The transfers of the sculptors Felícia Leirner, Pola Rezende and Liuba Wolf and their works in Europe (1946-1963)

• Grant number: 22/05098-8
• Support Opportunities: Scholarships abroad - Research Internship - Post-doctor
• Start date: September 12, 2022
• End date: December 11, 2022
• Field of knowledge: Linguistics, Literature and Arts - Arts - Art Fundamentals and Criticism
• Principal Investigator: Ana Gonçalves Magalhães
• Grantee: Marina Mazze Cerchiaro
• Supervisor: Thierry François Paul Dufrêne
• Host Institution: Museu de Arte Contemporânea (MAC). Universidade de São Paulo (USP). São Paulo , SP, Brazil
• Institution abroad: Université Paris Ouest Nanterre La Défense (Paris 10), France
• Associated to the scholarship: 21/01724-9 - Pola Rezende, Felícia Leirner, Liuba Wolf and Érika Steinberger: immigrant sculptors from Eastern Europe in the MAC/USP'S collection (1940-1970), BP.PD

Abstract

The aim of this project is to research the transfers of Liuba Wolf and Pola Rezende and the process of musealization of Felicia Leirner's artwork in Europe. These three sculptors from Eastern Europe (the first two from Bulgaria and the third from Poland), immigrated to Brazil in the 20th century, where they exhibited regularly. Some of his works are safeguarded nowadays by the Museum of Contemporary Art of the University of São Paulo (MAC/USP). Some Europeans capitals had a great importance in the trajectory of these artists. Part of Liuba Wolf's education and career took place in Paris, where she maintained a studio; in 1951, Pola Rezende undertook a six-month trip, visiting Paris, London, Madrid and several cities in Italy, which had an impact on her production and her art ideas; during 1955 and 1963, Felícia Leirner had many of her works integrated into European museum collections (Musée Nationale d'Art Moderne, in Paris, Stedelijk, in Amsterdam, Royaux de Belgique, in Brussels, Tate Gallery, in London, Galleria Nazionale d 'Modern Art in Rome and Gallery of Modern Art in Belgrade). However, the relationships between his works and the European artistic environment have not yet been investigated. Thus, this research will contribute to expanding knowledge about Brazilian modern sculpture and its relations with the European artistic context, in particular the French one, from the perspective of women artists who occupy a marginal place in the art history. (AU)