171:. After some years of difficulty the school reopened its doors in 1895, when it is likely the two sisters joined. Both had an oral command of the German language as their mother spoke German to them at home. Her father was later to be appointed Chancellor of the Consulate General of Belgium in Lisbon. Well-integrated with the small Belgian community in Lisbon and with the wider Lisbon society, the family got to know artists and other well-known figures, such as the painter
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147:, respectively and had married in London in early 1888. At this time Portugal was seeking to open eight technical schools to teach industrial education to train qualified technicians for factories in the same vicinity. Her parents moved to Portugal in 1888 when her father was asked to be a professor of Chemistry at the Industrial School situated in
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and others. She was one of the few female artists of her generation to organize individual exhibitions of her work, in oil painting, pencil drawing, gouache or watercolour. Invited to participate she was the only female exhibiting in the 2nd
Exhibition of Humourists, in 1913, and in the Exhibition of
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When his daughter was 16, her father contacted the French painter, Ernest Bordes, who had also done work for the
Portuguese Royal Family, asking for advice on his daughter's work. The response was very positive, encouraging her father to allow her to continue her artistic training in Paris, where she
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After a few years the family moved to Lisbon, with her father taking a job as attorney and head of the maritime section in the firm Burnay & Cª, belonging to
Henrique Burnay, the Second Count of Burnay, who had become very rich and eventually turned his company into the Burnay Bank. Mily and her
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Like the daughters of all upper-middle-class families, the two sisters learned to play the piano. They were students of
Alexandre Rey Colaço, who was also the teacher of the royal family. They became known for the entertainment they provided to visitors to the family house. During the summers the
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With the loss of her father's income, Possoz had to produce an income from her art. This was mainly achieved by commercial work rather than by selling her paintings. An excellent designer, Possoz collaborated with Jorge
Barradas and Alice Rey Colaço as a poster and stage designer for the play
253:. She began to explore new techniques and to take an interest in new avant-garde artistic movements. Unfortunately, her enjoyment of the bohemian Parisian life proved too much for her tolerant parents and she was recalled home in 1908. Pozzoz later went to
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to illustrate one of his books. It appears that most of her work during this period involved book illustrations and that she also obtained income from the sale of prints. Her financial situation was precarious. In 1937 she participated in the
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139:, She was the daughter of Henri Émile Possoz (1856 – 1912), a former Belgian army artillery officer and chemical engineer, and Jeanne Anne Rosalie Leroy (1862 – 1937), both Belgian citizens, who were born in
482:), which was held in Lisbon in 1940 to mark 800 years since the foundation of the country and 300 years since the restoration of independence from Spain. She was asked to design the Japan Room and her work was inspired by
289:(Society of Fine Arts) in 1909 and rapidly became known, being a regular exhibitor at the Society's annual salons until 1916. She would also exhibit at the Humourist and Modernist Exhibitions from 1913 to 1926, along with
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Possoz settled in Paris from 1927 to 1937, occasionally visiting
Portugal to exhibit or visit family members. The decision to stay in Paris may have been due to an invitation by the French poet, writer and essayist
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537:, in Lisbon. Despite her considerable work employing a variety of different techniques, and her international reputation, she is probably best-known in Portugal for a school book she illustrated in 1958 called
333:(Young Contemporary Engraving), which staged annual shows and was influential in keeping the spirit of printmaking alive. She exhibited at museums and galleries and became friends with the Japanese artist
326:, Fernanda de Castro, Estrela Faria and António Soares. In 1922, many of these took up residence in Paris. Possoz paid frequent visits but appears not to have lived permanently in Paris again until 1927.
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from a similar exhibition in Paris. Possoz exhibited several works. In 1926, Viana ended the engagement and left for
Brussels. They resumed the relationship two years later but separated again in 1930.
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considered to be "an injustice and a scandal". Outraged, Eduardo Viana, who had never been refused to exhibit, decided to organize an exhibition for modernist artists in 1925, borrowing the name of
371:(International Exposition of Art and Technology in Modern Life) in Paris and won a Gold Medal for engraving, and in the same year exhibited at the French Printmaking Exhibition, held in
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and rebelling against the conservatism of
Portuguese society and its conventional approach to art, she joined the emerging modernist movement in Portugal. She started to exhibit at the
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sisters and their mother returned to
Belgium while their father continued to work in Lisbon. Their exposure to the arts continued as their paternal grandfather was a graduate of the
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Mily Possoz died on 17 June 1968 in Lisbon, at her sister's house. In 1969 the first retrospective exhibition was held in her honour at the exhibition space of the
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painter and designer Ramon Rogent i Perés, and dedicated herself mainly to oil and watercolour painting. She also collaborated occasionally with the magazine
123:(1888 – 1968), was a Portuguese artist of Belgian origin. She was one of the most prominent figures of the first generation of Portuguese
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and a painter who specialised in nudes, much to the horror of the Lisbon middle classes. Braga ran a school of painting, from which Mily Possoz and
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314:, who had lived in Paris but were in Spain when war broke out, decided not to return and moved to Lisbon. Others, apart from Possoz, were
345:, due to her criticism of the conservatism and artistic backwardness of the Portuguese artistic society, a rejection that the newspaper
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of London and the
Cleveland Museum, among others. In Portugal she has two roads named after her, in the municipalities of
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and designed costumes for a ballet. She also participated in several exhibitions of Modern Art. In 1944 she received the
219:(1908-1992) emerged as her two most famous students. It was with Braga that Possoz first experimented with oil painting.
521:(1960) by Sebastião Pessanha. She held her third solo exhibition, exhibited in the city council buildings of Sintra and
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207:(1850 – 1913), a Spanish naturalist painter and teacher of the Portuguese royal family, and of painter
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the "Five Independents" in 1923. In a male-dominated society, Possoz was regarded as an equal by her fellow artists.
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During her visits to France, Possoz became an active member and only female partner of the society
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by Alfredo Cortez (1921), and as an illustrator in numerous publications, such as the magazines
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and also supported young artists to exhibit for the first time in different spaces.
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While still young, Mily Possoz started attending the studios of watercolor artist
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There was a thriving community of artists in Lisbon during and immediately after
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part of Lisbon, almost always in the company of her sister Jeanne and her friend
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Award, in 1949 the José Tagarro Drawing Prize and in 1951 the Columbano Prize.
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Returning to Portugal after the death of her mother in 1937, Possoz lived in
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of Portugal, which was close to a ceramics factory managed by the artist
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In the 1950s and 1960s, at the invitation of her neighbour and friend
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Exposition Internationale des Arts et Techniques dans la Vie Moderne
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techniques. She also illustrated short stories and novels, such as
183:. Mily Possoz became particularly friendly with Colaço’s daughter,
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until 8 June 1889, in the Parish Church of Caldas da Rainha.
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Returning to Portugal, Possoz divided her time between the
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The Adventures of Felício and Felizarda at the North Pole
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Calouste Gulbenkian Museum Collection of works by Possoz
450:(1923) by Maria Benedita Moutinho de Albuquerque Pinho,
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and also traveled through Belgium, Italy and Holland.
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Modernist painting and engraving. Book illustrations
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454:(1923) by Maria Paula Azevedo and a re-issue of
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211:(1867 – 1949), a disciple of
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281:. Her father died in 1912. After the
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873:Portuguese people of Belgian descent
618:Faces de Eva. Estudos Sobre a Mulher
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612:Ferreira, Emília (December 2017).
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434:(1914) by Manoel de Sousa Pinto,
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460:La Carrosse du Saint Sacrement
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544:Her work can be found in the
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324:Clementina Carneiro de Moura
306:. Central to the group were
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131:Early life
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523:Almada
472:Sintra
410:, and
398:Athena
308:Robert
137:Lisbon
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