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27 de feb. de 2019 · A Lua (The Moon). 1928. In 1928, Brazilian artist Tarsila do Amaral premiered the painting A Lua (The Moon) in Paris. Combining aesthetic elements of the Parisian avant-garde art scene in which she was immersed and Brazilian sensibilities and style, the work exemplifies the inventive modernism of a pioneering transatlantic artist.
Sep 1, 1886 - Jan 17, 1973. Tarsila de Aguiar do Amaral was a Brazilian painter, draftswoman, and translator. She is considered one of the leading Latin American modernist artists, and is regarded as the painter who best achieved Brazilian aspirations for nationalistic expression in a modern style. As a member of the Grupo dos Cinco, Tarsila is ...
Tarsila do Amaral. The Moon. 1928. In the 1920s, do Amaral frequently traveled between São Paulo, her native city, and Paris. There, she became acquainted with artists such as Constantin Brâncuși and Fernand Léger, and witnessed a variety of avant-garde artistic strategies. In this painting of a moonlit scene, a lonesome cactus resembling a ...
27 de abr. de 2018 · CADA VEZ ME SIENTO más brasileña. Quiero ser la pintora de mi país”, escribía la artista Tarsila do Amaral (Capivarí, 1886-São Paulo, 1973) en una carta que envió desde París a sus ...
Tarsila do Amaral. Abaporu, que en lengua tupí-guaraní significa «hombre que come hombre», fue la primera de las obras en las que la pintora brasileña Tarsila do Amaral recuperaba el principio de canibalismo o antropofagia. El término provenía del Manifiesto antropofágico publicado en la Revista de Antropofagia en 1928 por Oswaldo de ...
15 de feb. de 2018 · La actual exposición en el MoMA, "Tarsila do Amaral: Inventing Modernism in Brasil", se concentra en los fundamentales años de su quehacer artístico -los 20 y comienzos de los 30-, sumergiéndonos en la etapa en que su práctica se vuelve trascendental y fija las bases para el modernismo brasileño. Tarsila, pese a no haber tenido la visibilidad debida, cambió para siempre el curso del ...
Tarsila do Amaral was one of the greatest Brazilian modernist artists of the twentieth century. Estudo (Academia no. 2) (1923) was painted following do Amaral’s painting studies with Lhote and Gleizes, and reveals succinct Cubist influences, particularly in the volumetric and geometric constructions, as seen in the body of the woman in the centre, the furniture, the vegetation at the top ...
