Leonor Fanny "Norah" Borges Acevedo (March 4, 1901 – July 20, 1998), was a visual artist and art critic, member of the Florida group, and sister of the Argentine writer Jorge Luis Borges. Early life and source of nickname She was the daughter of a lawyer, Dr. Jorge Guillermo Borges and Leonor Acevedo Suárez. Leonor was given the name Norah by her older brother, Jorge Luis Borges. Of his sister, Jorge wrote:In all of our games she was always el caudillo, I the slow, timid, submissive one. She climbed to the top of the roof, traipsed through the trees, and I followed along with more fear than enthusiasm. —Jorge Luis Borges, Norah Growing up, Norah lived in the shadow of her famous brother. It wasn't until later in life that she emerged from her brother's shadow and gained her own personal popularity. As a child, she moved with her family to Switzerland to treat the progressive blindness of her father. She studied with the classical sculptor Maurice Sarkisoff at the École des Beaux-Arts of Geneva. After three years of school, Norah was told by Professor Sarkisoff to leave the ways of the academy to grow in her individual style. In Lugano she studied with Arnaldo Bossi and was close to German expressionists such as Ernst Ludwig Kirchner. With Bossi, Borges learned the art of woodcutting and the aesthetics of expressionism. Early career In Switzerland, Borges wrote and illustrated her first poetry book, Notas lejanas (1915). After its publication, Borges and her family hoped to return to Argentina, but their stay in Europe was extended by four years because of the First World War. During this time, Borges saw much of Europe. First, she visited Provence and was so deeply impressed by Nîmes that she dedicated some of her later work to her travels there. After traveling through Provence, she moved to Spain, where she furthered her studies and participated in the Avant-Garde movement. In Spain, Borges first visited Barcelona, and then, in 1919, moved to Palma, Majorca. In Palma, she studied under Sven Westman and collaborated with her brother on the magazine Baleares. Next she visited Sevilla, where she became a part of the vanguard of Ultraísmo, published her work in magazines like Grecia (1918-1920), Ultra, Tableros y Reflector, and in 1920 she illustrated the cover of El jardin de centauro (The Garden of the Centaur), a book of poems