A committed feminist and nonconformist artist, Helena Abreu studied at the Porto School of Fine Arts at a time when it was neither common nor considered appropriate for women to be seen in artistic fields. Her tenacity and a progressive family that nurtured her talent were her greatest assets.

In 1968, she held her first solo exhibition at the Commercial Athenaeum, and from then on, her artistic production intensified, with a special focus on the figure of women and their daily context, imbued with delicacy and a poetic tone.

She received honorable mentions at the "Salon des Artistes Français" and, in 1980, was admitted as a member of the "Société des Artistes Français."

In 2001, Helena Abreu was invited by the CPS to create the first lithograph in its collection, reviving a practice that was falling out of use in our country.

The work garnered praise and was widely accepted, inspiring new artists to embrace traditional graphic art printing techniques.

Untitled, Lithograph, 150 copies

1st CPS Lithograph

A drawing teacher during her active life, she inspired hundreds of students to develop their artistic skills and explore their creativity. Many have recently paid tribute to her.

While still teaching, she authored four educational books for the 2nd and 3rd cycles of secondary education and co-authored with her husband, architect Francisco Pessegueiro de Miranda, the “Drawing Compendium,” the single textbook for the Drawing subject for 15 years.

After retiring, she devoted herself entirely to art: painting – oils and watercolors, drawing, and ceramics, also producing various illustration works, particularly for children's books.

With a great rigor for what she created, she unexpectedly stopped painting at 85, no longer able to achieve the desired aesthetic results. A matriarch, she leaves a legacy and creative genes: Abreu Pessegueiro, her son, architect and visual artist, and her grandson David, also a visual artist.

"Angel's Embrace", Serigraphy, 200 copies. 2007 Papies Award

"Her work is filled with affection, emotion, and beauty because she didn’t believe in darkness in art," says her son, Abreu Pessegueiro.

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