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General clarification on works content
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* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phase maintained the vibrant colors and non-standard aesthetic, but it primarily focused on abstract themes rather than daily activities, as it delved into Tarsila's dreams, childhood memories, and incorporated more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
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* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phase maintained the vibrant colors and non-standard aesthetic, but it primarily focused on abstract themes rather than landscapes or daily activities, as it delved into Tarsila's dreams, childhood memories, and incorporated more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
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* {{Anthropophage}}: While the word names some of her paintings, such as ''Anthropophagy'' and ''Abaporu'' (meaning "man who eats man" in tupi), the trope on itself wasn't actually present in the literal sense. The use of these themes relate to the Anthropophagic Movement, in which artists defended the symbolic digestion of European art styles and their adaptation to Brazilian reality, much like they saw Brazil as a melting pot of different cultures that should be represented.
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* ImAHumanitarian: While the word "Anthropophage" names some of her paintings, such as ''Anthropophagy'' and ''Abaporu'' (meaning "man who eats man" in tupi), the trope on itself wasn't actually present in the literal sense. The use of these themes relate to the Anthropophagic Movement, in which artists defended the symbolic digestion of European art styles and their adaptation to Brazilian reality, much like they saw Brazil as a melting pot of different cultures that should be represented.
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->''"I invent everything in my paintings. And what I saw or felt, I stylize."''
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->''"I invent everything in my paintings.{{paintings}}. And what I saw or felt, I stylize."''
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Art/{{Abaporu}}'', one of the most recognizable and important paintings in Brazilian History. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century across the world and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer {{painter|s}}, drawer, and translator most well-known for creating ''Art/{{Abaporu}}'', one of the most recognizable and important paintings in Brazilian History. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century across the world and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
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* {{Anthropophage}}: While the word names some of her paintings, such as ''Anthropophagy'' and ''Abaporu'' (meaning "man who eats man" in tupi), the trope on itself wasn't actually present. The use of these themes relate to the Anthropophagic Movement, in which artists defended the symbolic digestion of European art styles and their adaptation to Brazilian reality, much like they saw Brazil as a melting pot of different cultures that should be represented.
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* {{Anthropophage}}: While the word names some of her paintings, such as ''Anthropophagy'' and ''Abaporu'' (meaning "man who eats man" in tupi), the trope on itself wasn't actually present.present in the literal sense. The use of these themes relate to the Anthropophagic Movement, in which artists defended the symbolic digestion of European art styles and their adaptation to Brazilian reality, much like they saw Brazil as a melting pot of different cultures that should be represented.
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Art/{{Abaporu}}'', one of the most recognizable and important paintings in Brazilian History. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to bring those artistic styles to Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against rigorous aesthetic traditionalism from Europe. Her works often have tropical and vibrant colors, sometimes relating to the Brazilian flag (green, yellow and blue), and irreverent and non-standard styles. She created more than 270 paintings, most of which can be divided into three phases:
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to bring those artistic styles to Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against rigorous aesthetic traditionalism from Europe. Her works often have tropical and vibrant colors, sometimes relating to the Brazilian flag (green, yellow and blue), and irreverent and non-standard styles. She created more than 270 paintings, most of which can be divided into three phases:
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Art/{{Abaporu}}'', one of the most recognizable and important paintings in Brazilian History. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century across the world and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended tobring use those artistic styles to represent Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against the rigorous aesthetic traditionalism from Europe.Europe that had previously influenced the national artistic landscape. Her works often have tropical and vibrant colors, sometimes relating to the Brazilian flag (green, yellow and blue), and irreverent and non-standard styles. She created more than 270 paintings, most of which can be divided into three phases:
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to
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* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical and politically engaged way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's following TheGreatDepression, especially in UsefulNotes/SaoPaulo. They have a somewhat darker tone that Amaral's previous colorful and lively workpieces. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
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* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical and politically engaged way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's following TheGreatDepression, especially in UsefulNotes/SaoPaulo. They have a somewhat darker tone that Amaral's previous colorful and lively workpieces.workpieces, using grayer and more somber colors. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
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* EarlyInstallmentWeirdness: Tarsila's first paintings, between 1904 and 1922, were drastically different from the style she is known for, with more traditional, realistic, and formal artworks; it was only in 1923 that she adhered Modernism with ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/inicio-do-cubismo-tarsila-do-amaral-3-814x1024.jpg A Negra]]'' (The Black Woman) and adopted her instantly recognizable artstyle. That said, she never really stopped making traditional portraits, like ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-8-829x1024.jpg Beatriz with the dog]]'' in 1940 and ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-6-775x1024.jpg Portrait of Luís Martins]]'' by 1937.
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* EarlyInstallmentWeirdness: Tarsila's first paintings, between 1904 and 1922, were drastically different from the style she is known for, with more traditional, realistic, and formal artworks; it artworks. It was only in 1923 1923, after the Modern Art Week of 1922 and her travels, that she adhered Modernism with ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/inicio-do-cubismo-tarsila-do-amaral-3-814x1024.jpg A Negra]]'' (The Black Woman) and adopted her instantly recognizable artstyle. That said, she never really stopped making traditional portraits, like ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-8-829x1024.jpg Beatriz with the dog]]'' in 1940 and ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-6-775x1024.jpg Portrait of Luís Martins]]'' by 1937.
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* SliceOfLife: Several of her paintings, such as ''The Fisherman'', ''Hill of the Favela'', ''Carnival in Madureira'' etc. depict mundane events from Brazil's day-to-day life from an idyllic point of view, especially in the countryside.
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* SliceOfLife: Several of her paintings, such as ''The Fisherman'', ''Hill of the Favela'', ''Carnival in Madureira'' etc. depict mundane events from Brazil's day-to-day life from an idyllic point of view, especially in the countryside. This is emblematic of the Modernist period, as artists distanced themselves from the epic events shown in Romantic paintings in favor of valorizing more grounded scenes.
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* Pau-Brasil phase (1924 - 1928): Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, day-to-day activities, holidays and landscapes. The Pau-Brasil movement, as argued by Oswald, defended that Brazilian art should stop being a product of European importation and start being a product of exportation, much like brazilwood (Pau-Brasil) was the first Brazilian product to be exported in the start of Portuguese colonization. Some of the most famous paintings of this phase are ''A Cuca'' ("The Cuca"), ''O Pescador'' ("The Fisherman"), ''O Mamoeiro'' ("The Papaya Tree") and ''A Negra'' ("The Black Woman").
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors and non-standard aesthetic, but it overall had more focus on abstract themes than on daily activities, such as Tarsila's dreams and childhood memories and more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors and non-standard aesthetic, but it overall had more focus on abstract themes than on daily activities, such as Tarsila's dreams and childhood memories and more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
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* Pau-Brasil phase (1924 - 1928): Characterized by the use of strong, cheerful cheerful, and vibrant colors, focusing on portraying national themes, day-to-day activities, holidays holidays, and landscapes. The Pau-Brasil movement, as argued by Oswald, defended that Brazilian art should stop being a product of European importation and start being a product of exportation, much like brazilwood (Pau-Brasil) was the first Brazilian product to be exported in the start of Portuguese colonization. Some of the most famous paintings of this phase are ''A Cuca'' ("The Cuca"), ''O Pescador'' ("The Fisherman"), ''O Mamoeiro'' ("The Papaya Tree") and ''A Negra'' ("The Black Woman").
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phasekept maintained the vibrant colors and non-standard aesthetic, but it overall had more focus primarily focused on abstract themes rather than on daily activities, such as it delved into Tarsila's dreams and dreams, childhood memories memories, and incorporated more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phase
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* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical and politically engaged way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's following UsefulNotes/TheGreatDepression, especially in UsefulNotes/SaoPaulo. They have a somewhat darker tone that Amaral's previous colorful and lively workpieces. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
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* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical and politically engaged way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's following UsefulNotes/TheGreatDepression, TheGreatDepression, especially in UsefulNotes/SaoPaulo. They have a somewhat darker tone that Amaral's previous colorful and lively workpieces. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Abaporu'', one of the most recognizable and important Brazilian paintings. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Abaporu'', ''Art/{{Abaporu}}'', one of the most recognizable and important paintings in Brazilian paintings.History. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
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* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors, but it overall had more focus on abstract themes, such as Tarsila's dreams and childhood memories and more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's, especially in UsefulNotes/SaoPaulo. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's, especially in UsefulNotes/SaoPaulo. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
to:
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's own cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors, colors and non-standard aesthetic, but it overall had more focus on abstract themes, themes than on daily activities, such as Tarsila's dreams and childhood memories and more surrealistic imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical and politically engaged way, denoucing the adversities, inequality and struggles from Brazil's social context in the1930's, 1930's following UsefulNotes/TheGreatDepression, especially in UsefulNotes/SaoPaulo.UsefulNotes/SaoPaulo. They have a somewhat darker tone that Amaral's previous colorful and lively workpieces. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical and politically engaged way, denoucing the adversities, inequality and struggles from Brazil's social context in the
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* {{Surrealism}}: Tarsila's Modernism was influenced by several European Vanguards, including this movement. This is most noticeable in the Anthropophagic Phase, which focused more on abstract themes.
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Despite being better known for her modernist paintings, Tarsila also made several realistic and more traditional works, such as ''[[https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRoUxTXAu_KTU-HPOjqG2SIQ2VbsXIc5M_BVqGc0XeKxkjk2C1S9GrzpQOu&s=10 Sagrado Coração de Jesus]]'' (''Sacred Heart of Jesus'', 1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921). While
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Despite being better known for her modernist paintings, Tarsila also made several realistic and more traditional works, such as ''[[https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRoUxTXAu_KTU-HPOjqG2SIQ2VbsXIc5M_BVqGc0XeKxkjk2C1S9GrzpQOu&s=10 Sagrado Coração de Jesus]]'' (''Sacred Heart of Jesus'', 1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921). While
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Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Abaporu'', one of the most recognizable and important Brazilian paintings. She is considered to be one of the most famous and important Brazilian artists from the 20th century and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to bring those artistic styles to Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against rigorous aesthetic traditionalism. Her works often have tropical and vibrant colors, sometimes relating to the Brazilian flag (green, yellow and blue), and with irreverent and non-standard styles. She created more than 270 paintings, most of which can be divided into three phases:
* Pau-Brasil phase (1924 - 1928): Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, day-to-day activities, holidays and landscapes. The Pau-Brasil movement, as argued by Oswald, defended that Brazilian art should stop being a product of European importation and start being a product of exportation, much like brazilwood (Pau-Brasil) was the first Brazilian product to be exported in the start of Portuguese colonization.
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors, but it overall had more focus on abstract themes, such as her dreams, childhood memories and more surrealistic artworks.
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's, especially in UsefulNotes/SaoPaulo.
Despite being better known for her modernist paintings, Tarsila also made several realistic and more traditional works, such as ''[[https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRoUxTXAu_KTU-HPOjqG2SIQ2VbsXIc5M_BVqGc0XeKxkjk2C1S9GrzpQOu&s=10 Sagrado Coração de Jesus]]'' (''Sacred Heart of Jesus'', 1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921).
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to bring those artistic styles to Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against rigorous aesthetic traditionalism. Her works often have tropical and vibrant colors, sometimes relating to the Brazilian flag (green, yellow and blue), and with irreverent and non-standard styles. She created more than 270 paintings, most of which can be divided into three phases:
* Pau-Brasil phase (1924 - 1928): Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, day-to-day activities, holidays and landscapes. The Pau-Brasil movement, as argued by Oswald, defended that Brazilian art should stop being a product of European importation and start being a product of exportation, much like brazilwood (Pau-Brasil) was the first Brazilian product to be exported in the start of Portuguese colonization.
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors, but it overall had more focus on abstract themes, such as her dreams, childhood memories and more surrealistic artworks.
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's, especially in UsefulNotes/SaoPaulo.
Despite being better known for her modernist paintings, Tarsila also made several realistic and more traditional works, such as ''[[https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRoUxTXAu_KTU-HPOjqG2SIQ2VbsXIc5M_BVqGc0XeKxkjk2C1S9GrzpQOu&s=10 Sagrado Coração de Jesus]]'' (''Sacred Heart of Jesus'', 1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921).
to:
Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator most well-known for creating ''Abaporu'', one of the most recognizable and important Brazilian paintings. She is considered to be one of the most famous and important Brazilian and Latin-American artists from the 20th century and one of the [[TropeCodifier most important influences and consolidations]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who together were called "the group of five".
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to bring those artistic styles to Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against rigorous aesthetictraditionalism. traditionalism from Europe. Her works often have tropical and vibrant colors, sometimes relating to the Brazilian flag (green, yellow and blue), and with irreverent and non-standard styles. She created more than 270 paintings, most of which can be divided into three phases:
* Pau-Brasil phase (1924 - 1928): Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, day-to-day activities, holidays and landscapes. The Pau-Brasil movement, as argued by Oswald, defended that Brazilian art should stop being a product of European importation and start being a product of exportation, much like brazilwood (Pau-Brasil) was the first Brazilian product to be exported in the start of Portuguesecolonization.
colonization. Some of the most famous paintings of this phase are ''A Cuca'' ("The Cuca"), ''O Pescador'' ("The Fisherman"), ''O Mamoeiro'' ("The Papaya Tree") and ''A Negra'' ("The Black Woman").
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors, but it overall had more focus on abstract themes, such asher dreams, Tarsila's dreams and childhood memories and more surrealistic artworks.
imagery. Besides the ''Abaporu'', some of the most famous artworks of this age are ''O Ovo'' ("The Egg") and ''Antropofagia'' ("Anthropophagy").
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's, especially inUsefulNotes/SaoPaulo.
UsefulNotes/SaoPaulo. The most notorious paintings of this phase include ''Segunda Classe'' ("Second Class"), ''Costureiras'' ("Seamstresses") and ''Operários'' ("Factory Workers").
Despite being better known for her modernist paintings, Tarsila also made several realistic and more traditional works, such as ''[[https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRoUxTXAu_KTU-HPOjqG2SIQ2VbsXIc5M_BVqGc0XeKxkjk2C1S9GrzpQOu&s=10 Sagrado Coração de Jesus]]'' (''Sacred Heart of Jesus'', 1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921). While
Inspired by the European Vanguards (such as cubism, {{surrealism}}, futurism, expressionism etc.), Tarsila and other modernist painters intended to bring those artistic styles to Brazil's own cultural and historical perspectives, focusing on nationalism, valorization of Brazilian popular culture, regionalism and folklore, aesthetic freedom, and social criticism, standing against rigorous aesthetic
* Pau-Brasil phase (1924 - 1928): Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, day-to-day activities, holidays and landscapes. The Pau-Brasil movement, as argued by Oswald, defended that Brazilian art should stop being a product of European importation and start being a product of exportation, much like brazilwood (Pau-Brasil) was the first Brazilian product to be exported in the start of Portuguese
* Anthropophagic phase (1928 - 1930): Inspired by the European Vanguards, it started after she created her most famous painting ''Abaporu'' in 1928, which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's cultural reality, including aesthetics related to Indigenous and African cultures. This phase kept the vibrant colors, but it overall had more focus on abstract themes, such as
* Social Painting Phase (1933): Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing the adversities, inequality and struggles from Brazil's social context in the 1930's, especially in
Despite being better known for her modernist paintings, Tarsila also made several realistic and more traditional works, such as ''[[https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcRoUxTXAu_KTU-HPOjqG2SIQ2VbsXIc5M_BVqGc0XeKxkjk2C1S9GrzpQOu&s=10 Sagrado Coração de Jesus]]'' (''Sacred Heart of Jesus'', 1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921). While
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* EarlyInstallmentWeirdness: Tarsila's first paintings, between 1904 and 1922, were drastically different from the style she is known for, with more traditional, realistic, and formal artworks; it was only in 1923 that she adhered Modernism with ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/inicio-do-cubismo-tarsila-do-amaral-3-814x1024.jpg A Negra]]'' (The Black Woman) and adopted her instantly recognizable artstyle. That said, she never really stopped making portraits, like ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-8-829x1024.jpg Beatriz with the dog]]'' in 1940 and ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-6-775x1024.jpg Portrait of Luís Martins]]'' by 1937.
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* EarlyInstallmentWeirdness: Tarsila's first paintings, between 1904 and 1922, were drastically different from the style she is known for, with more traditional, realistic, and formal artworks; it was only in 1923 that she adhered Modernism with ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/inicio-do-cubismo-tarsila-do-amaral-3-814x1024.jpg A Negra]]'' (The Black Woman) and adopted her instantly recognizable artstyle. That said, she never really stopped making traditional portraits, like ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-8-829x1024.jpg Beatriz with the dog]]'' in 1940 and ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/dos-30-aos50-tarsila-do-amaral-6-775x1024.jpg Portrait of Luís Martins]]'' by 1937.
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* SliceOfLife: Several of her paintings, such as ''The Fisherman'', ''Hill of the Favela'', ''Carnival in Madureira'' etc. depict mundane events from Brazil's day-to-day life from an idyllic point of view.
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* SliceOfLife: Several of her paintings, such as ''The Fisherman'', ''Hill of the Favela'', ''Carnival in Madureira'' etc. depict mundane events from Brazil's day-to-day life from an idyllic point of view.view, especially in the countryside.
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!!Works by Tarsila on TV Tropes:
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!! Do Amaral's artworks:
