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BACON AND MÁRIO DE ANDRADE AT MASP: A WEIRD ENCOUNTER | Part two

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 the MASP basement to visit it, I was eager to see some of them again...
"The Raising of Lazarus" (1928), by Anita Malfatti. Courtesy: São Paulo Museum of Sacred Art

“I’m sorry, Anita dear”

In September 1928, back in São Paulo after five years in Paris, Anita Malfatti came across the city's cultural stagnation. Deceitful doldrums, so to speak, similar to that which also seemed to prevail there in...

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
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Notes on the Group of Five: a hint of melancholy in the centenary of the Week

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 it, the artist, in addition to portraying herself lying on...
segall

Segall and Picasso; allegory and decisive moment; painting and photography

In view of the discussions on modernism and the Modern Art Week of 1922, an issue that remains outside the debate concerns the use that painters of modernism made of...
tarsilla

Tarsila's self-portraits, part III: the various resignifications of a matrix image...

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.
tarsilla

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.

Exhibition celebrates 50 years of Edson Queiroz Foundation with old and contemporary works

What do the works of Salvador Dalí and Xico Stockinger have in common? What criteria would unite the works of Adriana Varejão and Sérgio Helle? In what context the paintings of Vicente Leite and...

Aracy Amaral: a researcher driven by curiosity and rigor

A keen observer of the cultural scene since the 1950s, critic, researcher and art historian Aracy Amaral talks about her training, trajectory and the challenge of curating in times of a pandemic