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.
Tarsila's self-portraits, part II: the “Achiropita” image
After analyzing Tarsila do Amaral's first self-portraits, the critic Tadeu Chiarelli publishes a text in which he talks about a second period of the artist's work, in which her portraits abandon the reference to the Spanish "paquitas" and start to dialogue with sumptuous images of the Catholic tradition.
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.
A centenary passing in white clouds
A look at the friendship between Ismael Nery and Murilo Mendes, which began in 1921, demonstrates that there is still much to be studied and written about the particular development of surrealism in Brazil.
“Do you think the Portuguese are white?” “Afro-Brazilian” art as construction
“Taking into account the level of its historiographical and critical reach, I understood that I was facing one of the main events in the field of art history in Brazil in recent years”, writes Tadeu Chiarelli about "Afro-Brazilian Art: Altos e Baixos de a concept”, book by Renato Araújo da Silva; read the review and access the work
Artists of African descent in Brazilian art: presence/absence?
In a new text in his column, the critic and curator Tadeu Chiarelli focuses on the virtual absence of black artists in the hegemonic history of art in Brazil, especially from the second half of the XNUMXth century onwards.
Photography and modernity in the cloudy mirror of literature. Brazil, XNUMXth century XIX
Based on the work of important authors of the period, Tadeu Chiarelli highlights references to photography in the novels and how they reflect the contradictions of a country in which slavery and explicit signs of modernity coexisted.
Something happens in my heart: the images of São Paulo
The critic and curator Tadeu Chiarelli analyses, based on the work "Don't enter the left", by Maurício Nogueira Lima, the representation of the city of São Paulo made in photographs and paintings at different times of the XNUMXth century
To Nelson or the Perils of Interpretive Fury
Six months after Nelson Leirner's death, critic Tadeu Chiarelli discusses one of the artist's main works and his unavoidable presence in the country's art scene
The former MAM, the MAC USP and the ex-banker's collection
Former director of MAC USP, Tadeu Chiarelli draws in his column a parallel between the creation of the museum, in 1963, from the donation of the collection of the former MAM-SP, and the recent period in which the museum was responsible for guarding the Collection Santos Bank
