Tarsila de Aguiar do Amaral (; 1 September 1886 – 17 January 1973) 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.Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004: 42. As a member of the '' Grupo dos Cinco'', Tarsila is also considered a major influence in the modern art movement in

Brazil Brazil, officially the Federative Republic of Brazil, is the largest country in South America. It is the world's List of countries and dependencies by area, fifth-largest country by area and the List of countries and dependencies by population ...

, alongside

Anita Malfatti Anita Catarina Malfatti (December 2, 1889 – November 6, 1964) is heralded as the first Brazilian artist to introduce European and American forms of Modernism to Brazil. Her solo exhibition in São Paulo, in 1917–1918, was controversial at t ...

, Menotti Del Picchia,

Mário de Andrade Mário Raul de Morais Andrade (; October 9, 1893 – February 25, 1945) was a Brazilian poet, novelist, musicologist, art historian and critic, and photographer. He wrote one of the first and most influential collections of modern Brazilian po ...

, and

Oswald de Andrade José Oswald de Souza Andrade (January 11, 1890 – October 22, 1954) was a Brazilian poet, novelist and cultural critic. He was born in, spent most of his life in, and died in São Paulo. Andrade was one of the founders of Brazilian modernism ...

. She was instrumental in the formation of the aesthetic movement, '' Antropofagia'' (1928–1929); in fact, Tarsila was the one with her celebrated painting, ''

Abaporu ''Abaporu'' (from Tupi language "", (man) + (people) + (to eat), ) is an oil painting on canvas by Brazilian painter Tarsila do Amaral. It was painted as a birthday gift to writer Oswald de Andrade, who was her husband at the time. It is con ...

'', who inspired Oswald de Andrade's famous ''

Manifesto Antropófago The Anthropophagic Manifesto (Portuguese language, Portuguese: '), also variously translated as the Cannibal Manifesto or the Cannibalist Manifesto, is an essay published in 1928 by the Brazilian poet and polemicist Oswald de Andrade, a key fi ...

''.

Early life and education

Tarsila do Amaral was born in

Capivari Capivari is a municipality in the state of São Paulo in Brazil. The population is 56,379 (2020 est.) in an area of 323 km2. Media In telecommunications, the city was served by Companhia Telefônica Brasileira until 1973, when it began to ...

, a small town in the countryside of the state of

São Paulo São Paulo (; ; Portuguese for 'Paul the Apostle, Saint Paul') is the capital of the São Paulo (state), state of São Paulo, as well as the List of cities in Brazil by population, most populous city in Brazil, the List of largest cities in the ...

. She was born to a wealthy family of farmers and landowners who grew

coffee Coffee is a beverage brewed from roasted, ground coffee beans. Darkly colored, bitter, and slightly acidic, coffee has a stimulating effect on humans, primarily due to its caffeine content, but decaffeinated coffee is also commercially a ...

, two years before the end of slavery in Brazil. At that time in Brazil women were not encouraged to seek higher education, especially if they came from affluent families. Despite coming from an

upper class Upper class in modern societies is the social class composed of people who hold the highest social status. Usually, these are the wealthiest members of class society, and wield the greatest political power. According to this view, the upper cla ...

family, Tarsila had her family's support in obtaining higher education. As a teenager, Tarsila and her parents traveled to

Spain Spain, or the Kingdom of Spain, is a country in Southern Europe, Southern and Western Europe with territories in North Africa. Featuring the Punta de Tarifa, southernmost point of continental Europe, it is the largest country in Southern Eur ...

, where Tarsila caught people's eyes by drawing and painting copies of the artwork she saw at her school's archives.Damian, Carol. Tarsila do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman's Art Journal 20.1 (1999): 3-7. Tarsila attended school in Barcelona, and later trained privately in her hometown under painter Pedro Alexandrino Borges (1864-1942). She also attended the

Académie Julian The () was a private art school for painting and sculpture founded in Paris, France, in 1867 by French painter and teacher Rodolphe Julian (1839–1907). The school was active from 1868 through 1968. It remained famous for the number and qual ...

in Paris and studied with other prominent artists (1920-1923).

Career

Beginning in 1916, Tarsila do Amaral studied painting in São Paulo. Later she studied drawing and painting with the academic painter

Pedro Alexandrino Pedro is a masculine given name. Pedro is the Spanish, Portuguese, and Galician name for ''Peter''. Its French equivalent is Pierre while its English and Germanic form is Peter. The counterpart patronymic surname of the name Pedro, meaning ...

. These were all respected but conservative teachers. Because Brazil lacked a public art museum or significant commercial gallery until after World War II, the Brazilian art world was aesthetically conservative and exposure to international trends was limited. It is believed that around this time (1913-1920) Amaral composed a song in

A minor A minor is a minor scale based on A, B, C, D, E, F, and G. Its key signature has no flats or sharps. Its relative major is C major and its parallel major is A major. The A natural minor scale is: Changes needed for the melodic ...

for voice and piano named "Rondo D'Amour". The song remained unknown until November 2021, when its

sheet music Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece. Like its analogs – printed Book, books or Pamphlet, pamphlets ...

was discovered at her grandniece's house in

Campinas Campinas (, ''Plains'' or ''Meadows'') is a Brazilian Municipalities of Brazil, municipality in São Paulo (state), São Paulo State, part of the country's Southeast Region, Brazil, Southeast Region. According to the 2020 estimate, the city's popul ...

. On 25 January 2022, the song was recorded at the theater of the School of Music of the

Federal University of Rio Grande do Norte The Federal University of Rio Grande do Norte (, UFRN) is a public Brazilian university funded by the Brazilian federal government, located in the city of Natal, Rio Grande do Norte, Brazil. Formally established on December 18, 1960, it includes 60 ...

by three professors of the institution: pianist Durval Cesetti,

soprano A soprano () is a type of classical singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hertz, Hz to A5 in Choir, choral ...

Elke Riedel and

tenor A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. Composers typically write music for this voice in the range from the second B below m ...

Kaio Morais.

Brazilian modernism

Returning to São Paulo from Paris in 1922, Tarsila was exposed to many things after meeting

, and Menotti Del Picchia. These fellow artists formed a group that was named the Grupo dos Cinco. Prior to her arrival in São Paulo from Europe, the group had organized the

Semana de Arte Moderna The Modern Art Week () was an arts festival in São Paulo, São Paulo, São Paulo, Brazil, that ran from 10 February to 17 February 1922. Historically, the Week marked the start of Modernism in Brazil, Brazilian Modernism; though a number of ind ...

("Modern Art Week") during the week of February 11–18, 1922. The event was pivotal in the development of modernism in Brazil. The participants were interested in changing the conservative artistic establishment in Brazil by encouraging a distinctive mode of modern art. Tarsila was asked to join the movement and together they became the Grupo dos Cinco, which sought to promote

Brazilian culture The culture of Brazil has been shaped by the amalgamation of diverse indigenous cultures, and the cultural fusion that took place among Indigenous peoples in Brazil, Indigenous communities, Portuguese people, Portuguese colonists, and Afro-Brazi ...

, the use of styles that were not specifically European, and the inclusion of things that were indigenous to Brazil. During a brief return to Paris in 1929, Tarsila was exposed to

Cubism Cubism is an early-20th-century avant-garde art movement which began in Paris. It revolutionized painting and the visual arts, and sparked artistic innovations in music, ballet, literature, and architecture. Cubist subjects are analyzed, broke ...

Futurism Futurism ( ) was an Art movement, artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the ...

, and

Expressionism Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it rad ...

while studying with

André Lhote André Lhote (5 July 1885 – 24 January 1962) was a French Cubist painter of figure subjects, portraits, landscapes, and still life. He was also active and influential as a teacher and writer on art. Early life and education Lhote was bor ...

Fernand Léger Joseph Fernand Henri Léger (; February 4, 1881 – August 17, 1955) was a French painting, painter, sculpture, sculptor, and film director, filmmaker. In his early works he created a personal form of cubism (known as "tubism") which he gradually ...

, and

Albert Gleizes Albert Gleizes (; 8 December 1881 – 23 June 1953) was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on ...

. European artists in general had developed a great interest in African and primitive cultures for inspiration. This led Tarsila to utilize her own country's indigenous forms while incorporating the modern styles she had studied. While in Paris at this time, she painted one of her most famous works, ''A Negra'' (1923). The principal subject matter of the painting is a large figure of a black woman with a single prominent breast. Tarsila stylized the figure and flattened the space, filling in the background with geometric forms. Excited about her newly developed style and feeling ever more nationalistic, she wrote to her family in April 1923:

Pau-Brasil period

Tarsila spent much of 1923 in Europe with poet

. Upon returning to Brazil in December 1923, Tarsila and Andrade then traveled throughout Brazil to find inspiration for their nationalistic art in folk religion and popular ritual. In March 1924, they spent

Carnaval Carnival (known as Shrovetide in certain localities) is a festive season that occurs at the close of the Christian pre-Lenten period, consisting of Quinquagesima or Shrove Sunday, Shrove Monday, and Shrove Tuesday or Mardi Gras. Carnival typi ...

in Rio de Janeiro, and in April 1924, they traveled to baroque mining towns in Minas Gerais during

Holy Week Holy Week () commemorates the seven days leading up to Easter. It begins with the commemoration of Triumphal entry into Jerusalem, Christ's triumphal entry into Jerusalem on Palm Sunday, marks the betrayal of Jesus on Spy Wednesday (Holy Wednes ...

as part of the "caravana modernista" (modernist caravan). During this period, Tarsila made drawings of the various places they visited, which became the basis for many of her upcoming paintings. Paintings created during this period include ''São Paulo'' (1924), ''Morro de Favela'' (1924), and ''Lagoa Santa'' (1925). She also illustrated the poetry that Andrade wrote during their travels, including his pivotal book of poems entitled ''Pau Brasil'', published in 1924. In the manifesto of the same name, Andrade emphasized that Brazilian culture was a product of importing European culture and called artists to create works that were uniquely Brazilian in order to "export" Brazilian culture, much like the wood of the Brazil tree had become an important export to the rest of the world. In addition, he challenged artists to use a modernist approach in their art, a goal they had strived for during the

in São Paulo. In works by both Andrade and Tarsila, the Pau-Brasil movement was a concept that sought to establish a modern art particular to Brazil. During this time, Tarsila's colors became more vibrant. In fact, she wrote that she had found the "colors I had adored as a child. I was later taught they were ugly and unsophisticated."Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004: 44. Her initial painting from this period was ''E.C.F.B.(Estrada de Ferro Central do Brasil)'', (1924). Furthermore, at the time, she had an interest in industrialization and urbanization, and their impacts on society. Tarsila painted several representations of large cities, like São Paulo, that combined small aspects of the city, like gas pumps, with broader urban scenes. Building on the ideas of the earlier Pau-Brasil movement, she appropriated European styles similar to those of her former teacher,

, but adapted them to the local cityscapes in order to develop modes and techniques that were uniquely Brazilian. In 1926, Tarsila married Andrade and they continued to travel throughout Europe and the Middle East. In Paris, in 1926, she had her first solo exhibition at the Galerie Percier. The paintings shown at the exhibition, which marked the culmination of her Pau Brasil period, as well as her earlier stay in Paris, included ''São Paulo'' (1924), ''A Negra'' (1923), ''Lagoa Santa'' (1925), and ''Morro de Favela'' (1924). Her works were praised and called "exotic", "original", "naïve", and "cerebral", and her use of bright colors and tropical images was commented on.Damian, Carol. "Tarsila do Amaral: Art and Environmental Concerns of a Brazilian Modernist". ''Woman's Art Journal'' 20.1 (1999): 5.

Antropofagia period

While in Paris in the mid-1920s, Tarsila encountered surrealism. After returning to Brazil, Tarsila began a new period of painting where she departed from urban landscapes and scenery, and began incorporating surrealist style into her nationalistic art. This shift also coincided with a larger artistic movement in São Paulo and other parts of Brazil which focused on celebrating Brazil as the country of the big snake, as part of a broader rediscovery of Amerindian mythology and history. Tarsila's first painting during this period was ''

'' (1928), which had been given as an untitled painting to Andrade for his birthday. The subject is a large stylized human figure with enormous feet sitting on the ground next to a cactus with a lemon-slice sun in the background. Andrade selected the eventual title, ''Abaporu'', which is a Tupi-Guarani for "man who eats", in collaboration with the poet Raul Bopp. This was related to the then current ideas regarding the melding of European style and influences. Soon after, Andrade wrote his ''Anthropophagite Manifesto'', which literally called Brazilians to devour European styles, ridding themselves of all direct influences, and to create their own style and culture. Colonialism played a role in her work; Tarsila incorporated this concept into her art. Instead of being devoured by Europe, they would devour Europe themselves. Andrade used ''Abaporu'' for the cover of the manifesto as a representation of his ideals. The following year the manifesto's influence continued, Tarsila painted ''Antropofagia'' (1929), which featured the ''Abaporu'' figure together with the female figure from ''A Negra'' from 1923, as well as the Brazilian banana leaf, cactus, and again the lemon-slice sun. In 1929, Tarsila had her first solo exhibition in Brazil at the Palace Hotel in Rio de Janeiro, and it was followed by another at the Salon Gloria in São Paulo. In 1930, she was featured in exhibitions in New York and Paris. Unfortunately, 1930 also saw the end of Tarsila and Andrade's marriage. This brought an end to their collaboration.

Later career and death

In 1931, Tarsila traveled to the

Soviet Union The Union of Soviet Socialist Republics. (USSR), commonly known as the Soviet Union, was a List of former transcontinental countries#Since 1700, transcontinental country that spanned much of Eurasia from 1922 until Dissolution of the Soviet ...

. While there, she had exhibitions of her works in

Moscow Moscow is the Capital city, capital and List of cities and towns in Russia by population, largest city of Russia, standing on the Moskva (river), Moskva River in Central Russia. It has a population estimated at over 13 million residents with ...

at the Museum of Occidental Art, and she traveled to various other cities and museums. Upon her return to Brazil in 1932, she became involved in the São Paulo Constitutional Revolt against the dictatorship in Brazil, led by

Getúlio Vargas Getúlio Dornelles Vargas (; ; 19 April 1882 – 24 August 1954) was a Brazilian lawyer and politician who served as the 14th and 17th president of Brazil, from 1930 to 1945 and from 1951 until his suicide in 1954. Due to his long and contr ...

. Along with others who were seen as leftist, she was imprisoned for a month because her travels made her appear to be a communist sympathizer. The remainder of her career she focused on social themes. Representative of this period is the painting ''Segunda Classe'' (1931), which has impoverished Russian men, women and children as the subject matter. She also began writing a weekly arts and culture column for the ''Diario de São Paulo'', which continued until 1952. In 1938, Tarsila finally settled permanently in São Paulo, where she spent the remainder of her career painting Brazilian people and landscapes. In 1950, she had an exhibition at

Museum of Modern Art, São Paulo A museum is an institution dedicated to displaying or preserving culturally or scientifically significant objects. Many museums have exhibitions of these objects on public display, and some have private collections that are used by researchers ...

, where a reviewer called her "the most Brazilian of painters here, who represents the sun, birds, and youthful spirits of our developing country, as simple as the elements of our land and nature…". She died in

in 1973. Tarsila's life is a mark of the warm Brazilian character and an expression of it tropical exuberance."Damian, Carol. "Tarsila do Amaral: Art and Environmental Concerns of a Brazilian Modernist". ''Woman's Art Journal'' 20.1 (1999): 7.

Legacy

Besides the 230 paintings, hundreds of drawings, illustrations, prints, murals, and five sculptures, Tarsila's legacy is her effect on the direction of Latin American art. Tarsila moved modernism forward in Latin America, and developed a style unique to Brazil. Following her example, other Latin American artists were influenced to begin utilizing indigenous Brazilian subject matter, and developing their own style. The Amaral Crater on Mercury is named after her. In 2018

MoMA The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan, New York City, on 53rd Street (Manhattan), 53rd Street between Fifth Avenue, Fifth and Sixth Avenues. MoMA's collection spans the late 19th century to the present, a ...

opened a solo exhibition of her work, the eighth retrospective on Latin America artists following exhibitions on

Diego Rivera Diego Rivera (; December 8, 1886 – November 24, 1957) was a Mexican painter. His large frescoes helped establish the Mexican muralism, mural movement in Mexican art, Mexican and international art. Between 1922 and 1953, Rivera painted mural ...

Cândido Portinari Candido Portinari (December 29, 1903 – February 6, 1962) was a Brazilian painter. He is considered one of the most important Brazilian painters as well as a prominent and influential practitioner of the neo-realism style in painting. Portinari ...

Roberto Matta Roberto Sebastián Antonio Matta Echaurren (; November 11, 1911 – November 23, 2002), usually known simply as Matta, also as Sebastián Matta or Roberto Matta, was one of Chile's best-known Painting, painters and a seminal figure in 20th ...

Manuel Álvarez Bravo Manuel Álvarez Bravo (February 4, 1902 – October 19, 2002) was a Mexican artistic photographer and one of the most important figures in 20th century Latin American photography. He was born and raised in Mexico City. While he took art classes ...

Armando Reverón Armando Reverón (May 10, 1889 – September 17, 1954) was a Venezuelan painter and sculptor, precursor of Arte Povera and considered one of the most important of the 20th century in Latin America. While his mental health deteriorated throughout ...

José Clemente Orozco José Clemente Orozco (November 23, 1883 – September 7, 1949) was a Mexican caricaturist and painter, who specialized in political murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siquei ...

and

Joaquín Torres García Joaquín or Joaquin is a male given name, the Spanish version of Joachim. Given name * Joaquín (footballer, born 1956) (Joaquín Alonso González), Spanish football midfielder * Joaquín (footballer, born 1981) (Joaquín Sánchez Rodríguez) ...

. In August 2022 several of her paintings were recovered in Brazil from criminals who had gained them from an art dealer and collector's widow by deception and force. This included ''Sol poente,'' ''O sono'' and ''Pont-neuf''.

Major works

* ''An Angler'', 1920s, Hermitage Museum, Saint Petersburg, Russia * '
A Negra
'''",'' 1923 * ''Cuca'', 1924, Museum of Grenoble, France * ''Landscape with Bull'', 1925, Private Collector * ''O Ovo'', 1928, Gilberto Chateaubriand, Rio de Janeiro * ''

'', 1928, Eduardo Constantini,

MALBA The Latin American Art Museum of Buenos Aires (, mostly known for its acronym MALBA) is an art museum located on Figueroa Alcorta Avenue, in the Palermo, Buenos Aires, Palermo section of Buenos Aires. History Created by Argentina, Argentine busin ...

Buenos Aires Buenos Aires, controlled by the government of the Autonomous City of Buenos Aires, is the Capital city, capital and largest city of Argentina. It is located on the southwest of the Río de la Plata. Buenos Aires is classified as an Alpha− glob ...

* ''Lake'', 1928, Private Collection, Rio de Janeiro * ''Antropofagia'', 1929, Paulina Nemirovsky, Nemirovsky Foundation, San Pablo * ''Sol poente'', 1929, Private Collection, São Paulo * ''Segunda Classe'', 1933, Private Collection, São Paulo * ''Retrato de Vera Vicente Azevedo'', 1937, Museu de Arte Brasileira, São Paulo * ''Purple Landscape with 3 Houses and Mountains'', 1969–72, James Lisboa Escritorio de Arte, São Paulo

Exhibitions

* 1922 - Salon de la Société des Artistes Français in Paris (group) * 1926 - Galerie Percier, Paris (solo) * 1928 - Galerie Percier, Paris (solo) * 1929 - Palace Hotel, Rio de Janeiro (solo) * 1929 - Salon Gloria, São Paulo (solo) * 1930 - New York (group) * 1930 - Paris (group) * 1931 - Museum of Occidental Art, Moscow * 1933 - I Salon Paulista de Bellas Artes, São Paulo (group) * 1951 - I Bienal de São Paulo, São Paulo (group) * 1963 - VII Bienal de São Paulo, São Paulo (group) * 1963 - XXXII Venice Bienalle, Venice (group) * 2005 - ''Woman: Metamorphosis of Modernity'', Fundacion Joan Miró, Barcelona (group) * 2005 - ''Brazil: Body Nostalgia'', The National Museum of Modern Art, Tokyo, Japan (group) * 2006 - ''Salão de 31: Diferenças em processo'', National Museum of Fine Arts, Rio de Janeiro (group) * 2006 - ''Brazilian Modern Drawing: 1917-1950'', Museum of Modern Art, Rio de Janeiro (group) * 2006 - ''Ciccillo'', Museum of Contemporary Art of the University of São Paulo, São Paulo (group) * 2007 - ''A Century of Brazilian Art: Collection of Gilbert Chateaubriand'', Museum Oscar Niemeyer, Curitiba (group) * 2009 - ''Tarsila do Amaral'', Fundación Juan March, Madrid * 2017 - ''Tarsila do Amaral: Inventing Modern Art in Brazil'', Art Institute of Chicago, Chicago (solo) * 2018 - ''Brasil: Body & Soul'', The Guggenheim, New York (group) * 2018 - ''Tarsila do Amaral: Inventing Modern Art in Brazil'', Museum of Modern Art, New York (solo) * 2019 - ''Tarsila Popular'', São Paulo Museum of Art, São Paulo (solo)

References

Sources and further reading

* Congdon, K. G., & Hallmark, K. K. (2002). ''Artists from Latin American cultures: a biographical dictionary''. Westport, Connecticut, Greenwood Press. * Lucie-Smith, Edward. ''Latin American Art of the 20th Century''. London: Thames & Hudson Ltd, 2004. * Damian, Carol. ''Tarsila do Amaral: Art and Environmental Concerns of a Brazilian Modernist''. ''Woman's Art Journal'' 20.1 (1999): 3-7. * Barnitz, Jaqueline. ''Twentieth-Century Art of Latin America''. China: University of Texas Press, 2006: 57. * Gotlib, Nadia Batella. ''Tarsila do Amaral: a Modernista''. São Paulo: Editora SENAC, 2000. * Pontual, Roberto. ''Tarsila''. ''Groves Dictionary of Art''. Ed. Jane Turner. New York: Macmillan, 1996. * Amaral, Aracy and Kim Mrazek Hastings. ''Stages in the Formation of Brazil's Cultural Profile''. ''The Journal of Decorative and Propaganda Arts''. 21 (1995): 8-25. * Fundación Juan March. ''Tarsila do Amaral'' (Catalogue: published in English and Spanish) Madrid: Fundación Juan March (2009), 295 pp. English * D'Alessandro, Stephanie and Luis Pérez-Oramas. '' Tarsila do Amaral: Inventing Modern Art in Brazil''. New Haven: Yale University Press, 2017. * Scott, Andrea. ''Introducing New York to the First Brazilian Modernist''. The New Yorker, 2018. * Cardoso, Rafael. ''The Problem of Race in Brazilian Painting, c. 1850-1920''. Art History, 2015: 18–20. * Ebony, David. ''Brazil's First Art Cannibal: Tarsila Do Amaral''. Yale University Press Blog, 2017. * Jackson, Kenneth David. ''Three Glad Races: Primitivism and Ethnicity in Brazilian Modernist Literature''. Modernism/modernity 1, (1994): 89–112. * ''Latin American Women Artists 1915–1995''. Films Media Group, 2003.

External links

Official website

Official Catalogue Raisonné (English/Portuguese)

Links to various paintings

Search for list of exhibitions

Tarsila do Amaral, The Museum of Modern Art

MoMA Audio: Tarsila do Amaral: Inventing Modern Art in Brazil

New to MoMA: Tarsila do Amaral’s A Lua (The Moon)
interview with Ann Temkin {{DEFAULTSORT:Amaral, Tarsila Do 1886 births 1973 deaths People from Capivari Brazilian people of Portuguese descent Brazilian modern painters Académie Julian alumni Brazilian expatriates in France 20th-century Brazilian painters 20th-century Brazilian women painters