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Tarsila do Amaral 塔西拉·多·阿馬爾 (1886 - 1973) Modernismo Primitivism Brazilian

11 Views· 08/01/22
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Tarsila do Amaral, also known simply as Tarsila, is considered to be one of the leading Latin American modernist artists, described as "the Brazilian painter who best achieved Brazilian aspirations for nationalistic expression in a modern style." She was a member of the Grupo dos Cinco (Group of Five), which included Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade.
Tarsila was born in the city of Capivari, part of the interior of São Paulo, Brazil, to a wealthy family who were coffee growers and landowners. Her family's position provided her a life of privilege. Although women of privilege were not expected to seek higher education, her parents supported her educational and artistic pursuits. During her teens, Tarsila and her family traveled to Barcelona, where she attended school and first exhibited her interest in art by copying images seen in the school's collections.
Beginning in 1916, Tarsila studied sculpture, drawing and painting. The Brazilian art world was conservative, and travels to Europe provided students with a broader education in the areas of art, culture, and society. At this time, her influences and art remained conservative.
Returning to São Paulo in 1922, Tarsila was exposed many things after meeting Anita Malfatti, Oswald de Andrade, Mário de Andrade, and Menotti Del Picchia. Prior to her arrival in São Paulo from Europe, the group had organized the Semana de Arte Moderna ("Week of Modern Art") 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 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 1923, Tarsila was exposed to Cubism, Futurism, and Expressionism while studying with André Lhote, Fernand Léger, and Albert Gleizes. 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 negroid female figure with a single prominent breast. Tarsila stylized the figure and flattened the space, filling in the background with geometric forms.
Upon returning to Brazil at the end of 1923, Tarsila and Oswald de Andrade then traveled throughout Brazil to explore the variety of indigenous culture, and to find inspiration for their nationalistic art. 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.
Later on, she incorporated Surrealist influences and, sometimes, social themes.
在1922年回到聖保羅,Tarsila正在開會安妮塔·馬爾菲蒂,奧斯瓦爾德安德拉德,馬里奧·安德拉德和梅諾蒂·戴爾·皮奇亞後暴露出許多東西。之前,她在歐洲聖保羅的到來,該集團已在2月11日至一十八日的週舉辦的週報德藝術Moderna(“周刊現代藝術”),1922年的事件是在現代主義在巴西的發展舉足輕重。與會者感興趣的是通過鼓勵現代藝術的獨特模式改變巴西保守的藝術建立。 Tarsila被要求參加運動和他們一起成為了Grupo DOS辛科,試圖促進巴西文化,使用風格,是沒有具體的歐洲,和的東西,是土著巴西的包容性。
在1923年短暫的返回巴黎,而與安德烈·洛特,費爾南·萊熱,和阿爾伯特Gleizes研究,Tarsila接觸到立體主義,未來主義,表現主義和。歐洲的藝術家一般制定了非洲為靈感了極大的興趣和原始文化。這導致Tarsila利用自己的本國土著形式,同時結合了現代風格,她研究過。而在巴黎在這個時候,她畫了她最有名的作品之一,A內格拉(1923年)。繪畫的主要題材是一個大的黑人女性形象與單個突出的乳房。 Tarsila程式化圖和扁平的空間,與幾何形狀的背景填充。

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