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69-670: 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

138-471: 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

207-468: 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

276-672: 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

345-597: 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

414-483: A unified national state until 1861. Before then, Italy was politically divided into several kingdoms, duchies, and other small states. The legacy of political fragmentation influenced deeply the character of the Italian migrant: "Before 1914, the typical Italian migrant was a man without a clear national identity but with strong attachments to his town or village or region of birth, to which half of all migrants returned." In

483-462: Is automatically recognized as an Italian citizen . To exercise the rights and obligations of citizenship, individual must have all documents registered in Italy, which normally involves the local consulate or embassy. Some limitations are applied to the process of recognition such as the renouncement of the Italian citizenship by the individual or the parent (if before the child's birth), a second limitation

552-515: Is estimated that, between 1890 and 1904, 223,031 (14,869 annually) Italians left Brazil, mainly after failed experiences on coffee farms. Most of the Italians who left the country were unable to add the money they wanted. Most returned to Italy, but others remigrated to Argentina, Uruguay or to the United States. The output of immigrants concerned Brazilian landowners, who constantly complained about

621-637: 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

690-738: Is that women transferred citizenship to their children only after 1948. After a constitutional reform in Italy, Italian citizens abroad may elect representatives to the Italian Chamber of Deputies and the Italian Senate . Italian citizens residing in Brazil elect representatives together with Argentina , Uruguay and other countries in South America. According to Italian Senator Edoardo Pollastri, over half-a-million Brazilians are waiting to have their Italian citizenship recognized. Italy did not become

759-572: 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

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828-500: The Italian diaspora , or more recent Italian-born people who've settled in Brazil. Italian Brazilians are the largest number of people with full or partial Italian ancestry outside Italy , with São Paulo being the most populous city with Italian ancestry in the world. Nowadays, it is possible to find millions of descendants of Italians, from the southeastern state of Minas Gerais to the southernmost state of Rio Grande do Sul , with

897-700: The State of São Paulo . In consequence, São Paulo has more people with Italian ancestry than any region of Italy itself. The rest went mostly to the states of Rio Grande do Sul and Minas Gerais . Internal migration made many second- and third-generation Italians move to other areas. In the early 20th century, many rural Italian workers from Rio Grande do Sul migrated to the west of Santa Catarina and then farther north to Paraná. More recently, third- and fourth-generation Italians have migrated to other areas and so people of Italian descent can be found in Brazilian regions in which

966-399: 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

1035-401: 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 :

1104-721: The 1930s, and her first solo exhibition occurred in 1945. In 1963, she was awarded the prize for best painter from Brazil at 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

1173-428: 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

1242-512: The 19th century, many Italians fled the political persecutions in Italy led by the Imperial Austrian government after the failure of Italian unification movements in 1848 and 1861. Although very small in numbers, the well-educated and revolutionary group of emigrants left a deep mark where they settled. In Brazil, the most famous Italian was then Líbero Badaró (died 1830). However, the mass Italian immigration tide that would only be second to

1311-557: The 458,281 foreign mothers of 12 or more years who lived in Brazil had 2,852,427 children, of whom 2,657,974 were born alive. Italian women had more children than any other female immigrant community in Brazil: 1,069,862 Brazilians were born to an Italian mother, followed by 524,940 who were born to a Portuguese mother, 436,305 to a Spanish mother and 171,790 to a Japanese mother. The 6,809,772 Brazilian-born mothers of 12 or more years had 38,716,508 children, of whom 35,777,402 were born alive. On

1380-578: The Brazilian Constitution, anyone born in the country is a Brazilian citizen by birthright. In addition, many born in Italy have become naturalized citizens after they settled in Brazil. The Brazilian government used to prohibit multiple citizenship . However, that changed in 1994 by a new constitutional amendment. After the changes, over half a million Italian-Brazilians have requested recognition of their Italian citizenship. According to Italian legislation, an individual with an Italian parent

1449-503: 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

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1518-825: 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

1587-536: The Italian immigrants the green gold . Most coffee plantations were in the States of São Paulo and Minas Gerais , and in a smaller proportion also in the States of Espírito Santo and Rio de Janeiro . Rio de Janeiro was declining in the 19th century as a farming producer, and São Paulo had already taken the lead as a coffee producer/exporter in the early 20th century, as well as big producer of sugar and other important crops. Thus, migrants were naturally more attracted to

1656-666: The Italian immigrants were living in relatively well-developed colonies, but in Southeastern Brazil they were living in semislavery conditions in the coffee plantations . Many rebellions against Brazilian farmers occurred, and public denouncements caused great commotion in Italy, forcing the Italian government to issue the Prinetti Decree, which established barriers to immigration to Brazil . In 1901, 90% of industrial workers and 80% of construction workers in São Paulo were Italians. São Carlos and Ribeirão Preto were two of

1725-520: The Italian immigration to Brazil started to decline. From 1903 to 1920, only 306,652 Italians immigrated to Brazil, compared to 953,453 to Argentina and 3,581,322 to the United States. This was mainly due to the Prinetti Decree in Italy, banning subsidized immigration to Brazil. The Prinetti Decree was issued because of the commotion in the Italian press about the poverty faced by most Italians in Brazil. The end of slavery made most former slaves left

1794-467: The Italian press, which culminated in the Prinetti Decree in 1902. Many immigrants left Brazil after their experience on São Paulo's coffee farms. Between 1882 and 1914, 1.5 million immigrants of different nationalities came to São Paulo, and 695,000 left the state, or 45% of the total. The high numbers of Italians asking the Italian consulate a passage to leave Brazil was so significant that in 1907, most Italian funds for repatriation were used in Brazil. It

1863-463: The North, industrialization was still in its initial stages and illiteracy remained common. Thus, poverty and lack of jobs and income stimulated Northern (and Southern) Italians to emigrate. Most Italian immigrants were very poor rural workers ( Italian : braccianti ). In 1850, under British pressure, Brazil finally passed a law that effectively banned transatlantic slave trade. The increased pressure of

1932-538: The Portuguese and German migrant movements in shaping modern Brazilian culture started only after the 1848-1871 Risorgimento . During the last quarter of the 19th century, the newly united Italy suffered an economic crisis. The more industrial northern half of Italy was plagued with high unemployment caused in part by the introduction of modern agricultural techniques, while southern Italy remained underdeveloped and almost untouched by agrarian modernization programs. Even in

2001-455: The State of São Paulo and the southern states. Italians migrated to Brazil as families . The colono , as a rural immigrant was called, had to sign a contract with the farmer to work in the coffee plantation for a minimum period of time. However, the situation was not easy. Many Brazilian farmers were used to command slaves and treated the immigrants as indentured servants . In Southern Brazil,

2070-524: The abolitionist movement, on the other hand, made it clear that the days of slavery in Brazil were coming to an end. Slave trade was effectively suppressed, but the slave system still endured for almost four decades. Thus, Brazilian landowners claimed that such migrants were or would soon become indispensable for Brazilian agriculture. They would soon win the argument, and mass migration would begin in earnest. An Agriculture Congress in 1878 in Rio de Janeiro discussed

2139-413: The center of the city, living in cortiços (degraded multifamily row houses). The agglomerations of Italians in cities gave birth to typically Italian neighborhoods, such as Mooca , which is until today linked to its Italian past. Other Italians became traders, mostly itinerant traders, selling their products in different regions. Yolanda Mohalyi Yolanda Léderer Mohalyi (1909 – August 23, 1978)

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2208-404: The central Italian region of Tuscany . About 30% emigrated from Veneto. On the other hand, in the 20th century, southern Italians predominated in Brazil, coming from the regions of Campania , Abruzzo , Molise , Basilicata and Sicily . In 1924, Umberto, Prince of Piedmont (the future King Umberto II of Italy ) came to Brazil as part of a state visit to various South American countries. That

2277-421: The child of an Italian father, and 1,069,862 said to be the child of an Italian mother. Italians were 285,000 and naturalized Brazilians 40,000. Therefore, Italians and their children were, at most, just over 3.8% of Brazil's population in 1940. The Embassy of Italy in Brazil, in 2013, reported the number of 32 million descendants of Italian immigrants in Brazil (about 15% of the population), half of them in

2346-406: The colonies of southern Brazil, Italian immigrants at first stuck to themselves, where they could speak their native Italian dialects and keep their culture and traditions. With time, however, they would become thoroughly integrated economically and culturally into the larger society. In any case, Italian immigration to southern Brazil was very important to the economic development and the culture of

2415-444: The end of the 19th century, when the 'Great Naturalization' automatically granted citizenship to all the immigrants residing in Brazil prior to 15 November 1889 "unless they declared a desire to keep their original nationality within six months." During the end of the 19th century, denouncement of bad conditions in Brazil increased in the press. Reacting to the public clamor and many proved cases of mistreatment of Italian immigrants ,

2484-519: 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

2553-453: The first three directly elected to such a position): Pascoal Ranieri Mazzilli (Senate president who served as interim president), Itamar Franco (elected vice-president under Fernando Collor, whom he eventually replaced as the latter was impeached), Emílio Garrastazu Médici (third of the series of generals who presided over Brazil during the military regime, also of Basque descent) and Jair Messias Bolsonaro (elected in 2018). According to

2622-406: The government of Italy issued in 1902 the Prinetti Decree forbidding subsidized immigration to Brazil. In consequence, the number of Italian immigrants in Brazil fell drastically in the beginning of the 20th century, but the wave of Italian immigration continued until 1920. Over half of the Italian immigrants came from northern Italian regions of Veneto , Lombardy and Emilia-Romagna , and from

2691-409: The government was responsible for bringing the immigrants (in most cases, paying for their transportation by ship), but later, the farmers were responsible for making contracts with immigrants or specialized companies in recruiting Italian workers. Many posters were spread in Italy, with pictures of Brazil, selling the idea that everybody could become rich there by working with coffee, which was called by

2760-567: The highlands of Rio Grande do Sul ( Serra Gaúcha ). They were Garibaldi and Bento Gonçalves . The immigrants were predominantly from Veneto, in northern Italy. After five years, in 1880, the great numbers of Italian immigrants arriving caused the Brazilian government to create another Italian colony, Caxias do Sul . After initially settling in the government-promoted colonies, many Italian immigrants spread into other areas of Rio Grande do Sul, seeking better opportunities, and created many other Italian colonies on their own, mainly in highlands, because

2829-653: The immigrants had never settled, such as in the Cerrado region of Central-West , in the Northeast and in the Amazon rainforest area, in the extreme North of Brazil. The main areas of Italian settlement in Brazil were the Southern and Southeastern Regions, namely the states of São Paulo , Rio Grande do Sul , Santa Catarina , Paraná , Espírito Santo and Minas Gerais . The first colonies to be populated by Italians were created in

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2898-430: The immigrants remained only one year working on coffee farms and then left the plantations. A few earned enough money to buy their own lands and became farmers themselves. However, most migrated to Brazilian cities. Many Italians worked in factories (in 1901, 81% of the São Paulo's factory workers were Italians). In Rio de Janeiro, many the factory workers were Italians. In São Paulo, those workers established themselves in

2967-399: The lack of labor and proposed to the government the stimulation of European immigration to Brazil. Immigrants from Italy, Portugal, and Spain were considered the best ones because they were Latin-based and mainly Catholic. In particular, Italian immigrants settled mainly in the São Paulo region, where there were vast coffee plantations. At the end of the 19th century, the Brazilian government

3036-432: The lack of workers. Spanish immigrants began arriving in greater numbers, but soon, Spain also started to create barriers for further immigration of Spaniards to coffee farms in Brazil. The continuing problem of lack of labor in the farms was, then, temporarily resolved with the arrival of Japanese immigrants, from 1908. Despite the high numbers of immigrants leaving the country, most Italians remained in Brazil. Most of

3105-472: The landowner. Moreover, the coffee farms were located in rather isolated regions. If the immigrants became sick, they would take hours to reach the nearest hospital. The structure of labor used on farms included the labor of Italian women and children. Keeping their Italian culture was also made more difficult: the Catholic churches and Italian cultural centers were far from farms. The immigrants who did not accept

3174-576: The lowlands were already populated by German immigrants and native gaúchos . Italians established many vineyards in the region. The wine produced in those areas of Italian colonization in southern Brazil is much appreciated within the country, but little is available for export. In 1875, the first Italian colonies were established in Santa Catarina , which lies immediately to the north of Rio Grande do Sul. The colonies gave rise to towns such as Criciúma , and later also spread further north, to Paraná. In

3243-530: The main coffee plantation centers. Both were respectively in the North-Central and Northeastern regions of São Paulo state, a zone known by its hot temperature and a fertile soil in which some of the richest coffee farms were and attracted most immigrants arriving in São Paulo , including Italians, between 1901 and 1940. In the State of Mato Grosso do Sul , Italian descendants are 5% of the population. In 1902,

3312-411: The majority living in São Paulo state . Small southern Brazilian towns, such as Nova Veneza , have as much as 95% of their population of Italian descent. There are no official numbers of how many Brazilians have Italian ancestry, as the national census conducted by IBGE does not ask the ancestry of the Brazilian people. In 1940, the last census to ask ancestry, 1,260,931 Brazilians were said to be

3381-655: The many descendants of Italians who emigrated there from Columbus ' times until 1860, the number of Brazilians with Italian roots should be increased to 35 million. Although they were victims of some prejudice in the first decades and in spite of the persecution during World War II, Brazilians of Italian descent managed to integrate and assimilate seamlessly into the Brazilian society. Many Brazilian politicians, artists, footballers, models, and personalities are or were of Italian descent. Italian-Brazilians have been state governors, representatives, mayors and ambassadors. Four Presidents of Brazil were of Italian descent (but none of

3450-576: The most reliable was done by Giorgio Mortara even though his figures may have underestimated the real size of the Italian population. On the other hand, Angelo Trento believes that the Italian estimates are "certainly exaggerated" and "lacking of any foundation" since they found a figure of 1,837,887 Italians in Brazil for 1927. Another evaluation conducted by Bruno Zuculin found 997,887 Italians in Brazil in 1927. All of those figures include only people born in Italy, not their Brazilian-born descendants. Among all Italians who immigrated to Brazil, 70% went to

3519-515: The number of Brazilians with actual links to Italian identity and culture would be around 3.5 to 4.5 million people. Scholar Luigi Favero, in a book on Italian emigration between 1876 and 1976, pinpointed that Italians were present in Brasil since the Renaissance : Genoese sailors and merchants were between the first to settle in colonial Brazil since the first half of the 16th century, and so, because of

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3588-690: The other hand, in 1998, the IBGE, within its preparation for the 2000 Census, experimentally introduced a question about "origem" (ancestry) in its "Pesquisa Mensal de Emprego" (Monthly Employment Survey) to test the viability of introducing that variable in the census (the IBGE ended by deciding against the inclusion of questions about it in the Census). The research interviewed about 90,000 people in six metropolitan regions (São Paulo, Rio de Janeiro, Porto Alegre, Belo Horizonte, Salvador, and Recife). .* Commissariato Generale dell'Emigrazione .** Consulates The 1920 census

3657-835: 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

3726-403: 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

3795-762: 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

3864-490: The plantations and so there was a labour shortage on coffee plantations. Moreover, "natural inequality of human beings", "hierarchy of races", Social Darwinism , Positivism and other theories were used to explain that the European workers were superior to the native workers. In consequence, passages were offered to Europeans (the so-called "subsidized immigration"), mostly to Italians, so that they could come to Brazil and work on

3933-670: The plantations. Those immigrants were employed in enormous latifundia (large-scale farms), formerly employing slaves. In Brazil, there were no labour laws (the first concrete labour laws appeared only in the 1930s, under President Getúlio Vargas ) and so workers had almost no legal protection. Contracts signed by the immigrants could easily be violated by the Brazilian landowners who were accustomed to dealing with African slaves. The remnants of slavery influenced on how Brazilian landowners dealt with Italian workers: immigrants were often monitored, with extensive hours of work. In some cases, they were obliged to buy products that they needed from

4002-574: The region. Imagine you travel eight thousand nautic miles, across the Mediterranean and the Atlantic and suddenly find yourself in Italy. That's São Paulo. It seems paradoxical, but it is a reality, because São Paulo is an Italian city. Some of the immigrants settled in the colonies in Southern Brazil. However, most of them settled in Southeastern Brazil (mainly in the State of São Paulo ). At first,

4071-559: The standards imposed by landowners were replaced by other immigrants. That forced them to accept the impositions of landowners, or they would have to leave their lands. Even though Italians were considered to be "superior" to blacks by Brazilian landowners, the situation faced by Italians in Brazil was so similar to that of the slaves that farmers called them escravos brancos (white slaves in Portuguese ). The destitution faced by Italians and other immigrants in Brazil caused great commotion in

4140-573: The state of São Paulo , while there were around 450,000 Italian citizens in Brazil. Brazilian culture has significant connections to Italian culture in terms of language, customs, and traditions. Brazil is also a strongly Italophilic country as cuisine, fashion and lifestyle has been sharply influenced by Italian immigration . According to the Italian government, there are 31 million Brazilians of Italian descent. All figures relate to Brazilians of any Italian descent, not necessarily linked to Italian culture in any significant way. According to García,

4209-454: The visit's purposes. The Brazilian census of 1940 asked Brazilians where their fathers came from. It revealed that at that time there were 3,275,732 Brazilians who were born to an immigrant father. Of those, 1,260,931 Brazilians were born to an Italian father. Italian was the main reported paternal immigrant origin, followed by Portuguese with 735,929 children, Spanish with 340,479 and German with 159,809 children. The census also revealed that

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4278-485: Was a painter and designer who worked with woodcuts , mosaics , stained glass and murals as well as more usual materials. Her early work 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

4347-519: 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

4416-623: 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

4485-569: Was influenced by eugenics theories. The Brazilian government, with or following the Emperor's support, had created the first colonies of immigrants ( colônias de imigrantes ) in the early 19th century. The colonies were established in rural areas of the country, being settled by European families. The first groups of Italians arrived in 1875, but the boom of Italian immigration in Brazil happened between 1880 and 1900, when almost one million Italians arrived. Many Italians were naturalized Brazilian at

4554-407: 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

4623-471: Was part of the political plan of the new fascist government to link Italian people living outside of Italy with their mother country and the interests of the regime. The visit was disrupted considerably by the ongoing Tenente revolts , which made it impossible for Umberto to reach Rio de Janeiro and São Paulo . Nevertheless, he was hosted at Bahia , where members of the Italian colony in the city were very happy and proud about his visit, thus achieving some of

4692-463: Was the first one to show a more specific figure about the size of the Italian population in Brazil (558,405). However, since the 20th century, the arrival of new Italian immigrants to Brazil has been in steady decline. The previous censuses of 1890 and 1900 had limited information. In consequence, there are no official figures about the size of the Italian population in Brazil during the mass immigration period (1880–1900). There are estimates available, and

4761-3445: 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 Italian Brazilians ( Italian : italo-brasiliani , Portuguese : ítalo-brasileiros ) are Brazilians of full or partial Italian descent, whose ancestors were Italians who emigrated to Brazil during

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