Regina Graz is considered to be the introducer of modern textile arts in Brazil and considered one of the most productive artists in the national artistic world during the first and second generation of modernism .
Despite her participation in the 1922 Modern Art Week, her trajectory was obscured. The objective here is to rescue this name and understand its erasure.
Beginning and Training
Regina Gomide Graz was born in Itapetininga, São Paulo, in 1897. In 1923, in Rio de Janeiro, she carried out research on indigenous weaving from the Upper Amazon, pioneering interest in Brazilian indigenous tradition.
She dedicates herself to tapestry and makes panneaux, bedspreads, cushions, fabrics and lampshades in cubist and art deco styles.
Modern Art Week 1922
Regina was invited to participate in the Modern Art Week in São Paulo.
This event was a milestone in the history of Brazilian art, promoting a break with academicism and the appreciation of modern artistic expressions.
Regina presented her textile works, which stood out for incorporating elements of Brazilian culture and modern weaving techniques, consolidating her position as a pioneer in the field.
Later years
In 1930, she participated in the decoration of the Modernist House, designed by Gregori Warchavchik (1896 - 1972) in São Paulo.
From 1932 to 1934 she was part of the Sociedade Pró-Arte Moderna - Spam and between 1934 and 1940 she participated in Group 7 with Victor Brecheret, Elisabeth Nobiling, Yolanda Mohalyi, Rino Levi, John Graz and Antônio Gomide.
In 1941, she opened her own business called Tapetes Regina Ltda, which operated until 1957 producing carpets, curtains and upholstery.
Erasure
However, despite her talent and innovation, she is little known to the general public as a result of her works being seen as collaborations with her husband, decorator John Graz and her brother, painter Antônio Gomide.
In documents about decorative projects, Regina is constantly placed as a “collaborator”, that is, in a secondary position, rather than as an “author”.
Textile Art and the Feminine
Furthermore, textile art was often considered a lesser art, associated with women's work, and therefore less valued.
These factors contributed to the fact that her story was rarely told and practically forgotten.
Conclusion
The story of Regina Graz is a common testimony about the treatment given to women in textile art and in the history of Brazilian art.
Her participation in the 1922 Modern Art Week and her innovations in the field of textile design were not enough for her name to be known to the general public.
However, I believe it teaches us that textile art is a legitimate form of artistic expression. The more we know about its history, the more its legacy can leave historical silence.