Nilda Luz Pinto Miranda was born in the city of São Paulo in January 1936. The daughter of Portuguese parents, entrepreneurs in the food industry, she had a calm and comfortable childhood and adolescence. Introspective, she showed her artistic aptitude early on through reading and drawing, transcribing and illustrating the texts that impressed her the most. To entertain herself, she would sketch on paper what she saw before her that caught her attention. It was fun. At a young age, under the guidance of Professor Amletto Samarcco, she began oil painting, and with Professor Colette Pujol, she discovered watercolor and oil pastel. In 1953, she started attending courses at the São Paulo Museum of Art, then located on Sete de Abril Street, recently founded by Assis Chateaubriand. At the time, still very young, she had the opportunity to interact with leading figures in Brazilian avant-garde art, benefiting from their teachings in various courses offered there. After many charcoal sketches using the museum's sculptures as models, she moved on to live model studies. Interested, she also began participating in live model sessions at the Liceu de Artes, the Pinacoteca of São Paulo, and the Paulista Academy of Fine Arts. This activity was gratifying for her, but it was not enough. Among the many valuable works displayed at the museum, she discovered the greater importance of expressive strength and creativity in producing artwork. She felt small and needed to grow. Seeking to refine her technique and find her style, she pursued new knowledge in the studios of well-known artists. This exposure to academic art education provided her with greater confidence and certainty about what she wanted as a life achievement and profession. She needed to continue. After getting married and having three children, with her domestic routine stabilized, she began attending the studio of painter Djalma Urban. By exchanging experiences with other artists, she resumed her activities with a more professional perspective. In her painting workshop, she maintained an intense production of works following the figurative trend of the time, which valued themes such as colonial houses, seascapes, rural landscapes, and figures. During this period, she participated in numerous official group exhibitions in São Paulo and other cities, earning several awards. Continuing her journey, she created the "ARTE333" studio, aiming to share her acquired knowledge, especially with children and young people. To encourage them, she organized annual exhibitions featuring her students' work. At the end of 1981, Nilda Luz was invited to participate in the "Encontro das Artes" exhibition alongside sculptor Deodato and photographer Moises Gurovich. The event, organized in celebration of the 80th anniversary of Clube Espéria in São Paulo, was a great success. At the time, Brazil was experiencing a severe political and financial crisis that deeply affected the population. Feeling the need to take action in response to this situation and the difficulty women faced in contributing to household income, Nilda Luz opened a larger studio in an accessible commercial area. Her goal was to share her art while allowing students to sell their work. Thus, overnight, on Avenida Braz Leme, a prime location in the northern part of the city, a large hot pink sign under a white awning announced the new arts and crafts workshop open to the public: " ART FOR LEISURE, ART TO MAKE, ART TO SELL." To expand the range of options, ten different courses were introduced, taught by skilled instructors. In addition to canvas painting and children's art, courses included advertising design, interior decoration, ceramics, porcelain painting, various crafts, and even, entering the food industry, frozen food preparation and homemade chocolate making. In 1982, Nilda Luz was invited by Father João, the parish priest of the local Catholic community, to create a representation of the Stations of the Cross for the inauguration of a new church. This work, consisting of 15 oil paintings, is part of the permanent collection of the Church of Nossa Senhora da Consolata in Jardim São Bento. By 1984, Praça da República in São Paulo had become the city's main hub for popular art. Attracting visitors from all over the world, the square allowed artists to sell paintings featuring Brazilian themes popular with tourists, as well as other styles sought after by galleries looking for new talent. Due to the high activity in the square, Paulistur, the tourism authority at the time, sought to reorganize the space by opening applications to select new artists. The selection process took place at the Biennale building in Ibirapuera Park, with about 5,000 artists participating. Among them, Nilda Luz secured second place with a representative painting of a rural theme. Given her high ranking, she was invited to choose the most convenient selling spot in the square, where she exhibited her work every Sunday, as per the regulations. It was a fruitful period. Like magic, she regularly sold many artworks, both to tourists and local galleries. Initially, she could easily supply sales from her existing inventory, but as demand continued, she found herself having to produce five to six paintings a week automatically, which did not appeal to her. Thus, Nilda left the square and returned to painting purely for the joy that art always brought her. Meanwhile, the ART FOR LEISURE workshop, a venture based on handcrafted art, continued to grow. With a team of ten instructors, it served around 200 students, providing many people with new market opportunities. This period was financially significant, but it required her to set aside personal artistic goals, which she resumed only after reorganizing her personal life. During brief breaks in her professional life, Nilda Luz had the opportunity to travel and visit several European countries, as well as Morocco, Israel, the United States, and some South American countries. In Brazil, she visited key regions and capitals. More experienced, she resumed her activities with a new perspective and, driven by the growing development of contemporary art, ventured into freer painting, now using acrylic paint. Over time, she recognized the quality and great versatility of this material, incorporating it permanently into her artistic practice. Combining spontaneous abstraction with the strong lines of her figurative work, she gave new expression to her art, marking it with her personal style. In 1994, Nilda Luz was invited by ABRESI to contribute to a project recognizing São Paulo as a major gastronomic capital. She worked on the book "Volta ao Mundo da Gastronomia na Cidade de São Paulo," which documented the city's international cuisine influenced by immigrants from 50 countries. In 1998, the book was awarded the title of Best Publication of the Year in its category in Madrid. Following this success, she traveled to Italy to gather material for her series "Romantic Italy," consisting of ten large oil paintings. This work became part of the permanent collection of Villa Távola, a renowned restaurant in São Paulo's Bixiga district. Subsequently, she held several solo exhibitions, including "Volta ao Mundo," "Cores em Flores" in Campos do Jordão, and "Memória Árabe" in São Paulo. In 2002, she produced "Olhar São Paulo," a collection depicting emblematic sites of her hometown. Her artwork was later exhibited at cultural institutions such as the São Paulo State Assembly and the Federal Government's Ministry of Culture in Brasília. Expanding on this project, she wrote the book "Olhar São Paulo," linking the city's architectural development with its social and cultural history. Nilda Luz later authored "Brasil, Turismo Gastronômico" and "Brasil, Campeão de Copa e Cozinha," which highlighted Brazil's tourism and culinary traditions. The latter won the "Prix Littérature Gastronomique 2016" from the International Academy of Gastronomy, recognizing her versatile work as an artist and writer.