar, Jayme Aguiar, Ângelo Bigi, Ramon Brandão and Dnar Rocha, whom he became friends with, passed through the hands of Iran. In testimony to the Tribuna at the time of Dnar’s 80 years, Iran remembered the times when the painter went to Iran Molduras daily. “We became so close friends that he started to call me his son. Dnar always surprised me with its simplicity, its ‘stories of the country’, but, above all, its open heart. ”

Witness to history

José Alberto Pinho Neves, ex-superintendent of Funalfa and ex-dean of Culture at the Federal University of Juiz de Fora (UFJF), endorses the relevance of Iran by following, in the last decades, the evolution of the plastic arts of Juiz de Fora , including as a participant. “The conquest of some artists from Juiz de Fora has Iran’s contribution in the final discussion of the drapery of their works when their presence was decisive. We get poorer. In this terrible moment, I must register my gratitude to this man of integrity, generosity, sensitivity and zeal. By following the history of the arts, without distinction of genres or greatness of the artists, Iran recorded its history, which will never fall by the wayside. ”

At least since the 1990s, Iran was a first-rate gallery owner, as well as a molder at the level of the country’s giants, says UFJF’s provost of Culture, Valéria Faria. He, says Valéria, was able not only to cultivate important names in the visual arts, but also to identify great promises. “His role as a molder and gallery owner, encouraging and following trajectories such as that of Dnar Rocha, has always been undeniable and has entered our history as an encourager of the arts and culture. Juiz de Fora loses a unique professional and human being. ” Like Fernanda, Valéria reinforces that Iran’s death leaves a “pitiful gap, irreplaceable for those who, like me, were fortunate enough to have met him, either because of the special person he was, or because of his technical skills.”

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