June 21, 1920 – Birth of Carlos Scliar, son of Henrique Scliar and Cecília Stechman, in Santa Maria, state of Rio Grande do Sul.

1931 – Starts contributing stories, poems and drawings to the literary supplements of Diário de Notícias and Correio do Povo, of Porto Alegre.

1934 – Spends a few months drawing with Gustav Epstein.

1935 – Features in a collective exhibition, presenting his works at the Exposição do Centenário Farroupilha, in Porto Alegre.

1936 – Starts work as an illustrator for Revista do Globo, in the capital of the state of Rio Grande do Sul.

1938 – Is one of the founding members of the Francisco Lisboa Fine Arts Association in Porto Alegre, and is voted in as secretary.

1939 – First trip to São Paulo and Rio de Janeiro.

1940 – Relocates to São Paulo, where he joins the "Família Artística Paulista" movement. Also in this city he stages his first private exposition, with paintings produced in 1939 and 1940. Becomes associated with the avant-garde group of the National Fine Arts Salon of Rio de Janeiro and is almost immediately awarded a silver medal for painting.

1941 – Travels to the state of Bahia.

1942 – On his return to São Paulo, he is one of the artists featured in the 35 litografias album. He also publishes his first album of lithographs entitled Fábula.

1943 – Back in Rio de Janeiro, he prepares the text for Segall – the cinema documentary by Rui Santos.

1944 – Writes and directs Escadas – the documentary on painters Maria Helena da Silva and Arpad Szenes (with whom he lived in Rio), filmed by Rui Santos. Some of his works are included in the Brazilian painting retrospective exhibited in London. Called up by the Brazilian Expeditionary Force, he sets off for Italy to fight in World War II.

1945 – Draws up the page lay-out of Cruzeiro do Sul, the special edition of the Brazilian Expeditionary Force in Florence. Returning to Brazil in July, he again settles in Rio de Janeiro. He holds an exhibition of his sketches and drawings in Rio, São Paulo and Porto Alegre recording the progress of the war. He becomes an active participant in the campaign for the right to vote as part of the Brazilian democratic process. He presides conferences in various Brazilian states on the anti-fascist struggle and the participation of the Brazilian Expeditionary Force in Italy.

1946 – He directs and drafts the Revista de Arte supplement of the magazine Leitura. Participates in the exhibition as a tribute to the Spanish people in Rio.

1947 – Relocates to Europe again and settles in Paris. Travels around Italy, England, Czechoslovakia, Yugoslavia, Poland and Portugal. Makes an appearance at the 1st Democratic Youth Congress in Prague.

1948 – Starts contributing as an illustrator in Lettres Françaises, while also directing the graphic design sections of the art supplements of the Association Latino-Américaine, in Paris. Features in several collective exhibitions in the French capital, among which the VIII Salon des Moins de 30 Ans. Participates in the Intellectuals for Peace Congress in Wroclaw, Poland. Stands as a Delegate in the World Cinema Union Congress.

1949 – The album of lino-engravings, Les Chemins de la Faim, with an introduction by Jorge Amado, is published by the Association Latino-Américaine in Paris. Takes part in the 1st Workers for Peace Congress in Paris.

1950 – On his return from Europe he lives in Rio de Janeiro briefly before moving on to Porto Alegre. He is an active member of the Peace Movement, attending conferences and designing posters and works to mobilize public support against nuclear war. In the capital of the state of Rio Grande do Sul he becomes a member of the board of the magazine Horizonte where he remains until 1952 and is responsible for the graphics and lay-out of the journal in which he also contributes as an illustrator. He participates in the founding of the Clube de Gravura (Engraving Club) of Porto Alegre of which he subsequently becomes President.

1951 – His work is included in the publication 15 Dessins Pour la Paix, published in Paris.

1952 – Goes to the Continental Peace conference in Montevideo. Features in several exhibitions of southern Brazilian engravers both in Brazil and abroad. He is included in the album Gravuras Gaúchas (1950/1952).

1953 – Illustrates Jorge Amado’s novel Seara Vermelha published in Tel-Aviv. Is a member of cultural delegation touring Holland, Czechoslovakia, Poland and the Soviet Union. Is present at the Continent’s Cultural Congress held in Santiago, Chile. Starts work on a series of engravings entitled Estância which will only be completed in 1956. Participates in the 2nd National Modern Art Salon in Rio.

1954 – Awarded silver medals in drawing and engraving at the 4th Salon of the Francisco Lisboa Fine Arts Association in Porto Alegre. Takes part in the 1st Congress of Intellectuals in the Brazilian state of Goiânia.

1955 – Wins a prize to tour Brazil at the 4th National Modern Art Salon in Rio. Exhibits engravings produced between 1942 and 1955 in Porto Alegre.

1956 – Estância, an album with 5 original engravings, is published and awarded the prize of the Cultural Division of the Department of Education and Culture of the state of Rio Grande do Sul. Works in Rio as fine art consultant in the theater production of Orfeu da Conceição by Vinicius de Moraes. He is responsible for the graphic planning and illustration of this production of the play. Subsequently responsible for the special illustrations for the Italian production of the play in Milan.
Holds a drawing exhibition in the National Library.

1957 – Creates the posters for the film Rio Zona Norte. Prepares program for the National Comedy theater in Rio.

1958 – Occupies the post of Head of the Art Department of Senhor Magazine until 1960.

1960 – Holds a private painting exhibition at Galeria Tenreiro in Rio.

1961 – Some hundred and fifty of this works are exhibited in a retrospective 22 anos de pintura sponsored by the Department of Culture of Rio Grande do Sul, in Porto Alegre. Private painting exhibition, Petite Galerie, Rio.

1962 – Is included in the exhibition of Brazilian engravings and drawings shown at the Due Mondi Festival in the Italian city of Spoleto.

1963 – Some still-lifes painted between 1941 and 1963, included in the first album published by Ediarte, in Rio, with texts by Jorge Amado and Joaquim Cardoso. Stages a private showing at Galeria Profili in Milan and at the Casa do Brasil in Rome.

1964 – Private exhibition in Düsseldorf and Frankfurt am Main. Is chosen by Gugu Mendes as one of the three painters to be featured in the color documentary entitled Artes Plásticas no Brasil.

1965 – Participates in the Arte Brasileira Hoje exhibition shown in London, Vienna, Bonn and Brussels, though 1966. Pierre Kast makes a color program about him and his work for the Retratos do Brasil series to be screened on French television.

1967 – Publishes his first series of silk-screen prints executed by Dionísio del Santo in Rio de Janeiro. In this same city he paints a large-scale canvas in the head office building of Banco Aliança designed by architect Lúcio Costa.

1968 – Helps organize the 1st Art Fair of the Associação Internacional dos Artistas Plásticas in the Modern Art Museum in Rio de Janeiro.

1969 – Caderno de Guerra de Carlos Scliar with text by Rubem Braga and reproducing his "Drawings of the Brazilian Expeditionary Force", of 1944/45, is published. Antônio Carlos Fontoura films a color documentary called Ouro Preto e Scliar.

1970 – Roberto Pontual puts on a retrospective including over seven hundred works (paintings, drawings and engravings) at the Modern Art Museum in Rio de Janeiro. The biographical Scliar, O real em reflexo e transfiguração by Roberto Pontual is published. Adamastor Camará films an art documentary of the retrospective entitled Os caminhos da cor. He is commissioned to illustrate the series of 4 Federal Lottery tickets depicting Special Event days for 1971.

1971 – The retrospective is relocated to the Modern Art Museum in São Paulo, followed by that of Curitiba and the Culture Department of Paraná, and subsequently Belo Horizonte at the Universidade Federal de Minas Gerais. He holds painting exhibitions in Rio de Janeiro (PUC university), São Paulo (Galeria Portal) and Porto Alegre (Galeria Portinari).

1972 – Private painting exhibitions in São Paulo (Cosme Velho) and Brasília (Mainline). Dionísio del Santo prints an album of silk-screen prints with text by Roberto Pontual.

1973 – The album is featured in exhibitions at the academic departments of the School of Architecture of the Federal University of Rio de Janeiro and the School of Fine Arts in Bahia, Salvador, and at the Engraving school of the Municipal Superintendency offices in Porto Alegre.
Private painting exhibitions in Recife (Galeria Ranulpho) and in Santos (Galeria IBEU). He finishes the polyptych Ouro Preto 180° for the head offices of Manchete in Rio de Janeiro. He holds conferences on his work, with debates and an engraving exhibition in the Centro de Criatividade of the Superintendency of Curitiba in the state of Paraná.

1974 – Paints three works on the city of Porto Alegre for the Salão Nobre of the Municipal Superintendency of the city. Is commissioned by the Governor of the state of Bahia to paint a diptych on Santa Cruz de Cabrália and a painting on Porto Seguro for the Administrative Center in Salvador.

1975 – Displays an exhibition of recent paintings in São Paulo (Galeria Ipanema), Brasília (Galeria Oscar Seráphico) and Goiânia.

1976 – Ouro Preto 360°, a polyptych, is painted for a private residence in Brasília. The series comprising twenty works is exhibited in the Sala Especial do Salão Global (Belo Horizonte); at the Fundação Cultural do Paraná (Curitiba); at the exhibition of the Grupo de Bagé, Projeto Cultur (Porto Alegre) and the Museum of Modern Art of Rio de Janeiro. Exhibits recent paintings in Curitiba (Galeria Acaiaca) and Belo Horizonte (Galeria Memória).

1977 – Paints the large-scale canvas Leia/Pense for the official Press Agency of the state of Rio de Janeiro.
A retrospective featuring 50 works is organized by the Fundação Cultural da Bahia (Salvador). Recent paintings exhibited in Porto Alegre (Oficina de Arte), Parati (Galeria Engenho) and Rio de Janeiro (Galeria Ipanema). Telhados de Ouro Preto, the silk-screen album, with texts by the author, is published by Lithos, Rio.