Imagem do Brasil/A Busca Europeia de um Paraíso Terrestre e a Arte Moderna Brasileira, in Zurich. In 1993, the Staatliche Kunsthalle in Berlin held a major retrospective of his work. The same year he received the Inter-American Prize of Culture Gabriela Mistral, awarded by the OEA - Organização dos Estados Americanos, in Washington, D.C. He creates “O Grande Sol” (1995–1996) for MAMAM - Museu de Arte Moderna Aloísio Magalhães, in Recife. In 2000, he created “Parque das Esculturas” (2000), located at Marco Zero in Recife, part of the project "Eu vi o mundo... Ele começava no Recife", which compiles almost 100 works by the artist. Among his most recent works, he produced “O Gigante Nabuco” (2010), for the Academia Brasileira de Letras, in Rio de Janeiro, and “Pássaro Rocca” (2013), located at the Trianon-Masp subway station in São Paulo. Brennand died of a respiratory infection on December 19, 2019, at the Real Hospital Português in Recife, at the age of 92. The Governor of the state of Pernambuco declared a three-day period of mourning. He has held several solo exhibitions in important institutions, such as "Brennand", at Casa França Brasil, in 2000; "Brennand no Acerto com o Mundo", at Fundação Júlio Rezende, in Portugal, in 2001; "Brennand Esculturas: o homem e a natureza", at the Museu Oscar Niemeyer, in 2004; "Francisco Brennand: Flores, frutos, bichos e pássaros dos anos 60, 70 e 80", at the Afro-Brazil Museum, in 2007; and "Francisco Brennand – Senhor da Várzea, da Argila e do Fogo", at Santander Cultural, in 2007. Work Brennand primarily displayed his work at the Oficina Brennand, the compound encompassing the working tile factory, museum, chapel, and café. The Oficina features around 2,000 of Brennand's pieces in enormous open halls, outdoor monuments, alters, chapels, and gardens, all in the midst of an Atlantic forest reserve in the Varzea neighborhood of Recife. His work often returns to themes of the human body, eggs, animals, and fruit. At times, he was forced to defend his work against charges that it was too provocative or erotic. The New York Times called Brennand "the foremost artist in the city" and the Oficina Brennand "a metaphor for the city of Recife itself, consumed in simultaneous growth and decay." He has also been called "Brazil's greatest ceramicist." More than 90 of his works, including the 32-meter Crystal Tower, can be seen at the Parque das esculturas (Sculptures