Ziraldo Alves Pinto (Caratinga, Minas Gerais, 1932 - ). Draughtsman, caricaturist, cartoonist, illustrator, journalist and writer. He presented his first drawing at the age of 7 in the newspaper Folha de Minas, in 1939. In 1949, he moved to Rio de Janeiro, where he contributed to the children's publications Vida Infantil, Vida Juvenil and Sesinho, and began to publish works in the magazine, A Cigarra. In 1952, he entered the Faculty of Law of the Federal University of Minas Gerais (UFMG) and contributed monthly to the magazine, Era uma Vez. In 1954, he replaced the caricaturist Borjalo (1925 - 2004) on the daily Folha de Minas and contributed to the magazine Binômio. In 1957, he moved to Rio de Janeiro, and in the following year, began to work on the magazine, O Cruzeiro, where, two years later, he created the character, Pererê. With the success of this character, the company O Cruzeiro began to publish a monthly magazine consisting exclusively of his stories. In 1963, he began to work for the Jornal do Brasil, and in 1964, for the magazine Pif-Paf, edited by Millôr Fernandes (1923-). In 1967, he edited the Sunday supplement, Cartum JS, of the Jornal dos Sports. In the following year, he gained international recognition and saw his drawings published in foreign magazines. He became a member of the founding team of the magazine, O Pasquim, launched in 1969. Since then, he has devoted himself to the publication of children's books, with many titles, most notable among which are Flicts (1969), O Menino Maluquinho [The Crazy Kid] (1980) and O Bichinho da Maçã [The Little Apple Worm] (1982). In 1982, he left the editorial of Pasquim to devote himself mainly to children's literature. In 1999, he founded the magazines Bundas [Bums] - a parody of the society magazine, Caras and Palavra. In 2002, he began to publish a new magazine called Opasquim21.
Born in Minas Gerais, Ziraldo grew up in Rio de Janeiro. In 1949, his first cartoon was published in the magazine A Cigarra. In the following year, he returned to Minas Gerais, where he completed his law studies. During this period, he contributed to the publications Folha de Minas and Binômio. In 1956, he moved back to Rio de Janeiro, and devoted himself to cartooning, contributing to publications such as the Folha de S. Paulo, Fatos e Fotos, Fairplay, Jornal do Brasil and Correio da Manhã and, internationally, in Mad (USA), Penthouse and Private Eye (England) and Planète and Plexus (France).
For the historian Herman Lima, Ziraldo is a member of a group of artists whose work in the Brazilian illustrated press, succeeds the group of those who dedicated themselves to political or personal caricature, after this latter genre lost force during the Estado Novo dictatorship (1937-1945), due to the restrictions imposed by the Press and Propaganda Department (DIP). The scholar Gilberto Maringoni highlights the relationship of his works, as well as those of Millôr Fernandes (1923- ) and Fortuna (1931-1994), among others, to the output of European cartoonists of the Post-War period.
One of the first characters created by the artist was Pererê, who appeared in comic strips of the same name, published by the company O Cruzeiro, in a colour magazine format between 1960 and 1964. For the scholar Joaquim da Fonseca, these stories present Brazilian themes and characters, of whom Saci is the principal one. In an indirect way, the author alludes in his work to the injustices and inequalities that afflict Brazil. The magazine achieved great popularity. In 1964, Ziraldo took part in the foundation of the magazine O Pasquim. The artist himself defined the publication as a centre for disseminating critical journalism which was intended as resistance to the dictatorship.
His characters became extremely well-known, such as Supermãe [Supermom], whose stories were published in Jornal do Brasil and in the magazine Claudia. In these works, the artist satirises the image of the overprotective mother.
In 1969, Ziraldo published his first book for children: Flicts, which tells the story of a colour seeking its place in the world. Since then, Ziraldo has devoted himself to children's' books. With Menino Maluquinho [Crazy Kid], published in 1980, he explored the creative universe of childhood. His output also includes various parodies of famous film actors and cartoon superheroes, such as Superman, Dick Tracy or Batman and Robin. In 2002, Ziraldo was one of those responsible for the return to publication of Pasquim, which received the name of Pasquim 21 in allusion to the new century. For the historian Pedro Corrêa do Lago, Ziraldo is, among the Brazilian caricaturists who emerged during the second half of the twentieth century, the figure whose drawing became most popular and whose line is perhaps the most recognisable among the artists of his generation.
Galeria Ambiente (São Paulo, SP)
Galeria Santa Rosa (Rio de Janeiro, RJ)
Escola Superior de Desenho Industrial (Esdi)
Itaú Cultural (São Paulo, SP)
LAGO, Pedro Corrêa do. Caricaturistas brasileiros: 1836-1999. Rio de Janeiro: Sextante Artes, 1999. p.164-169
Programa do Espetáculo - Belas Figuras,SP - 1983.
Programa do Espetáculo - Greta Garbo, Quem Diria, Acabou no Irajá - 1973
BRAGA, José Luiz. O Pasquim e os anos 70: mais pra epa que pra oba... Design da capa Elmano Rodrigues Pinheiro; arte-finalização Valperino Andrade; prefácio Vladimir Carvalho. Brasília: UnB, 1991. 255 p.
CAMPEDELLI, Samira Youssef (org.); ABDALA JUNIOR, Benjamin (org.). Ziraldo. Ilustração Ziraldo. Sao Paulo: Abril Educação, 1982. 108 p., il. p.b., foto. (Literatura comentada).
Enciclopédia dos quadrinhos. Assistência de edição Ana Maria Goidanich Fleck; design da capa Caulos. Porto Alegre: L&PM, 1990. 399 p., il. p&b.
FONSECA, JOAQUIM DA. Caricatura: a imagem gráfica do humor. Design gráfico Joaquim da Fonseca. Porto Alegre: Artes e Ofícios, 1999. 286 p., il. p&b.
LAGO, Pedro Corrêa do. Caricaturistas brasileiros: 1836-1999. Edição Marcos da Veiga Pereira; coordenação editorial Victor Burton; produção gráfica Marcia Raed; fotografia Fernando Chaves, Jaime Acioli, Pedro Oswaldo Cruz; prefácio Zuenir Ventura; apresentação Aloysio de Andrade Faria. Rio de Janeiro: Sextante Artes, 1999. 215 p., il. color.
LIMA, Herman. História da caricatura no Brasil IV. Rio de Janeiro: J. Olympio, 1963. p. 1303-1797, il. p&b. color.
PONTUAL, Roberto. Dicionário das artes plásticas no Brasil. Rio de Janeiro: Civilização Brasileira, 1969. 559 p., il. p&b., color.
REGO, Norma Pereira. Pasquim: gargalhantes pelejas. Rio de Janeiro: Relume Dumará, 1996. 127 p., il. p&b. (Arenas do rio, 6).