Renot has built a distinctive career in Brazilian art, combining his own artistic practice with a significant role in promoting, circulating, and commercializing art over the course of several decades.

He began painting in 1957, at the age of 25. During this early period, he found an important source of inspiration in Lampião and the universe of the cangaço, incorporating references deeply connected to the culture and collective imagination of northeastern Brazil into his work.

Only a few years later, his involvement with art expanded beyond the studio. In 1960, in Salvador, he participated in an initiative aimed at strengthening the local art market and, together with friends, founded Galeria Manoel Querino. The gallery became a meeting point and exhibition venue for nationally recognized artists, presenting works by figures such as Di Cavalcanti, Djanira, Manabu Mabe, Aldemir Martins, and Antonio Bandeira, among many others.

It was also during the 1960s that the name by which he would become known emerged. “Renot” was created by the management of Jornal da Bahia as his signature for the society column “Gran Mond.” The column's success expanded his presence within Bahia's cultural and social circles, and his journalistic work was later transferred to Estado da Bahia, a newspaper belonging to the Diários Associados media group. During this period, he also became active in television and radio, hosting a program on TV Itapoan and another on Rádio Sociedade da Bahia, where he interviewed prominent personalities of the time.

Alongside his work in communications, Renot continued to deepen his involvement with the visual arts. In 1969, he participated in the group exhibition that marked the inauguration of Paço das Artes in São Paulo. Among those who followed and encouraged his artistic development were Carlos Eduardo da Rocha, then director of the Museu do Estado, and renowned Brazilian writer Jorge Amado.

By the end of the 1960s, Renot had settled permanently in São Paulo. In 1972, he opened Galeria Renot in the Jardins district, a space that would become a recognized presence in the city's art scene. Throughout its history, the gallery presented exhibitions by artists such as Francisco Rebolo, Aldemir Martins, Fulvio Pennacchi, José Antonio da Silva, Di Cavalcanti, Cícero Dias, and Rubens Gerchman, alongside numerous other important figures in Brazilian art. As a gallerist and cultural agent, Renot played a significant role in promoting artists and expanding the commercial circulation of their work.

Despite the importance of his activities within the art market, Renot never abandoned his own creative practice. Over time, he developed a visual language strongly connected to the memory and landscape of Bahia. Historic houses in Salvador, popular festivities, birds, animals, and the lush vegetation of the Recôncavo Baiano are transformed through an artistic vision that combines observation, memory, and imagination.

Color occupies a central position in his work. Intense hues—particularly blue and its many variations—shape landscapes in which architecture and nature appear to merge. Rather than pursuing a strictly documentary representation, Renot creates an image of Brazil infused with fantasy, sensuality, and an almost dreamlike atmosphere. Flora, fauna, and elements of popular culture become part of a visual universe in which reality and imagination are inseparable.

This language also extends to tapestry. Moving away from the traditional process of preparing a full-scale design on paper before transferring it to the textile support, Renot develops his compositions directly on the fabric. Once the drawing and chromatic relationships have been established, he proceeds with the embroidery, making each piece an individual creation. The subjects remain closely connected to those found in his paintings and to his enduring emotional and cultural ties to Bahia.

In 2008, the exhibition “Renot em 20,” held at Cristal Pizza Bar, brought together works representing different stages of his career. The exhibition also introduced a playful interpretation of his imagery through a large-scale puzzle based on one of his compositions, assembled during the show.

After more than four decades at the helm of Galeria Renot, the artist closed the gallery in 2014. From that point onward, he devoted himself fully to his studio practice, further developing his work in painting and tapestry. His creations have also attracted the attention of companies seeking to incorporate his art into institutional projects and corporate environments.

With a career spanning more than six decades, Renot occupies a distinctive position within Brazilian art. In addition to developing a body of work deeply informed by the cultural identity of Bahia, he actively contributed to the growth and circulation of the Brazilian art market. His work remains recognizable for its chromatic intensity, imaginative character, and poetic transformation of landscapes, flora, fauna, and popular traditions into a visual world entirely his own.