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.
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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 18.5cm978163345135348Yes
