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Tarsila do Amaral
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Tarsila do Amaral : ウィキペディア英語版
Tarsila do Amaral

Tarsila do Amaral, (September 1, 1886 – January 17, 1973), 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."〔Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004: 42.〕 She was a member of the "Grupo dos Cinco" (Group of Five), which was a group of five Brazilian artists who are considered the biggest influence in the modern art movement in Brazil. The other members of the "Grupo dos Cinco" are Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade. Tarsila was also instrumental in the formation of the Antropofagia Movement (1928-1929); she was in fact the one who inspired Oswald de Andrade's famous "Cannibal Manifesto".〔C. Jauregui "Antropofagia" https://www.academia.edu/6998258/Antropofagia_Cultural_cannibalism_〕
==Biography==
Tarsila do Amaral rata 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. Despite coming from a well-to-do family, Tarsila had her family's support towards superior education: at that time, women were not encouraged to seek higher education (especially if they came from rich families and had everything they needed). 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.〔Damian, Carol. Tarsila do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman's Art Journal 20.1 (1999): 3-7.〕
Beginning in 1916, Tarsila studied sculpture in São Paulo with Zadig and Montavani. Later she studied drawing and painting with the academic painter Pedro Alexandrino. These were all respected but conservative teachers.〔 In 1920, she moved to Paris and studied at the Académie Julian and with Emile Renard. 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.

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