Painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist. In ''O Capeta Carybé'', Jorge Amado tells numerous stories about his great friend Carybé, whose life is almost as rich as a fiction: survival adventures, marriage, wanderings from Buenos Aires, in his homeland, to Bahia. Throughout his works, the artist registered highly Brazilian scenes and settings, such as fishing villages, ballerinas, exits from the church and cowboys taking a break. His work took Bahia to the outside world. That is why Jorge Amado refers to Carybé as a remarkable example in his art, who recreates the reality of the country and the popular life that he knew like very few others, for having lived it like no other.

Héctor Julio Páride Bernabó or Carybé (Lanús, Buenos Aires province, Argentina, 7 February 1911 – Salvador, Bahia, Brazil, 2 October 1997) was a painter, engraver, draughtsman, illustrator, potter, sculptor, mural painter, researcher, historian and journalist. He settled in Brazil and naturalized as a Brazilian.

While living in Rio de Janeiro, he was a scout. There, scouts were nicknamed after types of fish, and he was given the nickname of Carybé (a kind of piranha). So the artist used it as an alias for his Christian name, which was very similar to his brother’s name, who was also an artist.

He produced five thousand pieces of work, including paintings, drawings, sculptures and sketches. He illustrated books by Jorge Amado as well as Gabriel Gárcia Márquez's One Hundred Years of Solitude. He was an Obá de Xangô, an honorary position in candomblé. He died of heart failure during a session in a candomblé yard.

Some of Carybé’s work can be found in the Afro-Brazilian Museum of Salvador: 27 panels representing the orixás. of the Bahian candomblé. Each board shows an orixá with his weapons and his animal of worship. They were sculpted on cedar wood, with engravings and scaling of various kinds of material. The work was commissioned by the former Banco da Bahia S.A., now Banco BBM S.A., which installed them in its branch on Avenida Sete de Setembro in 1968.

Carybé produced more than 5,000 works; his art was expressed through paintings, engravings, illustrations, wood carvings, mosaics and murals.

EDUCATION

1925 – He begins his artistic activities going to the pottery workshop of his elder brother, Arnaldo Bernabó, in Rio de Janeiro.
1927–1929 – Attends the National School of Fine Arts – Emba, in Rio de Janeiro.
1958 – Receives a scholarship grant in New York, USA.

TIMELINE

1919 - Moves to Brazil.
1921 - Given the name Carybé by the Clube do Flamengo scouts group, in Rio de Janeiro.
1927-1929 - Studies at the National School of Fine Arts, in Rio de Janeiro.
1930 - Works for the newspaper Noticias Gráficas, in Buenos Aires, Argentina.
1935-1936 - Works with the writer Julio Cortázar and as a draghtsman for the El Diário newspaper.
1938 - Sent to Salvador by the Prégon newspaper.
1939 - First collective exhibition, with the artist Clemente Moreau, at the Buenos Aires City Museum of Fina Arts, Argentina; illustrates the book Macumba, Relatos de la Tierra Verde, by Bernardo Kardon, published by Tiempo Nuestro.
1940 - Illustrates the book Macunaíma, by Mário de Andrade.
1941 - Draws the Esso Almanac, the payment for which allows him to make a long journey to Uruguay, Brazil, Bolivia, and Argentina.
1941-1942 - Study trip around several South American countries.
1942 - Illustration for the book La Carreta by Henrique Amorim, published by El Ateneo (Buenos Aires, Argentina).
1943 - Together with Raul Brié, translates the book Macunaíma, by Mário de Andrade, into Spanish; produces the illustrations for the works Maracatu, Motivos Típicos y Carnavalescos, by Newton Freitas, published by Pigmaleon, Luna Muerta, by Manoel Castilla, published by Schapire, and Amores de Juventud, by Casanova Callabero; also publishes and illustrates Me voy al Norte, for the quarterly magazine Libertad Creadora; awarded First Prize by the Cámara Argentina del Libro (Argentine Book Council) for the illustration of the book Juvenília, by Miguel Cané (Buenos Aires, Argentina).
1944 - Illustrates the books The Complete Poetry of Walt Whitmann and A Cabana do Pai Tomás, both published by Schapire and Los Quatro Gigantes del Alma by Mira y Lopez, Salvador BA; attendscapoeira classes, visits candomblé meetings and makes drawings and paintings.
1945 - Does the illustrations for Daniel Defoe’s Robinson Crusoe, for the Viau publishing house.
1946 - Helps in setting up the Tribuna da Imprensa newspaper, in Rio de Janeiro.
1947 - Works for the O Diário Carioca newspaper, in Rio de Janeiro.
1948 - Produces texts and illustrations for the book Ajtuss, Ediciones Botella al Mar (Buenos Aires, Argentina).
1949-1950 - Invited by Carlos Lacerda to work at the Tribuna da Imprensa, in Rio de Janeiro.
1950 - Invited by the Education Secretary Anísio Teixeira, moves to Bahia, and produces two panels for the Carneiro Ribeiro Education Center (Park School), in Salvador, Bahia.
1950-1997 - Settles in Salvador, Bahia.
1950-1960 - Actively participate in the plastic arts renewal movement, alongside Mário Cravo Júnior, Genaro de Carvalho and Jenner Augusto
1951 - Produces texts and illustrations for the works of the Coleção Recôncavo, published by Tipografia Beneditina and illustrations for the book, Bahia, Imagens da Terra e do Povo, by Odorico Tavares, published by José Olímpio in Rio de Janeiro; for the latter work he receives the gold medal at the 1st Biennial of Books and Graphic Arts.
1952 - Makes roughly 1,600 drawings for the scenes of the movie O Cangaceiro, by Lima Barreto; also works as the art director and as an extra on the film (São Paulo, SP).
1953 - Illustration for the book A Borboleta Amarela, by Rubem Braga, published by José Olímpio (Rio de Janeiro, RJ).
1955 - Illustrates the work O Torso da Baiana, edited by the Modern Art Museum of Bahia.
1957 - Naturalizes Brazilian; produces etchings, with original designs, for the special edition of Mário de Andrade’s Macunaíma, published by the Sociedade dos 100 Bibliófilos do Brasil.
1958 - Makes an oil painting mural for the Petrobras Office in New York, USA; illustrates the book As Três Mulheres de Xangô, by Zora Seljan, published by Editora G. R. D. (Rio de Janeiro, RJ).
1959 - Takes part in the competition for the John F. Kennedy Airport panels project, in New York, USA, winning first and second prizes.
1961 - Illustrates the book Jubiabá, by Jorge Amado, published by Martins Fontes (São Paulo, SP).
1963 - Awarded the title of Honorary Citizen of Salvador, Bahia.
1965 - Illustrates A Muito Leal e Heróica Cidade de São Sebastião do Rio de Janeiro, published by Raymundo Castro Maya (Rio de Janeiro, RJ).
1966 - With Jorge Amado, co-authors Bahia, Boa Terra Bahia, published by Image (Rio de Janeiro, RJ); writes and illustrates the book Olha o Boi, published by Cultrix (São Paulo, SP).
1967 - Receives the Odorico Tavares Prize – Best Plastic Artist of 1967, in a competition ran by the state government to stimulate the development of plastic arts in Bahia; makes the Orixás Panels for the Banco da Bahia (currently at the UFBA Afro-Brazilian Museum) (Salvador, BA).
1968 - Illustrates the books Carta de Pero Vaz de Caminha ao Rei Dom Manuel, published by Sabiá (Rio de Janeiro) and Capoeira Angolana, by Waldeloir Rego, published by Itapoã (Bahia).
1969 - Produces the illustrations for the book Ninguém Escreve ao Coronel, by Gabriel Garcia Marquez, published by Sabiá (Rio de Janeiro, RJ).
1970 - Illustrates the books O Enterro do Diabo and Os Funerais de Mamãe Grande, published by Sabiá (Rio de Janeiro, RJ), Agotimé her Legend, by Judith Gleason, published by Grossman Publishers (New York, USA).
1971 - Illustrates the books One Hundred Years of Solitude, by Gabriel Garcia Marquez and A Casa Verde by Mario Vargas Llosa, both published by Sabiá (Rio de Janeiro, RJ); produces texts and illustrations for the book Candomblé da Bahia, published by Brunner (São Paulo, SP).
1973 - Illustrations for Gabriel Garcia Marquez’s A Incrível e Triste História de Cândida Erendira e sua Avó Desalmada (Rio de Janeiro, RJ); paints the mural for the Legislative Assembly and the panel for the Bahia State Secretary of the Treasury.
1974 - Produces woodcuts for the book Visitações da Bahia, published by Onile.
1976 - Illustrates the book O Gato Malhado e a Andorinha Sinhá: uma história de amor, by Jorge Amado (Salvador, BA); receives the title of Knight of the Order of Merit of Bahia.
1977 - Certified with the Honor for Afro-Brazilian Cult Spiritual Merit, Xangô das Pedrinhas ao Obá de Xangô Carybé (Magé, RJ).
1978 - Makes the concrete sculpture Oxóssi, in the Catacumba Park; illustrates the book A Morte e a Morte de Quincas Berro D´Água, by Jorge Amado, published by Edições Alumbramento (Rio de Janeiro, RJ).
1979 - Produces woodcuts for the book Sete Lendas Africanas da Bahia, published by Onile.
1980 - Designs the costumes and scenery for the ballet Quincas Berro D´Água, at the Teatro Municipal in Rio de Janeiro.
1981 - Publication of the book Iconografia dos Deuses Africanos no Candomblé da Bahia (Ed. Raízes), following thirty years of research.
1982 - Receives the title of Honorary Doctor of the Federal University of Bahia.
1983 - Makes the panel for the Brazilian Embassy in Lagos, Nigeria.
1984 - Receives the Jerônimo Monteiro Commendation – Level of Knight (Espírito Santo); receives the Castro Alves Medal of Merit, granted by the UFBA Academy of Arts and Letters; makes the bronze sculpture Homenagem à mulher baiana (Homage to the Bahian woman), at the Iguatemi Shopping Center (Salvador, BA).
1985 - Designs the costumes and sets for the spectacle La Bohéme, at the Castro Alves Theater; illustrates the book Lendas Africanas dos Orixás, by Pierre Verger, published by Currupio.
1992 - Illustrates the book O sumiço da santa: uma história de feitiçaria, by Jorge Amado (Rio de Janeiro, RJ).
1995 - Illustration of the book O uso das plantas na sociedade iorubá, by Pierre Verger (São Paulo, SP).
1996 - Making of the short film Capeta Carybé, by Agnaldo Siri Azevedo, adapted from the book O Capeta Carybé, by Jorge Amado, about the artist Carybé, who was born in Argentina and became the most Bahian of all Brazilians.
1997 - Illustration of the book Poesias de Castro Alves.

"Thanks to choreographers Gerry Maretski and Hector Zaraspe, I was able to watch Nureyev's rehearsals in Rio de Janeiro's Municipal Theater, April 1971.

The dancer was rehearsing Stravinsky's 'Apollon Musagéte'. Patiently meshing with the musicians, he repeated parts, argued with the orchestra leader and perfected his rhythms and movements. Then, he began all over again until music and movement coincided with mathematical precision in such perfect coordination that you could not tell whether a note signaled a step or whether it was Nureyev's body that struck the notes.

During those two days, I too worked exhaustively trying to catch the weightlessness and harmony of this man who seemed to fly. I made dozens of drawings which were assembled in an album as a tribute to Apollo's Muses. For if there was anything mythological about the performance, it was Nureyev himself shot into the air by the triggers of his feet and returned to earth with the lightness of a feather."

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In O Capeta Carybé, Jorge Amado tells numerous stories about his great friend Carybé, whose life is almost as rich as a fiction: survival adventures, marriage, wanderings from Buenos Aires, in his homeland, to Bahia. Throughout his works, the artist registered highly Brazilian scenes and settings, such as fishing villages, ballerinas, exits from the church and cowboys taking a break. His work took Bahia to the outside world. That is why Jorge Amado refers to Carybé as a remarkable example in his art, who recreates the reality of the country and the popular life that he knew like very few others, for having lived it like no other.

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