Artistical Story (II)

"Mas isto não são flores!"



     1965      1966  1967   1968  1969  1970  
           Helena moves from the "Rua do Almada", to a flat in a nice building at the modern "Rua do Campo Alegre" (also in Porto).          

 The master Mendes da Silva, invited Helena to work in his study, in order get space to do canvas of higher port.

Before she worked in a corridor and only could make small paintings.


 At the student celebrations "queima das fitas", Helena took part in a painting exhibition , being her canvas praised by the President of Republic of Portugal, Alm. Américo Thomaz .



Day of the inauguration of the first Helena`s exhibition at "Ateneu Comercial do Porto" .

     Another`s painting`s exhibition at "Ateneu Comercial do Porto"  Helena meets the Minister of Tourism Moreira Baptista, at an exhibition in Porto "Casa do Infante". The minister told to the painter to prepare with his secretary her exhibition in Lisboa (Lisbon), Palácio Foz.

 At 12:00h of the day 6/2/70, was inaugurated the first Helena`s exhibition in Lisboa . It was in "Palácio Foz" and had the presence of the President of Republic and some members of the Government and with a strong public`s affluence.

        With the coins of her father-in-law, Helena got save the enough for rent an hall, at the prestigiated "Ateneu Comercial do Porto", for doing her first exhibition.            

Helena does her first exhibition in Vigo.

From 3/6/67 to 10/6/67 .

The spanish master Laxeiro encouraged Helena, to follow painting flowers.

"Then, you you have to be the best, but the best flowers` painter of the world!"

 Helena does her first exhibition in Madrid (Sala Toisson), through the influence of the Master Laxeiro.

Helena took part in the second Art`s exhibition at open-air in the Ayuntamento de Vigo. With the most important painters of that region: Laxeiro, Lodeiro, Pousa, etc...

Helena would take part in the next four editions of this event.

                 At Helena`s second exhibition in Vigo, the curator Pablos did a critique in which he foresaw the evolution of the painter.    



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