Misplaced Pages

#986013

23-698: The Biennial was founded by the Italian-Brazilian industrialist Ciccillo Matarazzo (1898–1977). Since 1957, the São Paulo Biennial has been held in the Ciccillo Matarazzo pavilion in the Parque do Ibirapuera . The three-story pavilion was designed by a team led by architects Oscar Niemeyer and Hélio Uchôa , and provides an exhibition space of 30,000 m. The São Paulo Bienal features Brazilian and international contemporary art and

46-471: A predominance of ochre tones in a dense and elaborate chromatism. However Mohalyi differed from Segall in her use of yellows. She displayed considerable skill in using oils to create luminous and transparent effects similar to her watercolors. The similarities between her work and Segall's were pointed out by critics such as Mario Pedrosa  [ pt ] and Sérgio Milliet , who called for Mohalyi to develop her own style. Around 1937, Mohalyi joined

69-468: A sense of light and transparency, that show the influence of expressionism . Many of Mohalyi's works from the 1930s focus on the human figure and show her concern for social injustice and the disadvantaged. In 1935, Mohalyi began to attend Lasar Segall 's salon. Lasar Segall (1891-1957) made a deep impression on Mohalyi, strongly influencing her figurative work, which became darker and more sombre. Mohalyi's color palette became similar to Segall's, with

92-699: A sense of luminosity. In 1958, Mohalyi received the Leirner Prize for Contemporary Art  [ pt ] , founded by Isai Leirner  [ pt ] (1903-1962), a director of the Museu de Arte Moderna de São Paulo (MAM) and a founder of the Galeria de Arte das Folhas  [ pt ] . In 1959, she participated in the Primeira Exposição Coletiva de Artistas Brasileiros na Europa. Between 1960 and 1962, Mohalyi taught in

115-607: A time. A number of German-Jewish refugees were among Mohalyi's students, and some of her works from the 1940s, such as "Memórias" (Memories) reflect the situation of World War II refugees. Mohaluyi's first solo exhibition took place in 1945 at the Instituto de Arquitetos do Brasil (Institute of Architects of Brazil). It was positively reviewed by art critic Luís Martins . In 1951 Mohalyi made her first woodcuts, studying with Hansen Bahia (1915-1978) in Salvadore. During

138-657: Is one of South America's most important large-scale art exhibitions. After the completion of the 6th Biennial, the São Paulo Biennial Foundation was created to advance the exhibition, which until then had been organized by the Museu de Arte Moderna de São Paulo (MAM-SP). The pavilion the institution occupies - its home to this day - only began holding the Bienal exhibitions starting with its 4th edition in 1957. Since 1951, 32 Bienals have been produced with

161-594: The Fundação Armando Alvares Penteado (FAAP) and frescos for the Capela do Cristo Operário  [ pt ] (with Alfredo Volpi and others) and the church of São Domingo. Later, she designed stained glass for the Capela de São Francisco in Itatiaia . In 1957, Mohalyi returned to Europe for the first time since she had left in 1931. In Arezzo, Italy , she was deeply struck by

184-399: The "Grupo dos Sete" (Group 7) alongside Victor Brecheret (1894-1955), Elisabeth Nobiling (1902-1975), Rino Levi (1901-1965), Antonio Gomide  [ pt ] (1895-1967), John Louis Graz  [ pt ] (1891-1980) and Regina Gomide Graz (1897-1973). World War II brought changes: in 1939 Gabriel Mohalyi lost his job, and the couple moved to Rio Grande do Sul for

207-401: The 1930s to the 1970s. In 2014, a retrospective of Mohalyi's work at the Museu de Arte Moderna de São Paulo (MAM) included more than 400 works. Wolfgang Pfeiffer presented a talk about her work. In 2015, the retrospective exhibition Yolanda Mohalyi: A Grande Viagem at Dan Galeria, focused on around 50 of her works. The exhibition coincided with the publication of Yolanda Mohalyi :

230-428: The 1950s, Mohalyi used dark, saturated colors for her paintings, sometimes mixing dense, heavy paint with sand or other materials to create a rough texture. Mohalyi's works gradually became more abstract, particularly their backgrounds, and showed some influences from Cubism . She increasingly attracted the attention of international collectors. Between the 1950s and 1960s, Mohalyi created stained glass windows for

253-664: The 7th São Paulo Art Biennial . In 1965, her work was featured in a solo show at the 8th São Paulo Art Biennial. Mohalyi had solo exhibitions in Europe, Japan and the United States as well as Latin America. Her first major retrospective show was held at the Museu de Arte Moderna de São Paulo (MAM) in 1976. Since her death on August 23, 1978, her work has been shown in solo exhibitions including those of 1979, 1982, 1984, 2008, 2009, 2014 and 2015. Her works are included in

SECTION 10

#1732779886987

276-512: The FAAP design and plastic arts course. In 1962, she represented Brazil at the first Bienal Americana de Arte in Córdoba, Argentina , where Sir Herbert Read chose her work for inclusion in an exhibition to visit the United States. Mohalyi participated in multiple national and international exhibitions and almost all the international São Paulo Art Biennials between 1951 and 1967. In 1963, she

299-843: The Free School of Nagybánya and then attended the Royal Academy of Budapest from 1927 to 1929. Her parents were musicians. She learned bel canto singing and was a life-long lover of classical music , describing her later abstract work as musical. In 1931, Yolanda Léderer moved to Brazil to marry a Hungarian chemist, Gabriel Mohalyi, who was employed there. Already an accomplished artist, Yolanda Mohalyi settled in São Paulo, Brazil and taught drawing and painting. Among her students were Giselda Leirner Maria Bonomi  [ pt ] , Eleonore Koch , and Alice Brill . Her earliest works were often vivid watercolors, with

322-550: The Wikimedia System Administrators, please include the details below. Request from 172.68.168.226 via cp1108 cp1108, Varnish XID 214622855 Upstream caches: cp1108 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 07:44:47 GMT Yolanda Mohalyi Yolanda Léderer Mohalyi (1909 – August 23, 1978) was a painter and designer who worked with woodcuts , mosaics , stained glass and murals as well as more usual materials. Her early work

345-529: The executors of her estate. They catalogued her work and donated 50 of her paintings to the Museum of Contemporary Art, University of São Paulo (MAC). The works were selected by director Wolfgang Pfeiffer. In 1979, a memorial exhibition of her work was shown at the 15th São Paulo Biennale. Her work was also shown in posthumous solo exhibitions in 1982 and 1984 at the DAN Galeria in São Paulo. DAN Galeria

368-835: The paintings of Piero della Francesca , a fifteenth-century Renaissance master. By her own account, his work determined her to abandon figurative painting. She rejected the modernist movements of cubism and expressionism for pure abstraction . On her return to Brazil, she visited Lasar Segall, whose work had so tremendously influenced her. He implored her not to become an abstractionist; Mohalyi felt "she just had to". Segall died soon after, on August 2, 1957. From then on, Mohalyi rejected figurative art and definitively embraced abstraction. Increasingly, her canvases featured large forms of color freely overlaid with linear elements. Wide gestures expanded into increasingly larger spaces and loose textures. Combinations of colors often created subtle transparencies, giving her later works in particular

391-460: The participation of 170 countries, more than 16 thousand artists and almost 10 million visitors, making direct contact possible between the Brazilian public and visual, theatrical and graphic arts, music, film, architecture, and other forms of artistic expression from around the world. The 1998 edition cost almost $ 12 million and drew nearly 400,000 visitors during a two-month run. The 25th biennial

414-901: The permanent collections of the Art Museum of the Americas in Washington, D.C. (formerly the Museum of Modern Art of Latin America ), the Museum of Contemporary Art, University of São Paulo (MAC), the Casa Roberto Marinho in Rio de Janeiro , and the Cleusa Garfinkel collection in Brazil. Yolanda Léderer was born in 1909 in what was then Kolozsvár , Kingdom of Hungary (later Cluj-Napoca , Romania .) She studied at

437-519: Was awarded the prize for best national painter in Brazil at the 7th São Paulo Art Biennial. She had a special room at the following Biennial in 1965. Throughout her life, Mohalyi exhibited widely, with solo exhibitions in Europe, Japan and the United States as well as Latin America. Her first major retrospective show occurred in 1976, at the Museu de Arte Moderna de São Paulo (MAM). Yolanda Mohalyi died without heirs on August 23, 1978, in São Paulo, Brazil. Her friends Jürgen and Barbara Bartzsch were

460-475: Was figurative, but she increasingly moved towards abstract expressionism . With artists such as Waldemar da Costa  [ pt ] and Cicero Dias  [ pt ] , she opened the way for abstraction in Latin American art. Her work appeared in group shows during the 1930s, and her first solo exhibition occurred in 1945. In 1963, she was awarded the prize for best painter from Brazil at

483-643: Was founded in 1972 by J. Peter Cohn and Gláucia S. Cohn. Mohalyi's work continues to be of interest in the 21st century. Art historian and curator Maria Alice Milliet has studied her work, curating exhibitions in 2008, 2009, and 2015. In 2008, an exhibit at the Oscar Niemeyer Museum in Curitiba focused on Mohalyi's lyrical abstraction . In 2009, a retrospective exhibition at the Pinacoteca do Estado de São Paulo covered Mohalyi's work from

SECTION 20

#1732779886987

506-466: Was originally scheduled for 2000 but was delayed to 2002 after a gigantic exhibition marking the 500th anniversary of Brazil's discovery by the Portuguese was organized by former biennial president Edemar Cid Ferreira and booked into the Ciccillo Matarazzo pavilion. That year, for the first time, the chief curator of the biennial was a foreigner, Alfons Hug from Germany. The biennial's initial aim

529-3296: Was to make contemporary art (primarily from Western Europe and the United States) known in Brazil , push the country's access to the current art scene in other metropolises, and establish São Paulo itself as an international art center. Naturally, the biennial always serves to bring Brazilian art closer to foreign guests. Artistic Director: Lourival Gomes Machado Artistic Director: Sérgio Milliet Technical Director: Wolfgang Pfeiffer Artistic Director: Sérgio Milliet Technical Director: Wolfgang Pfeiffer Artistic Director: Sérgio Milliet Technical Director: Wolfgang Pfeiffer Artistic Director: Lourival Gomes Machado General Director: Mário Pedrosa General Director: Mário Pedrosa Consultants: Geraldo Ferraz, Sérgio Milliet , Walter Zanini (Plastic Arts); Aldo Calvo, Sábato Magaldi (Theater); Jannar Murtinho Ribeiro (Graphic Arts) General Director: Mário Pedrosa Consultants: Geraldo Ferraz, Sérgio Milliet , Walter Zanini (Plastic Arts); Aldo Calvo, Sábato Magaldi (Theater); Jannar Murtinho Ribeiro (Graphic Arts) Consultants for Plastic Arts: Alfredo Mesquita, Geraldo Ferraz, Henrique E. Mindlin, Jayme Maurício, José Geraldo Vieira, Salvador Candia Art Technical Committee: Aracy Amaral , Edyla Mangabeira Unger, Frederico Nasser, Mário Barata, Waldemar Cordeiro , Wolfgang Pfeiffer Art Technical Committee: Antonio Bento, Geraldo Ferraz, Sérgio Ferro Technical Secretariat: Antonio Bento, Bethy Giudice, Ciccillo Matarazzo , Mário Wilches, Vilém Flusser Council for Art and Culture: Aldemir Martins , Isabel Moraes Barros, José Simeão Leal, Norberto Nicola, Olívio Tavares de Araújo, Olney Krüse, Wolfgang Pfeiffer Council for Art and Culture: Alberto Beuttenmüller, Clarival do Prado Valladares, Leopoldo Raimo, Lisetta Levi, Marc Berkowitz, Maria Bonomi, Yolanda Mohalyi Cultural Advisor: Carlos von Schmidt Council for Art and Culture: Casimiro Xavier de Mendonça, Emmanuel von Lauenstein Massarani, Esther Emílio Carlos, Geraldo Edson de Andrade, João Cândido Martins Galvão Barros, Pedro Manuel Gismondi, Radha Abramo, Wolfgang Pfeiffer General Curator: Walter Zanini Curators: Petrônio França, Agnaldo Farias, Samuel Eduardo Leon, Cacilda Teixeira da Costa, Gabriela Suzana, Julio Plaza, Annateresa Fabris, Victor Musgrave , Josette Balsa / Associate Curators: Roberto Sandoval, Cida Galvão, Marília Saboya, Renata Barros General Curator: Walter Zanini Curators: Julio Plaza, Berta Sichel, Walter Zanini, Rui Moreira Leite, Gino Di Maggio, Norberto Nicola / Cinema Curators: Agnaldo Farias, Samuel Eduardo Leon General Curator: Sheila Leirner General Curator: Sheila Leirner Curators: Ivo Mesquita, Sônia Salzstein-Goldberg, Gabriela S. Wilder, Arturo Schwarz , Rafael França, Joice Joppert Leal, Angela Carvalho, Italian-Brazilian Too Many Requests If you report this error to

#986013