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Tarsila Do Amaral
An exploration of the innovative, quintessentially Brazilian painter who merged modernism with the brilliant energy and culture of her homeland Tarsila do Amaral (1886-1973) was a central figure at the genesis of modern art in her native Brazil, and her influence reverberates throughout 20th- and 21st-century art. Although relatively little-known outside Latin America, her work deserves to be understood and admired by a wide contemporary audience. This publication establishes her rich background in European modernism, which included associations in Paris with artists Fernand Léger and Constantin Brancusi, dealer Ambroise Vollard, and poet Blaise Cendrars. Tarsila (as she is known affectiona...
Tarsila Do Amaral: the Moon
How Tarsila do Amaral forged the beginnings of a unique modernist vocabulary in Brazil Tarsila do Amaral's (1886-1973) painting The Moon (1928), a highly stylized, desolate nocturne, grew from the artist's desire to create a new national form of expression for Brazil. In The Moon and other paintings of the late 1920s, do Amaral successfully "cannibalized" modern European painting and Brazilian popular culture and Indigenous lore to transform them into something new. In this volume of the MoMA One on One series, curator Beverly Adams investigates do Amaral's unique negotiation of her Brazilian identity and the contemporary innovations of Europe, a balancing act on which she built a modern art for her country.
Tarsila, sua obra e seu tempo
Compõe a história completa da artista, figura central da pintura brasileira, que se confunde com a própria história do Modernismo no Brasil. Destaca, particularmente, a década de 1920.
Correspondência Mário de Andrade & Tarsila do Amaral
Reúne a correspondência trocada entre o escritor Mário de Andrade e a artista plástica Tarsila do Amaral, entre 1922 e 1940.
Tarsila Do Amaral
.".. se publica con motivo de la exposiciaon Tarsila do Amaral, Fundaciaon Juan March, Madrid, Del 6 de febrero al 3 de mayo de 2009"--P. 286.
Comintern Aesthetics
Comintern Aesthetics shows how the cultural and political networks emerging from the Comintern have continued, even after its demise in 1943.
Transatlantic Encounters
Paris was the artistic capital of the world in the 1920s and '30s, providing a home and community for the French and international avant-garde. Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquin Torres-Garcia). Yet their participation in the Paris art scene has remained largely overlooked until now. This book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists. Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity.
Tarsila cronista
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Tuneu, Tarsila e outros mestres--
O livro é um relato em que muitas questões são levantadas com relação à arte e ao ensino da arte, começando com o fascínio por histórias e pelo desenho. Também passa por questões relativas ao aprendizado da arte, por como se dá a iniciação artística e como a relação mestre-discípulo propicia essa iniciação, por intermédio do depoimento de extrema lucidez do artista plástico Tuneu.
Cannibalizing Modernism
The most comprehensive exhibition catalog dedicated to the work of Brazilian artist Tarsila do Amaral (1886-1973), a pioneering figure in Latin American modernism. The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and pl...
