Tarsila's Self-Portraits, Part I: The Spaniard
Bringing new perspectives to the debate on São Paulo's modernism, Tadeu Chiarelli discusses the first self-portraits by Tarsila do Amaral that, until now, have not received due attention.
Notes on the Group of Five: a hint of melancholy in the...
Group of Five is a drawing that Anita Malfatti produced in the second half of 1922, a few months after the Modern Art Week. In him,...
Eleonore Koch stages the painting
I discovered Eleonore Koch's work at the beginning of this century and, in the 2010s, the opportunity arose to organize an exhibition about her...
About the works and their titles
One day someone should write a book, or even an article, about the titles of works of art. To know if those, for whom today...
The pantheon of São Paulo's immortals: tropical delirium in the Patio...
In the context of the debate on controversial monuments in public squares, the article by Tadeu Chiarelli presents Adolfo A. Pinto's extravagant idea of building a Civic Center in downtown São Paulo to honor the old and “new” pioneers.
Segall and Picasso; allegory and decisive moment; painting and photography
In view of the discussions on modernism and the 1922 Modern Art Week, an issue that remains outside the debate is...
The modernist lady?
Which led me to read the entire biographical novel by Luiza Lobo, Fábrica de Lies: from Vale do Café to Arco...
BACON AND MÁRIO DE ANDRADE AT MASP: A WEIRD ENCOUNTER |...
PART TWO Because of the Mário de Andrade exhibition. Two Lives was conceived based on the works collected by the critic, when I went down to...
Tarsila's self-portraits, part III: the various resignifications of a...
The critic and columnist of arte!brasileiros Tadeu Chiarelli concludes his series of articles on Tarsila do Amaral’s self-portraits by analyzing these images that would become icons of the artist’s production and, ultimately, of São Paulo’s modernism.
Anthropophagy versus modernism
In the contrast between the two movements, it is important to recover the debate around the visual arts and the memory of Oswaldo Costa, an important critic of culture and art in the second half of the 20s, in São Paulo
