巴西画家阿马拉儿(Tarsila do Amaral)
艺术家: 巴西画家阿马拉儿
生于: 1886年9月01日；Capivari，巴西
卒于: 1973年1月17日；圣保罗，巴西
国籍: 巴西
流派: 现代主义
领域: 绘画
老师: 费尔南德·莱热
机构: 学院朱利安，巴黎，法国
塔西拉·杜·阿玛拉尔，也简称塔西拉，被认为是拉丁美洲现代主义艺术家中的佼佼者，被描述为“巴西画家”，他以现代风格实现了巴西民族主义表达的最佳愿望。os Cinco（五国集团），包括Anita Malfatti、Menotti Del Picchia、M&225;rio de Andrade和Oswald de Andrade。
Tarsila出生于首都，是巴西S& o Paulo内陆的一部分。她的家庭和39的地位为她提供了特权。虽然有特权的女性不期望接受高等教育，但她的父母支持她的教育和艺术追求。在她十几岁的时候，塔西拉和她的家人去了巴塞罗那，她在那里上学，并且首先通过复制学校收藏品中的图像来展示她对艺术的兴趣。
1916年开始，塔西拉学习雕塑、绘画和绘画。巴西的艺术界很保守，去欧洲旅游为学生提供了艺术、文化和社会方面的更广泛的教育。此时，她的影响力和艺术仍然很保守。
1922年回到圣保罗，塔西拉在遇到安妮塔·马尔法蒂、奥斯瓦尔德·德·安德拉德、M&里奥·德·德安德拉德和梅诺蒂·德尔·皮基亚后暴露了很多东西。在她从欧洲来到圣保罗之前，该组织在1922年2月11日至18日的一周组织了现代艺术研讨会。这一事件是巴西现代主义发展的关键。与会者有兴趣通过鼓励一种独特的现代艺术模式来改变巴西的保守派艺术机构。塔西拉被要求加入这个运动，他们一起成为Grupo dos Cinco，它寻求促进巴西文化，使用非特定于欧洲的风格，以及包括巴西本土的东西。
在1923年短暂返回巴黎期间，塔西拉瓦在与安德&Lhote、费尔南多·L&ger和阿尔伯特·格莱泽一起学习的同时接触到立体主义、未来主义和表现主义。欧洲艺术家普遍对非洲和原始文化产生了极大的兴趣。这导致塔西拉利用她自己的国家和39的土著形式，同时融入了她研究的现代风格。在巴黎的时候，她画了一幅她最著名的作品，一个尼格拉（1923）。这幅画的主要主题是一个巨大的黑人女性形象，有一个突出的乳房。塔西拉使图案风格化，空间扁平化，在背景中以几何形式填充。
1923年底回到巴西后，塔西拉和奥斯瓦尔德·德·安德拉德在巴西四处游历，探索当地文化的多样性，并为他们的民族寻找灵感。主义艺术。她还举例说明了安德拉德在旅途中写的诗，包括他1924年出版的诗集《保罗·巴西》。在同名的宣言中，安德拉德强调巴西文化是引进欧洲文化的产物，并呼吁艺术家们创作出独特的巴西作品，以便“出口”巴西文化，就像巴西树木的木材已经变成了垃圾。出口到世界其他地区。此外，他还向艺术家们提出挑战，要求他们在艺术中运用现代主义手法。
后来，她吸收了超现实主义的影响，有时还融入了社会主题。
Artist :Tarsila do Amaral
Additional Name :Tarsila do Amaral
Born : Capivari, Brazil
Died : São Paulo, Brazil
Nationality :Brazilian
Art Movement :Modernismo
Teachers :fernand-leger
Art institution :Académie Julian, Paris, France
Tarsila do Amaral, also known simply as Tarsila, is considered to be one of the leading Latin American modernist artists, described as "the Brazilian painter who best achieved Brazilian aspirations for nationalistic expression in a modern style." She was a member of the Grupo dos Cinco (Group of Five), which included Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade.
Tarsila was born in the city of Capivari, part of the interior of São Paulo, Brazil, to a wealthy family who were coffee growers and landowners. Her family's position provided her a life of privilege. Although women of privilege were not expected to seek higher education, her parents supported her educational and artistic pursuits. During her teens, Tarsila and her family traveled to Barcelona, where she attended school and first exhibited her interest in art by copying images seen in the school's collections.
Beginning in 1916, Tarsila studied sculpture, drawing and painting. The Brazilian art world was conservative, and travels to Europe provided students with a broader education in the areas of art, culture, and society. At this time, her influences and art remained conservative.
Returning to São Paulo in 1922, Tarsila was exposed many things after meeting Anita Malfatti, Oswald de Andrade, Mário de Andrade, and Menotti Del Picchia. Prior to her arrival in São Paulo from Europe, the group had organized the Semana de Arte Moderna ("Week of Modern Art") 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 1923, 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 negroid female figure with a single prominent breast. Tarsila stylized the figure and flattened the space, filling in the background with geometric forms.
Upon returning to Brazil at the end of 1923, Tarsila and Oswald de Andrade then traveled throughout Brazil to explore the variety of indigenous culture, and to find inspiration for their nationalistic art. 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.
Later on, she incorporated Surrealist influences and, sometimes, social themes.
