Maria Leontina, Tarsila do Amaral, Prunella Clough e Germaine Richier: mulheres artistas e prêmios de aquisição na Primeira Bienal de São Paulo

Abstract

The dissertation aims to analyze the award of women artists at the First Biennial of Sao Paulo, in 1951.The hypothesis is that by focusing attention on the female characters, there are elements, artists and poetics that were on the margins of the narratives about the Biennial, and that could shed a new light on the understanding of the event.Therefore, the research starts with a case study to propose new perspectives for the history of the Biennial, challenging its traditional narrative as a unique story.The awarded works and artists, hence studied in this work, are: "Estrada de Ferro Central do Brasil" (1924) by Tarsila do Amaral, "Natureza-morta" (1951) by Maria Leontina, "A floresta" (1946) by Germaine Richier and a set of five prints by Prunella Clough (1949's "Medusa", 1949's "Milho", 1949's "Rede para enguias", 1950's "Natureza morta com pêra", 1950's "Planta em estufa").All of them were awarded in the category of acquisition of the event, which meant the incorporation of the works in the collection of the former MAM of São Paulo, currently the MAC USP collection.Thereby, the research illuminates works by this institution that had not been previously studied, except for Tarsila's celebrated painting which, however, still lacked a study that explored it in its context of incorporation into the museum's collection.In fact, the study centered on women's awards allows to raise aspects that have been little studied and devalued in the narratives about the Biennial, such as the plurality and importance of figurative poetics in the event and the acquisition prizes.In this regard, it is emphasized that the research also raises a reflection on this category of awards, which really deserves greater attention, allowing us to understand the lasting dimension of an event marked by its ephemeral character.

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