塔尔西拉·杜阿马拉尔

Tarsila de Aguiar do Amaral (Portuguese pronunciation: [taʁˈsilɐ du ɐmaˈɾaw]; 1 September 1886 – 17 January 1973) was a Brazilian painter, draftswoman, and translator. She is considered one of the leading Latin American modernist artists, and is regarded as the painter who best achieved Brazilian aspirations for nationalistic expression in a modern style. As a member of the Grupo dos Cinco, Tarsila is also considered a major influence in the modern art movement in Brazil, alongside Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade. She was instrumental in the formation of the aesthetic movement, Antropofagia (1928–1929); in fact, Tarsila was the one with her celebrated painting, Abaporu, who inspired Oswald de Andrade's famous Manifesto Antropófago.

Early life and education

Tarsila do Amaral was born in Capivari, a small town in the countryside of the state of São Paulo. She was born to a wealthy family of farmers and landowners who grew coffee, two years before the end of slavery in Brazil. At that time in Brazil women were not encouraged to seek higher education, especially if they came from affluent families. Despite coming from an upper class family, Tarsila had her family's support in obtaining higher education. As a teenager, Tarsila and her parents traveled to Spain, where Tarsila caught people's eyes by drawing and painting copies of the artwork she saw at her school's archives. Tarsila attended school in Barcelona, and later trained privately in her hometown under painter Pedro Alexandrino Borges (1864-1942). She also attended the Académie Julian in Paris and studied with other prominent artists (1920-1923).

Career

Beginning in 1916, Tarsila do Amaral studied painting in São Paulo. Later she studied drawing and painting with the academic painter Pedro Alexandrino. These were all respected but conservative teachers. Because Sao Paulo lacked a public art museum or significant commercial gallery until after World War II, the Brazilian art world was aesthetically conservative and exposure to international trends was limited.

It is believed that around this time (1913-1920) Amaral composed a song in A minor for voice and piano named "Rondo D'Amour". The song remained unknown until November 2021, when its sheet music was discovered at her grandniece's house in Campinas. On 25 January 2022, the song was recorded at the theater of the School of Music of the Federal University of Rio Grande do Norte by three professors of the institution: pianist Durval Cesetti, soprano Elke Riedel and tenor Kaio Morais.

Brazilian modernism

Returning to São Paulo from Paris in 1922, Tarsila was exposed to many things after meeting Anita Malfatti, Oswald de Andrade, Mário de Andrade, and Menotti Del Picchia. These fellow artists formed a group that was named the Grupo dos Cinco. Prior to her arrival in São Paulo from Europe, the group had organized the Semana de Arte Moderna ("Modern Art Week") during the week of February 11–18, 1922. The event was pivotal in the development of modernism in Brazil. The participants were interested in changing the conservative artistic establishment in Brazil by encouraging a distinctive mode of modern art. Tarsila was asked to join the movement and together they became the Grupo dos Cinco, which sought to promote Brazilian culture, the use of styles that were not specifically European, and the inclusion of things that were indigenous to Brazil.

During a brief return to Paris in 1929, Tarsila was exposed to Cubism, Futurism, and Expressionism while studying with André Lhote, Fernand Léger, and Albert Gleizes. European artists in general had developed a great interest in African and primitive cultures for inspiration. This led Tarsila to utilize her own country's indigenous forms while incorporating the modern styles she had studied. While in Paris at this time, she painted one of her most famous works, A Negra (1923). The principal subject matter of the painting is a large figure of a black woman with a single prominent breast. Tarsila stylized the figure and flattened the space, filling in the background with geometric forms.

Excited about her newly developed style and feeling ever more nationalistic, she wrote to her family in April 1923:

I feel myself ever more Brazilian. I want to be the painter of my country. How grateful I am for having spent all my childhood on the farm. The memories of these times have become precious for me. I want, in art, to be the little girl from São Bernardo, playing with straw dolls, like in the last picture I am working on…. Don't think that this tendency is viewed negatively here. On the contrary. What they want here is that each one brings the contribution of their own country. This explains the success of the Russian ballet, Japanese graphics and black music. Paris had had enough of Parisian art.

Pau-Brasil period

Tarsila spent much of 1923 in Europe with poet Oswald de Andrade. Upon returning to Brazil in December 1923, Tarsila and Andrade then traveled throughout Brazil to find inspiration for their nationalistic art in folk religion and popular ritual. In March 1924, they spent Carnaval in Rio de Janeiro, and in April 1924, they traveled to baroque mining towns in Minas Gerais during Holy Week as part of the "caravana modernista" (modernist caravan). During this period, Tarsila made drawings of the various places they visited, which became the basis for many of her upcoming paintings. Paintings created during this period include São Paulo (1924), Morro de Favela (1924), and Lagoa Santa (1925).

She also illustrated the poetry that Andrade wrote during their travels, including his pivotal book of poems entitled Pau Brasil, published in 1924. In the manifesto of the same name, Andrade emphasized that Brazilian culture was a product of importing European culture and called artists to create works that were uniquely Brazilian in order to "export" Brazilian culture, much like the wood of the Brazil tree had become an important export to the rest of the world. In addition, he challenged artists to use a modernist approach in their art, a goal they had strived for during the Semana de Arte Moderna in São Paulo. In works by both Andrade and Tarsila, the Pau-Brasil movement was a concept that sought to establish a modern art particular to Brazil.

原文较长，这里只摘了前面一部分，摘自英文维基百科「Tarsila do Amaral」（暂时没有中文条目，下面是英文原文），按 CC BY-SA 4.0 使用，去掉了参考文献、外部链接等尾部小节和表格，其余文字未作改动。