Myra Landau (December 5, 1926 – July 14, 2018) was an performer and abstract painter functioning in art research. Born in Bucharest, Romania, she was known largely for the put-on she made in Brazil, then Mexico for many years and forward-looking in Italy, Israel and The Netherlands.
Landau was born upon December 5, 1926 in Bucharest, Romania. At the age of 12, her Jewish family, fearing persecution by rising fascist forces, fled Romania just ahead of Ion Antonescu’s coup d’état. After extensive travel throughout Europe, she finally arrived in Brazil. There, her good interest in artistic and smart life gave her the opportunity to meet painters afterward Di Cavalcanti, Antonio Dias, Wesley Duke Lee, Francisco Brennand, Antonio Dias and João Camara, the sculptor Sergio Camargo, the writer Jorge Amado and poet-musician-diplomat Vinicius de Morais, the musician-painter Dorival Caymmi.
Shy but determined, she started to paint. Her first works were symbolic but gradually she began to get that this was not her style and, influenced by Dufy, turned to Expressionism. She was greatly influenced by her uncle Marcel Janco (one of the founders of Dadaism) and the Brazilian engraver Oswaldo Goeldi. Critics, including Jorge A. Manrique who described her fake as being “brutal and refined’ have approved Landau’s artistic contribution, describing it with tall esteem.
Landau has lived in six countries. She married Miguel Salas Anzures, head of Fine Arts-INBA, Mexico. He broke in imitation of Socialist Realism, represented by painters similar to Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros. This additional expression of art was called Generación de la Ruptura. The members of this generation of artists affix native-born Mexicans and immigrants, many of whom were refugees from World War II. Along subsequently José Luis Cuevas, these add together Fernando García Ponce, Roger Von Gunten, Edmundo Aquino, Francisco Toledo, Arturo Rivera, Leonora Carrington, Alberto Gironella, Ricardo Martínez, Arnaldo Coen, Lilia Carrillo, Vlady, Manuel Felguérez, Gilberto Aceves Navarro, Gustavo Arias Murueta, Luis López Loza, Luis Almeida, Peggy Espinosa, Adolfo Falcón, Efraín Herrero, Rafael López Castro, Bernardo Recamier, Pablo Rulfo and Vicente Rojo.
Landau introduced a extra technique of engraving on metal, utilizing acids, but printed from the surface, called Metal Relief. She had her first exhibition in Mexico in 1963 and gradually became one of the leading Latin American women artists. Her Metal Relief works were with ease received by art critic Paul Westheim in the important magazine El Nuevo Arte de los Metales and by art connoisseur, reviewer and historian Jorge Olvera. She continued her in-depth research and found her definitive drying in painting bearing in mind pastel upon raw linen. In this technique she was a pioneer. Her thematic gain permission to was in addition to new: she was the first Latin American abstract painter to use movements of release geometrical lines. All her works in the past 1965 are called Rhythms.
In 1974, she began keen as a university in the University of Veracruz in the Faculty of Fine Arts. In 1975 she became a full-time bookish for the Institute of Aesthetics and Artistic Creation at the University.
Landau had higher than sixty individual exhibitions, the most important of which was held in 1987 in the Museum of Modern Art in Mexico City. She participated in 150 intervention exhibitions in Mexico, France, Italy, Brazil, Chile, the United States and Cuba.
In 1994, she moved from Mexico to Rome,Italy where she stayed until 2010 and far along to Jerusalem, Israel where she lived for 6 years. Landau resided in The Netherlands for two years and died there on July 14, 2018.
Politically, she was a vocal critic of the Israeli handing out and described herself as stateless: “I don’t consent in borders, I don’t when flags, I have no boundaries. My lonesome homeland: friendship, love and justice for all.”
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