11 main works of Tarsila do Amaral
Tarsila do Amaral has a career in succession and two principalities of Brazilian painting. To understand a little more of her costume, we selected her eleven most important works of art by her.
Abaporu, 1928
Abaporu Maybe seja or most famous painting painted by Tarsila. Raised in 1928, the fabric was a present offered by her for either husband, or writer Oswald de Andrade. A canvas promotes an exaltation of national culture and is quite representative of the anthropophagic phase of the painter, or corrida between 1928 and 1930. Or at the moment face part of the collection of the Museum of Latin-American Art of Buenos Aires.
Anthropophagy, 1929
Anthropophagy It is a digital painting of the painter that gathers common traces that have already been tested in To black and Abaporu. Let me consider a picture of a fusion of two paintings. Call attention to the swollen forms and altered perspectives used, as well as the predominance of green explored in typically Brazilian plants, at or from the landscape. The fabric is exhibited at the José and Paulina Nemirovsky Foundation, in São Paulo, and is 79x101cm in size.
Operators, 1933
In 1931, she exhibited in Moscow, sensitized to the communist cause, presented with her new name, or doctor Osório Cesar. In 1933, still infected with ideological spirit hair, she painted canvas Operators.
O quadro portrays the period of industrialization in São Paulo. So there are two operatives who are many times overposted and down, also to pay attention to the quantity of faces that the painter is able to illustrate in an image.
Operators Maybe it looks like a more representative social fabric painted by Tarsila. It was made in 1933 and is huge, measuring 150x205cm. Currently part of the Artistic-Cultural Heritage of the Palácios do Governo do Estado de São Paulo.
Get more to fund or Quadro Operários, by Tarsila do Amaral.
To black, 1923
Raised in 1923, To black It is an oil painting on canvas with 100x80cm in size. A cloth was revolutionary because it represented you, pela the first time, with a leading role, a black one. Or also the painter Fernand Léger, who was a professor from Tarsila, who was delighted with his work. Currently on canvas there is no collection of the Museu de Arte Contemporânea da Universidade de São Paulo.
Portrait of Oswald de Andrade, 1922
When she returned to Brazil from her stay in Europe, Tarsila met other artists, namorou or writer Oswald de Andrade and, later, they got married. Tarsila chegou to illustrate or free Pau-Brazil (1925), authored by the modernist writer. Four years after the painting or portrait of Oswald de Andrade, the artist inaugurated his first solo exhibition in Paris (1926).
Second Class, 1933
Painted in 1933, Second Class follow mesma linha from Operators It is representative of Tarsila's social painting. The people appear barefoot and are registered in a trem station, with a dated appearance and battered faces.
It is also an oil painting on canvas with large dimensions (110x151cm) and currently belongs to a Private Collection.
Sewing, 1936
Sewing It also aligns itself with the thematic and ideological horizon proposed in Operators and Second Class. Na canvas, 73x100cm, we see têxteis workers in service hours. It is sublimated in the presence of a cat not portrait, a series of paintings by Tarsila with domestic animals at the dinners portrayed.
Currently the fabric belongs to the collection of the Museum of Contemporary Art of the University of São Paulo.
Self portrait, 1923
Self portrait (also known as Manteau rouge) was painted in 1923 with medium dimensions (73x60.5cm). O vermelho de gola alta, which Tarsila wore in painting, was untangled hair stylist Jean Patou and used not to wear, in homage to Santos Drummond, offered by Brazilian ambassador in Paris, in 1923. Currently the fabric is not the National Museum of Belas Artes, not Rio de Janeiro.
To Cuca, 1924
Cuca It was painted in 1924 and traced as a theme a typically Brazilian invented animal: a cuca. O personagem is a mixture of different animals and the painting is made with strong cores in homage to national cores.
Our twenties, Tarsila levou or friend and poet Blaise Cendrars for a trip to Rio de Janeiro in historical cities of Minas Gerais. Foi depois dese path that the painter resolved to thematize the rural side of Brazil, also joining the cubist technique that she learned in Paris with a national theme.
To cloth To Cuca Currently there is the Musée de Grenoble, na França, in 73x100cm.
Procissão, 1954
In order to determine an idea of importance for the painter, Tarsila was invited in 1954 to paint the Pavilhão da História do Ibirapuera a painel em homagem ao IV Centenário da Cidade de São Paulo.
The result of the invitation was a huge painting, 253x745cm, that portrays a procession of Corpus Christi in the 18th century. The work is currently in the Municipal Gallery of São Paulo.
Replica do Sacred Heart of Jesus, 1922
Foi in Barcelona, in 1902, in an internal school, which Tarsila painted, sixteen years old, or her first painting of her, a replica of Sacred Heart of Jesus. It is about a painting in oil on canvas, with 103x76 cm. Two curiosities: painting took about a year to sign and assinou painter like Tharcilla, an artistic name that she used at the time.
Tarsila do Amaral
Tarsila saw a family supplied and studied in the capital, in São Paulo (Sion school), before going abroad (Barcelona). When she returned to Brazil, she married André Teixeira Pinto. O marriage was brief, but thanks to him, a painter from light to his only filha, Dulce, born in 1906.
Tarsila was a long time ago, delving into the arts. She studied clay sculpture like the Swedish William Zadig, drawing and non-studio painting by Pedro Alexandrino and various arts in Paris (1920-1922).
In 1918, she met another great name that gives me Brazilian visual art: Anita Malfatti. Foi Anita who communicated to a friend or great event that would become the Modern Art Week, in São Paulo. He formed a painter, next to Anita Malfatti, Oswald and Mário de Andrade and Menotti Del Picchia, or called Group two five. They were all modernists and actively participated in the cultural circuit of São Paulo during the 1920s.
Deeply celebrated in life, the artist participated in the First São Paulo Biennial (1951) and the Veneza Biennial (1964).
Faleceu in January 1973, eighty and seven years.
Conheça also
- The most famous paintings in the world
- Great Brazilian artists and their works
- As works-raw painted by women
- Quadro Operários, by Tarsila do Amaral
- Quadro Abaporu, by Tarsila do Amaral
