Pietrina concludes her studies at the National School of Fine Arts in Rio de Janeiro. She captured the socio-economic reality of Brazil in her early paintings depicting workers, women washing clothes, families, parties, social life, sensuality and eroticism as main subjects. She was also fascinated by images of baroque angels from historic churches, religious themes, countrysidelandscapes and worked on these through oil paintings and drawings. In 1964, at the National Show of Modern Art, she attracted the attention of critics by innovating with the introduction of irregular patterns with elements including flashing lights from automobiles. In 1966, “The Dolls” series introduced feminine themes, with fabrics of popular prints as background, using vinyl paint — more adapted to the climate conditions of Brazil. In 1968, the “Banners” represented an exploration of pure forms on random subjects, not necessarily with an attachment to social or political issues. At the April Show at the MAM (Museum of Modern Art), in Rio de Janeiro there was an exhibition of the “giant faces” theme, which received popular acclaim. After that, the sensuality of her paintings exploded on the canvases showing floral backgrounds and a mix of flesh, fantasy and dream: bodies and long painted nails, arabesques and cornucopias.