Tarsila do Amaral’s 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.
Enjoy free shipping on all UK orders above £50. For orders below £50, shipping is £4.95. We aim to deliver your order within 3-5 working days.
International Delivery
Shipping costs will be calculated at checkout, based on weight and destination.
For all orders outside the UK, VAT is deducted from your order at checkout. Your order may be subject to customs duties, taxes and courier charges. You are responsible for paying these charges. Please check with your local customs office for more information.
Temporary Suspension of Shipping to EU, EEA and Northern Ireland
We have temporarily halted shipping to EU, EEA and Northern Ireland due to the new GPSR regulationswhich came into effect on December 13, 2024. We are actively working on a solution to resume shipping to these regions as soon as possible. We sincerely apologise for any inconvenience this may cause.
Tarsila do Amaral was one of the leading figures in defining a Brazilian modernist tradition. Hers is one of many cases illustrating the centrality of women artists in modernizing art movements throughout Latin America. Decades later, the influence of the Anthropophagic movement was rediscovered, celebrated, and restored by a generation of artists working in Brazil in the 1960s, notably those associated with the Tropicália movement, including the musician Caetano Veloso, who acknowledged that “the idea of cultural cannibalism served us, tropicalists, like a glove.”
https://shop.royalacademy.org.uk/tarsila-do-amaral-the-moon66050Tarsila do Amaral: The Moonhttps://shop.royalacademy.org.uk/media/catalog/product/1/2/12096010---the-moon---1200x1200px---_c_-n.jpg14.9514.95GBPOutOfStock/Books/All Books/Edits/Exhibitions/Brasil! Brasil! The Birth of Modernism26285112224361490<p>Tarsila do Amaral’s painting <em><span class="a-text-italic">The Moon</span></em> (1928), a highly stylized, desolate nocturne, grew from the artist’s desire to create a new national form of expression for Brazil. In <span class="a-text-italic">The Moon</span> 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.</p>
<p>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.</p> <style>#html-body [data-pb-style=MABT3LD]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}</style><div data-content-type="row" data-appearance="contained" data-element="main"><div data-enable-parallax="0" data-parallax-speed="0.5" data-background-images="{}" data-background-type="image" data-video-loop="true" data-video-play-only-visible="true" data-video-lazy-load="true" data-video-fallback-src="" data-element="inner" data-pb-style="MABT3LD"><div data-content-type="text" data-appearance="default" data-element="main"><p>Tarsila do Amaral was one of the leading figures in defining a Brazilian modernist tradition. Hers is one of many cases illustrating the centrality of women artists in modernizing art movements throughout Latin America. Decades later, the influence of the Anthropophagic movement was rediscovered, celebrated, and restored by a generation of artists working in Brazil in the 1960s, notably those associated with the Tropicália movement, including the musician Caetano Veloso, who acknowledged that “the idea of cultural cannibalism served us, <em>tropicalists</em>, like a glove.”</p></div></div></div>00add-to-cartstore_type:ShopShopPaperback0.204 x 0.6 x 18.5cm978163345135348No
