History Creator / TarsilaDoAmaral

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 with 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:

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), ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (''Self-Portrait with Red Scarf'', 1921) and ''[[https://tarsiladoamaral.com.br/base2022/wp-content/uploads/2020/07/primeiros-anos-tarsila-do-amaral-18.jpg Natureza Morta'' (''Still Life'', 1918).

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 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 with the Brazilian flag (green, yellow and blue), and with irreverent and non-standard styles. She created more than 270 paintings, which can be divided into three phases:
* Pau-Brasil phase: Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, activities 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: Inspired by the European Vanguards like cubism and surrealism, 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.
* Social Painting Phase: Focused on portraying day-to-day life and social themes of the country in a critical way, denoucing 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).

* DarkerAndEdgier: Tarsila's paintings started with vibrant and cheerful colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes present a more somber tone, having darker, grayer and less intense colors, like ''[[https://arteeartistas.com.br/wp-content/uploads/2017/05/Segunda-Classe-Fase-Social-da-Tarsila.jpg Segunda Classe]]'' (''Second Class'', 1933), and critically portraying the reality of many Brazilians in the context of industrialization and rural exodus.
* EarlyInstallmentWeirdness: Tarsila's first paintings were quite different from the style she is recognized for, with more traditional, realistic and formal artworks; it was only in 1923, 19 years after her first painting, that she became part of Modernism by painting ''A Negra'' (The Black Woman) and adopted her instantly recognizable artstyle.

-->--'''Tarsila do Amaral'''

* DarkerAndEdgier: Tarsila's paintings started with vibrant and cheerful colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes present a more somber tone, having darker, grayer and less intense colors, like ''[[https://arteeartistas.com.br/wp-content/uploads/2017/05/Segunda-Classe-Fase-Social-da-Tarsila.jpg Segunda Classe]]'' (''Second Class'', 1933), and critically portraying the reality of many Brazilians in the context of industrializarion and rural exodus.

* InNameOnly: The central being in The Cuca doesn't have much resemblance to how the Cuca from Myth/BrazilianFolklore is sometimes described [[note]]though it should be noticed that the Cuca doesn't have a fixed appearance beyond being an old witch, with its most famous portrayal as having an alligator's head coming from Monteiro Lobato's books, Literature/SitioDoPicapauAmarelo[[/note]].

* DarkerAndEdgier: Tarsila's paintings started with vibrant and cheerful colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes present a more somber tone, having darker, grayer and less intense colors, like ''[[https://arteeartistas.com.br/wp-content/uploads/2017/05/Segunda-Classe-Fase-Social-da-Tarsila.jpg Segunda Classe]]'' (''Second Class'', 1933), and critically portraying the reality of many Brazilians caused by peoblems such as industrialization and rural exodus.

Tarsila de Aguiar do Amaral (September 1st, 1886 — January 17th, 1973) was a Brazilian Modernist painter, drawer and translator. 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 were called "the group of five".

* Pau-Brasil phase: Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, activities 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.
* Anthropophagic phase: Inspired by the European Vanguards, it started after she created ''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.
* Social Painting Phase: Focused on portraying day-to-day life and social themes of the country, denoucing and criticizing adversities 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]]'' (1904) and ''[[https://artebrasileiros.com.br/wp-content/uploads/2021/05/Autorretrato-com-lenco-vermelho.png Autorretrato com lenço vermelho]]'' (1921).

* CastOfSnowflakes: ''[[https://upload.wikimedia.org/wikipedia/pt/1/16/Operarios.jpg Operários]]'' (Workers) shows several people of different ethnicities outside of a factory, each one with unique facial features.
* DarkerAndEdgier: Tarsila's paintings started with vibrant and cheerful colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes present a more somber tone, having darker, grayer and less intense colors and critically portraying the reality of many Brazilians, such as industrialization and rural exodus.
* HolyHalo: ''Sagrado Coração de Jesus'' (Sacred Heart of Jesus) portrays Jesus Christ with a halo on His head.

* InNameOnly: The central being in The Cuca doesn't have much resemblance to how the Cuca from Myth/BrazilianFolklore is sometimes described (though it should be noticed that the Cuca doesn't have a fixed appearance beyond being an old witch, with its most famous portrayal as having an alligator's head coming from Monteiro Lobato's books, Literature/SitioDoPicapauAmarelo).

Tarsila de Aguiar do Amaral (September 1st, 1886 - January 17th, 1973) was a Brazilian Modernist painter, drawer and translator. 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 were called "the group of five".

* HolyHalo: ''[[https://static.todamateria.com.br/upload/co/ra/coracaodejesustarsila.jpg?auto_optimize=low Sagrado Coração de Jesus]]'' (Sacred Heart of Jesus) portrays Jesus Christ with a halo on His head.

[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/tarsila.jpeg]]

* {{Anthropophagy}}: 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.

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 relating with the Brazilian flag (green, yellow and blue) and irreverent and non-standard styles. She created more than 270 paintings, which can be divided into three phases:
* Pau-Brasil phase: Characterized by the use of strong, cheerful and vibrant colors, focusing on national themes, practices 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.
* Anthropophagic phase: Inspired by the European Vanguards, it started after she created ''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.

* CastOfSnowflakes: ''[[https://upload.wikimedia.org/wikipedia/pt/1/16/Operarios.jpg Operários]]'' (Workers) shows several people of different ethnicities outside of a factory, each one with unique facial features
* DarkerAndEdgier: Tarsila's paintings started with vibrant and cheerful colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes present a more somber tone, having darker and less intense colors and portraying the reality of many Brazilians, such as industrialization and rural exodus.

* 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.

* Pau-Brasil phase: Characterized by the use of strong and vibrant colors, focusing on national themes, practices 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.

* Social Painting Phase: Focused on portraying day-to-day life and social themes of the country, denoucing and criticizing adversities and struggles from Brazil's social context in the 1930's.

* DarkerAndEdgier: Tarsila's paintings started with vibrant and happy colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes present a more somber tone, having darker and less intense colors and portraying the struggles of the reality of many Brazilians, such as factory workers and immigrants.

* CastOfSnowflakes: ''[[https://upload.wikimedia.org/wikipedia/pt/1/16/Operarios.jpg Operários]]'' (Workers) shows several people of different ethnicities outside of a factory, each one with unique facial features.

* SliceOfLife: Several of her paintings, like The Fisherman, depict mundane events from Brazil's day-to-day life.

Tarsila de Aguiar do Amaral (September 1st, 1886 - January 17th, 1973) was a UsefulNotes/{{Brazil}}ian Modernist painter, drawer and translator. 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]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who 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 relating with the colors of Brazil's flag (green, yellow and blue) and irreverent and non-standard styles. She created more than 270 paintings, which can be divided into three phases:

* Social Painting Phase: Focused on portraying day-to-day life and social themes of the country, denoucing the adversities and struggles during Brazil's social-context in the 1930's.

* CartoonCreature: When making ''A Cuca'' (The Cuca, a mythical [[ChildEater child-eating witch]] from Myth/BrazilianFolklore), Tarsila described the painting to her daughter as "a weird animal in the middle of the woods, with a frog, an armadillo and another invented animal".

* Anthropophagic phase: Inspired by the European Vanguards, it started after she made ''Abaporu'', which inspired the Anthropophagic Movement -- an artistic manifestation that intended to "digest" European styles and adapt them to Brazil's cultural reality.
* Social Painting Phase: Focused on portraying day-to-day life and social themes of the country, denoucing the adversities and struggles during Brazil's social-context in the 30's.

* HolyHalo: ''Sagrado Coração de Jesus'' (Sacred Heart of Jesus) portrays Jesus Christ with a halo on His head.

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 has strong and vibrant colors and irreverent and non-standard styles for the time. She created more than 270 paintings, which can be divided into three phases:
* Pau-Brasil phase: Characterized by the use of strong and vibrant colors, focusing on national themes. 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.

* Social Painting Phase: Focused on portraying day-to-day life and social themes of the country.

* CastOfSnowflakes: ''Operários'' (Workers) shows several people outside of a factory, each one with unique appearances and facial features.
* DarkerAndEdgier: Tarsila's paintings started with vibrant and happy colors that evoked childhood, portraying natural landscapes and colorful sightings, but some of her later works focusing on social themes have a more somber tone, having darker colors and portraying the struggles of the reality of many Brazilians, such as factory workers and immigrants.

* InNameOnly: The central being in The Cuca doesn't have any resemblance to how the Cuca from Myth/BrazilianFolklore is sometimes described (though it should be noticed that the Cuca doesn't have a fixed appearance beyond being an old witch, with its most famous portrayal as having an alligator's head coming from Monteiro Lobato's books, Literature/SitioDoPicapauAmarelo), said by Tarsila to be a "weird animal".
* SliceOfLife: Several of her paintings, like The Fisherman, depict mundane events from day-to-day life.

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. She created more than 270 paintings, which can be divided into three phases:

* InNameOnly: The central being in The Cuca doesn't have any resemblance to how the Cuca from Myth/BrazilianFolklore is sometimes described (though it should be noticed that the Cuca doesn't have a fixed appearance beyond being an old witch, with its most famous portrayal as having an alligator's head coming from Monteiro Lobato's books, Literature/SitioDoPicapauAmarelo), said by Tarsila to be a "weird animal".

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. She created more than 270 paintings, that can be divided into three phases:

* CastOfSnowFlakes: ''Operários'' (Workers) shows several people outside of a factory, each one with unique appearances and facial features.

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. She made more than 270 paintings, that can be divided in three phases:
* Pau-Brasil phase: Characterized by the use of strong and vibrant colors, focusing on national themes. The Pau-Brasil movement, as said 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 product of the country to be exported.

* HolyHalo: ''Sagrado Coração de Jesus'' (Sacred Heart of Jesus) portrays Jesus Christ with a halo on His head.
* InNameOnly: The central being in The Cuca doesn't have any resemblance to how the Cuca from Myth/BrazilianFolklore is sometimes described (though it should be noticed that the Cuca doesn't have a fixed appearance beyond being an old witch, with its most famous portrayal as having an alligator's head coming from Monteiro Lobato's books :iterature/SitioDoPicapauAmarelo), said by Tarsila to be a "weird animal".

* Pau-Brasil phase: Characterized by the use of strong and vibrant colors, focusing on national themes.

* CastOfSnowFlakes: ''Operários'' (Workers) shows several people next to a factory, each one with an unique appearance.

Tarsila de Aguiar do Amaral (September 1 1886 -- January 17 1973) was a UsefulNotes/{{Brazil}}ian Modernist painter, drawer and translator. 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]] of the first phase of Brazilian modernism, alongside Oswald de Andrade, Anita Malfatti, Mário de Andrade and Menotti del Pichia, who were called "the group of five".