EMPTY LABEL
Artistic calling; her parents; her marriage; enrolls at the Universidade do Distrito Federal/UDF; her experience as a student at the Escola Nacional de Belas Artes/ENBA; Diana Barbéri; proficiency test at UDF; the painting exam; Portinari, the teacher; the didactics of Portinari; the making of the material; Portinari's method of preparing the canvas ; mastery of technique demanded by Portinari; solid technical foundation acquired with Portinari; subsequent success as a teacher at the ENBA; the making of honey tempera; her dedication to classes; Portinari and his use of black nuances; Portinari's admiration for the Renaissance painting of the German School; Portinari and the teaching of colors; freedom in the choice of working materials; Portinari and the utilization of white; Portinari's dedication to his students; Portinari's "manequinho"; the emphasis given by Portinari to the nuances of colors; the volume; the planes; the particularization of Portinari's explanation; the dramatic extremes of purchasing power among the UDF students and their eclecticism; the exhibition of Portinari's students at the Palace Hotel; honesty with students learned from Portinari; the technique of landscaping; the versatility of material; the brushes; Portinari and the mastery of the realistic technique as the very basis for any derivation; Portinari encourages experimentation; humility learned from Portinari; the technique of nude painting; the apprenticeship of textures with Portinari; the work developed at the UDF; the Realism; the construction; the deformation; the Expressionism of Portinari; comparison between Di Cavalcanti and Portinari; participation of students in the Ministério da Educação e Saúde/MES murals assignment ; congeniality at the UDF; personal financial difficulties; similarities between the poverty of Brazilians and Mexicans; Portinari's affinity with Orozco; influences and imitations in art; the goals and practical functioning of the UDF; the closing of the UDF; the students' surprise; the curriculum; the UDF faculty; Cecília Meirelles; Portinari's studio at the UDF; Guignard; Anísio Teixeira's plan for a great university by international standards; memories of the UDF; Portinari's panels for Prudente de Moraes; department of painting working in total harmony; the UDF puts goals above personal causes; the discipline and order in Portinari's studio; the changing in Portinari's work; the childhood theme returns to Portinari's works; gratitude to Portinari.
