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Maria de Lourdes Alves was born on 7 August 1894 in Campanha, Brazil. [1] to a minister father and a pianist mother. [2] Her first husband was a literary critic named Otavio Tarquinio de Souza, with whom she had a daughter. [2] However, when she married the young diplomat Carlos Martins in 1926 she changed her name to Maria Martins.
16 de jun. de 2023 · Maria Martins in her New York Studio at Madison Avenue and 57th Street, c.1946. This insightful quote from Brazilian sculptor Maria Martins (1894–1973), is highly suggestive of what she strove for in her work, a sense of a shared understanding of human nature and its deepest motivations. Despite the downplaying of her importance, an ...
Maria Martins in an interview with O Jornal, November 9, 1956. On March 22, 1943, Maria Martins opened her third solo exhibition, at the Valentine Gallery in New York. Maria: New Sculptures shared the gallery space with Mondrian: New Paintings.
Maria Martins, or Maria as she preferred to be known professionally, was born in Campanha, Brazil. 1 At twenty-one she married Octávio Tarquínio de Souza, a Brazilian historian and intellectual, but the couple separated in 1925. Soon after Maria married Carlos Martins Pereira e Souza, a career diplomat.
Maria Martins was always a marginal artist within the Brazilian art world. Her works combined Western, and especially surrealist, influences – the result of her perpetually nomadic life – with Amazonian forms and legends, which at the time were seldom explored by her fellow Brazilian artists.
13 de mar. de 2018 · Maria Martins (1900-1973) or simply Maria, as Surrealism’s founder André Breton liked to call her, was a daring risk-taker in life and the arts. She skillfully juggled her roles as ambassador’s wife and mistress of none other than Marcel Duchamp for eight years. After she moved to Rio, the lovers corresponded until Duchamp’s death in 1968, three years after her husband passed away.
10 AM - 6 PM. Central Pavilion. Admission with ticket. Maria Martins was a Brazilian sculptor known for her involvement with international Surrealism, whose work challenged ideas regarding the feminine, Brazil, and the tropics. In 1945, still working abroad, the artist abandoned a certain visuality easily associated with Brazil.
