[1] Following concepts found in Constructivism and the De Stijl movements, the Rupture artists produced artworks that rejected realistic and traditional subject matters, such as the human form.
Instead, artists utilized and purposefully integrated mathematical formulas and drew upon scientific theories in order to create the precise non-representational products typically unattainable by the human eye or hand alone.
Members of Grupo Ruptura declared they would produce "new forms out of principles"[3] by questioning said opposers (i.e.; all figurative trends that currently dominated the Brazilian art scene).
"The group’s unprecedented renewal became fundamental in unfolding important repertoires that today constitutes the vast, multifaceted and complex Brazilian contemporary art."
Their work influenced important developments, including neo-concretism, which again posed the Ruptura movement’s question of how and for whom art is made."
- Luciana Brito[4]The seven founding members of the group include Waldemar Cordeiro, Anatol Władysław, Leopoldo Haar, Lothar Charoux, Kazmer Féjer, Geraldo de Barros, and Luiz Sacilotto.
[5] Collectively creating a manifesto that described their commitment to objectivity and abstraction, in opposition to the figurative painting, which they believed to be inaccessible to the public and clouded by human emotions.
Born in São Paulo, Geraldo de Barros[10] played a crucial role in the formation of multiple artistic movements and groups within his lifetime.
Barros began informal artistic studies of drawing and painting in Clovis Graciano's studio in 1945 before formally attending Photo Cine Clube Bandeirante[11] in 1948.
Although he is widely known for his participation and foundation in Grupo Ruptura, his legacy continues more through his founding of Cooperativa Unilabor[12] and Hobjeto Moveis- where he produced furniture and logo-designs[13] This could perhaps be seen as a more capitalistic project.
Although originating in painting and sculpting as separate entities, Faith is most known for his works done under Grupo Ruptura with glass as his primary material.
[3] Faith's work exemplifies the core beliefs of Grupo Ruptura, seen in his desire for calculated precision and the lack of human influence.
Source:[19] Unlike the other founding members, Leopold Haar is unique in that his academic studies did not originate in science or technologies.
From 1948 on, he began exploring white coloring and line works on black canvases admiring the juxtaposition and luminous value it held.
While exhibiting collaborated architecture works with colleagues whom he met at Bras Male Professional Institute (Marcelo Grassman, Octavio Araujo, & Andreatini.
[30] Like founder Charoux and peer artist Waldemar da Costa, he attended the São Paulo School of the Arts[31] and dedicated his time there primarily to lithography.
His style was well developed early in his career, where he made use of a small selection of colors and that distinct geometric figuration associated with Grupo Ruptura's works.
[33] Her mediums include acrylics, oils and enamels, often taking her own form of collage; integrating different dimensions with woodcuts, or fabrics.
Viewers and contemporaries often viewed her signature as a rejection of the theoretical aesthetic that existed in and by other artists during this time who did not sign their works.
There he attended and earned a degree at the Institute of Contemporary Art in São Paulo, with Leopold Haar in his peer group.