Abstract
Gilda Gelmini Neuberger (1911-2011), with a career spanning more than 60 years, was one of the rare artists to produce frescoes in Brazil during the 20th century. She was probably also the only Brazilian artist to experiment this technique on unconventional supports, as well as false frescoes with a still ambiguous meaning for the artistic community. In Brazil, the artist was a pupil of Cândido Portinari and Edson Motta and, in Italy, of Bruno Saetti. This article is based on research of primary and secondary sources, including oral testimonies from people who lived with Gilda Neuberger or knew her work. The aim is to reveal her artistic career and evaluate the potential influences of her peers in her work. The article also details the execution process and highlights the originality of her frescoes in various media, which will be analytically investigated in the future.
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