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作家

fayga perla ostrower (née krakowski)

生誕地 Lodz, Poland

A Life Forged in Exile: The Artistic Journey of Fayga Perla Ostrower

Fayga Perla Ostrower’s life was a testament to resilience, a narrative woven from displacement and ultimately blossoming into a vibrant contribution to Latin American modernism. Born Fayga Perla Krakowski on September 14, 1920, in Łódź, Poland, her early years were shadowed by the rising tide of political instability and the looming threat of Nazi persecution. This sense of precarity would become a defining undercurrent throughout her life and work, subtly informing her exploration of identity, exile, and the search for belonging. The family’s subsequent relocation—first to Germany in 1921, then through Belgium, finally finding refuge in Brazil in 1934—was not merely a geographical shift but a profound disruption, a severing from roots that would forever shape her artistic vision. Settling in Nilópolis, near Rio de Janeiro, Ostrower began to forge a new life, one where art became both solace and a means of expression. Even as a young woman supporting herself as a secretary, she pursued free art classes at the Sociedade Brasileira de Belas Artes in 1939, demonstrating an innate drive that would propel her forward.

From Engraving to Abstraction: A Developing Style

Ostrower’s formal artistic training began in earnest with graphic arts courses at the Fundação Getulio Vargas in 1941, where she studied wood engraving under Axl Leskoschek and metal engraving with Carlos Oswald and Tomás Santa Rosa. These foundational skills in engraving techniques would remain central to her practice for years, initially manifesting in book illustrations that showcased her technical prowess. Her early work was characterized by a representational style, often depicting scenes of social realism—the lives of the working class, children from the favelas—reflecting a deep empathy and engagement with the world around her. However, this initial phase was not static. The 1950s marked a pivotal turning point in Ostrower’s artistic development, as she began to move towards abstraction. This shift wasn't abrupt but rather a gradual evolution, influenced by several factors, most notably her Fulbright scholarship in 1955 that allowed her to study graphic arts in New York City at the Brooklyn Museum Art School and Atelier 17. Exposure to new artistic ideas and techniques, particularly under the guidance of Stanley Hayter at Atelier 17, broadened her horizons and encouraged experimentation with printmaking processes. The influence of Paul Cézanne also proved crucial; she spoke of spending years deciphering his work before it unlocked a path towards Cubism and ultimately, her own unique abstract language.

International Recognition and Lasting Legacy

The recognition Ostrower garnered throughout her career was not confined to Brazil. Her work resonated internationally, earning her invitations to exhibit at prestigious venues such as the São Paulo Biennial (1951-1967), the Venice Biennial (1958 & 1962 – where she won an international engraving prize in 1958), and the Mexico Biennial (1960). These exhibitions not only showcased her talent on a global stage but also established her as a significant voice within Latin American modernism. Beyond her artistic practice, Ostrower was deeply committed to cultural organizations, serving as President of the Associação Brasileira de Artes Plásticas (Brazilian Association of Arts) from 1963-1966. This dedication to fostering the arts extended beyond her own work, demonstrating a belief in the power of art to connect and inspire. In 2002, a year after her passing on September 13th, 2001, in Rio de Janeiro, the Fayga Ostrower Institute was founded, ensuring the preservation and study of her art and legacy for generations to come. More recently, in 2023, her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London, further cementing her place within the broader narrative of international abstract art.

Themes of Displacement and Resilience

Fayga Perla Ostrower’s story is inextricably linked to the experiences of countless Jewish artists displaced by persecution during the 20th century. Her work embodies themes of exile, identity, and resilience—a quiet strength forged in the face of adversity. While her abstract compositions may not explicitly depict scenes of trauma or loss, they carry an emotional weight that speaks to a life marked by displacement and the search for belonging. Her art is not merely about form and color; it’s about the feeling of being unmoored, of reconstructing identity in a new land. She played a crucial role in shaping the landscape of Brazilian modern art, challenging conventional norms and pushing the boundaries of abstract engraving. Her influence continues to inspire artists and scholars today, reminding us of the power of art to transcend borders and speak to the universal human experience.

Key Influences

Axl Leskoschek, Carlos Oswald, Tomás Santa Rosa: Mentors at the Fundação Getulio Vargas who provided foundational training in engraving techniques.

Stanley Hayter: Instructor at Atelier 17, influencing her experimentation with printmaking processes and encouraging a move towards abstraction.

Käthe Kollwitz: A significant influence on Ostrower’s early work, particularly in its focus on social realism and empathetic depictions of the marginalized.

Paul Cézanne: His exploration of form and color proved pivotal in Ostrower's transition to abstraction, unlocking a new artistic vocabulary for her.

美術館・博物館

National Museum of the Republic

展示中： ブラジリア, ブラジル

ブラジリアの近代芸術の灯台：国立博物館を巡る

ブラジリアの国立共和国博物館は、ブラジルが抱く芸術的革新と建築的な壮大さへの深いコミットメントを示す証しです。オスカー・ニーマイヤーによって設計されたこの文化複合施設は、単なる建物ではありません。それは一つの「体験」であり、ブラジルのモダニズムの心臓部、そしてそれが現代美術に残した不朽の遺産へと誘う旅なのです。ブラジリアのエジオ・モニュメンタル沿いに位置するその印象的なドームは空の景観を支配し、来館者を芸術的達成と市民的な抱負の両方を思索へと誘います。

建築の驚異：

ニーマイヤーのビジョンは、従来の設計原理を超越しています。鉄筋コンクリートで造られた広大なドームは、重力に逆らうかのような革新的な技術――二重曲面シェル構造――を採用し、バウハウス運動特有の実験精神を体現しています。そのスロープは優雅にエントランスへと上り、アクセシビリティを最優先しながらも、同時に魅惑的な視覚のリズムを生み出しているのです。

ブラジル芸術の祝祭：

博物館のコレクションは、絵画、彫刻、陶芸、テキスタイルといった多様な媒体にわたるブラジルの近代および現代美術に焦点を当てており、ブラジルにおける芸術表現の広がりを映し出しています。アントニオ・バンデイラやマリア・マルティンスといった作家たちの作品が目立ち、力強い色彩と表現豊かな筆致が、ブラジル文化の持つ躍動感を捉えています。

この博物館は、2006年に国立図書館とともに共和国文化複合施設の一部として設立され、文化的な対話と芸術教育のための極めて重要な拠点としての役割を果たしています。その使命は、ブラジルの美術史への理解を深め、未来の世代の芸術家たちにインスピレーションを与えることです。この複合施設自体が、自然と都市生活の調和を目指したブラジリアのユートピア的な理想の具現化として構想されており、博物館はその壮大なビジョンの中にシームレスに溶け込んでいます。

注目すべき展覧会：

その歴史を通じて、国立博物館は喫緊の社会問題を探求し、芸術的な飛躍を祝う画期的な展覧会を数多く開催してきました。近年の展示では、アイデンティティ、移住、環境持続可能性といったテーマが探求され、関連する現代的な懸念をもって観客を引き込むという博物館の姿勢を示しています。

独自の芸術的遺産：

この施設を際立たせているのは、ブラジルの芸術遺産を保存し促進するという揺るぎない献身です。学芸員たちは何世紀にもわたる作品たちを丹念に手入れし、学者や愛好家の双方にとってのアクセス可能性を保証しています。さらに、博物館はブラジル全土および国際的な作家たちと積極的に協力し、創造性の活気ある生態系を育んでいるのです。

ブラジリア国立博物館への訪問は、単に美しい芸術作品を鑑賞する以上の行為です。それは、ブラジルのモダニティの精神――建築的な創意工夫、芸術的な大胆さ、そして文化的な関与の祝祭――そのものに身を浸すことに他なりません。そこは、知覚を形作り、私たちの共有する人間的経験についての対話を促す芸術の永続的な力を思索するための機会なのです。