Mira Schendel
| Mira Schendel | |
|---|---|
| Born | 1919 Zurich, Switzerland |
| Died | 1988 São Paulo, Brazil |
| Nationality | Brazilian |
| Occupation | Artist Painter Sculptor |
| Spouse(s) | Josep Hargesheimer (1941-1953); Knut Schendel (1960-1988) |
| Children | Ada Schendel (daughter) |
| Parent(s) | Karl Leo Dub Ada Saveria Büttner |
Mira Schendel (June 7, 1919 – July 24, 1988) was a Brazilian artist, considered one of the most significant Latin American artists of the 20th century. Best known for her drawings on rice paper, Schendel was a painter, a poet, and a sculptor.
Mira Schendel was born Myrrha Dagmar Dub in 1919 in Zurich, Switzerland. Her father, Karl Leo Dub, was a fabric merchant, and her mother, Ada Saveria Büttner, was a milliner. Although she had Jewish heritage, Schendel was baptized at her mother's request at the Kirche St. Peter and Paul, a Catholic church in Zurich, on October 20, 1920 and was raised as a Roman Catholic. Schendel's parents divorced in September 1922, and her mother married Count Tommaso Gnoli in 1937. In the late 1930s, Schendel began to study philosophy at the Universita Cattolica del Sacro Cuore in Milan. Because of racial laws introduced in Fascist Italy in 1938, she was designated as Jewish, stripped of her Italian citizenship and forced to leave university, and so decided to flee Italy in 1939. After travelling through Switzerland and Austria, she joined a group of refugees heading to Sarajevo. After spending the war in Sarajevo, she returned to Italy, with her first husband Josep Hargesheimer, and worked for the International Refugee Organisation in Rome. Having applied to various countries in the Americas, in 1949 she emigrated and settled with Josep in Brazil.
When she arrived in São Paulo in 1953, Brazilian modernism was dominated by a debate between figuration and abstraction. During the 1930s and 1940s figurative 'modernismo' had been dominant, but in the late 1940s and early 1950s abstract-geometric art began to be shown in Brazil and led to the founding of the Concrete art movement Ruptura in 1952. In São Paulo, an immigrant city that was industrial and undergoing rapid growth, Schendel found a circle of emigre intellectuals from different disciplines with whom she could discuss ideas about aesthetics and philosophy; this included the Czech-born philosopher Vilem Flusser, the physicist Mário Schenberg and the psychoanalyst Theon Spanudis among others. She became a prolific modernist painter and sculptor. She used paint with talc and brick dust, and made many drawings on rice paper. According to Laura Cumming her art has its sources in phenomenology, in the idea of being and nothingness, in mystical thinking and her deep reading of Wittgenstein. But the impact of these works does not depend upon the viewer sharing either that knowledge or those interests.
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