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This catalogue and its Spanish edition are published on the occasion of t he exhibition

TARSILA DO AMARAL

FundaciÛn Juan March, Madrid

February 6 Ö May 3, 2009

4

ACKNOWLEDGEMENTS

The FundaciÛn Juan March wishes to express their gratitude to the following institutions and people that generously granted the loans that made this exhibition possible, as well as those who facilitated these loans through their negotiation and administration: Biblioteca JosÈ e Guita Mindlin, S"o Paulo: JosÈ Mindlin and Cristina Antunes; Centro Cultural S"o Paulo: Martin Grossmann, Isis Baldini Elias, Ana Roberta Alc'ntara, Vera M. Porto de Toledo Piza and Roseli Borelli Carvalho; FundaÁ"o Cultural Ema Gordon Klabin: Celso Lafer and Paulo de Freitas Costa; FundaÁ"o JosÈ e Paulina Nemirovsky: Maria Alice Milliet and Soraya Bataglia; Governo do Estado de S"o Paulo: Jo"o Sayad; Ana Cristina Carvalho and Alessandra Godano Chidi- quimo (Pal·cios do Governo); Instituto de Estudos Brasileiros USP: Ana Lucia Duarte Lanna and Bianca Dettino; Instituto Moreira Sal- les: Fl·vio Pinheiro, Sergio Burgi, Odette Vieira and Samuel Titan; Museu de Arte Contempor'nea USP: Lisbeth Rebollo GonÁalves, Helouise Costa, Paulo Roberto A Barbosa and Ana Maria Hoffmann; Museu de Arte BrasileiraÖFAAP, S"o Paulo: Maria Izabel Branco Ribeiro and Laura RodrÌguez; Museu de Arte Moderna da Bahia: Solange Farkas, Carolina C'mara, Aline Jabar, Joana Flores, Stella Carrozzo and Sandra Regina Jesus; Museu de Arte Moderna, Rio de Janeiro: Gilberto Chateaubriand, Reynaldo Roels Jr. and Claudia CalaÁa; Museu de Arte Moderna de S"o Paulo: Felipe Chaimovich, AndrÈs I. M. Hern·ndez and Ana Paula Montes; Museu Nacional de Bellas Artes, Rio de Janeiro: MÙnica F. Braunschweiger XexÈo, Pe- dro Martins C. XexÈo, Laura Abreu and Jane Ritter; Museus Castro Maya: Vera de Alencar and Glaucia Abreu; Pinacoteca do Estado de S"o Paulo: Marcelo Mattos Araujo, Regina Teixeira de Barros, Ma- ria Luiza Moraes and Natasha Barzaghi Geenen; MNCARS, Madrid: Manuel Borja-Villel, Soledad de Pablo, Victoria Fern·ndez-Layos and Carmen S·nchez GarcÌa; Museo de AmÈrica, Madrid: Paz Cabello Carro, ConcepciÛn GarcÌa S·iz, Ana Verde and Ana CastaÒo Lloris; Museo de AntropologÌa, Madrid: Pilar Romero de Tejada y Picatos- te, Javier Rodrigo del Blanco and Isabel Ortega Fern·ndez; Museo ThyssenÖBornemisza, Madrid: Carmen ThyssenÖBornemisza, Guil- lermo Solana, Sara MartÌnez-Sarandeses, Carolina GarcÌa Carmueja and Puriì caciÛn Ripio; Biblioteca Nacional, Madrid: Carmen LÌter Mayayo, MarÌa Luisa Cuenca, Sergio MartÌnez, Amalia JimÈnez, An- tonio S·nchez RodrÌguez, Pilar PÈrez Sacrist·n and Jes˙s RodrÌguez Izquierdo; Biblioteca Valenciana, Valencia: Francisca Cerd· Vara, Nuria Soler and M™ ¡ngeles MartÌnez; FundaciÛn Ortega y Gasset, Madrid: Enriqueta del Olmo and AscensiÛn UÒa; The State Hermi- tage Museum, Saint Petersburg: Mikhail B. Piotrovsky, Vladimir Ma- tveev, Anastasia Mikliaeva and Olga Ilmenkova; MusÈe de Grenoble: Guy Tosatto, Isabelle Varloteaux and Katia Blanchard; Centre natio- nal des arts plastiques, Fonds national dêart contemporain, Puteaux: Richard Lagrange, Claude Allemand-Cosneau and Benedicte Godin; and the Nationalmuseet, Copenhagen: Ulf Johannson Dahlarn, Bar-

bara Berlowicz, Inge Schjellerup and Morten Ryhl-Svendsen.We would also like to give thanks for the generous support and help of Luis Antonio de Almeida Braga; Rosanna Almeida; Jo"o Alves de QueirÛz Filho; Aracy Amaral; Tarsilinha do Amaral; Helena do Ama-ral Galv"o Bueno; Thales Estanislau do Amaral Sobrinho; Michele Behar; Evelyn Berg Ioschpe; Jones BergamÌn; Jean and GeneviËve Boghici; Juan Manuel Bonet; Augusto de Bueno Vidigal; Luciana Cavalheiro Fleischner; Joel Coelho de Souza; Fl·vio and Peter Cohn; Pedro Conde Filho; Fabio Coutinho; Felippe JosÈ Crescenti; Reynal-do Dabus Abucham; EAOÖEmprendimentos Agropecu·rios e Obras S/A, Salvador da Bahia; Sergio, Hecilda and Marta Fadel; Betty Fe-ffer; Priscila Freire; Luciana Freire Rangel; Anette Hoffmann; Breno Krasilchik; Paulo Kuczynski; Alessandra Labate Rosso (Expomus); Silvia Landa; F˙lvia Leirner; Gerard Loeb; Ana Carmen Longobar-di; Roberto Marinho; Leila Martinusso; Sim"o Mendel Guss; David Ricardo Guss; Marcelo Noschese; Luiz Roberto Ortiz Nascimento; Max Perlingeiro; Beatriz Pimenta Camargo; SÈrgio Pizoli; Randol-fo Rocha; Dora Rosset; Adriano Samarone; Roberta Saraiva; Jorge Schwartz; Yazaku Soussumi; AntÙnio Luiz Teixeira de Barros J˙nior; and Maura and Ricardo Torre-Simıes.

Lastly, we would especially like to thank the staff of Base7 for their coordination and administration of the loans from Brazil, in parti- cular Maria EugÍnia Saturni, Ricardo Ribenboim, Arnaldo Spindel, Sandra PandelÛ, Renata Viellas Rˆdel and Marta Masiero; Banca March and CorporaciÛn Financiera Alba for their generous support of the exhibition in Madrid and the Spanish and English editions of the catalogue; His Excellency D. JosÈ Viegas Filho, Brazilês Ambas- sador to Spain, as well as JosÈ Luiz Vieira and Joaquim Paiva; Rafael LÛpez de And˙jar, Cintya Floriani and Fabiana Brzeski Alves and Cristina Gramacho of the FundaciÛn Cultural Hispano-BrasileÒa; JosÈ do Nascimento J˙nior, Eneida Braga Rocha de Lemos, M·rcio Rangel, Fl·via Mello, Paulo Brum Ferreira and Erlon JosÈ Pascoal of the Ministry of Culture IPHAN; Instituto y FundaÁ"o Escultor Victor Brecheret; GÍnese Andrade and Adriana Astuti; Luis Manuel Gaspar; Ra˙l AntÈlio; Lourdes Fern·ndez, MarÌa Aranguren and Ana ¡lvarez of ARCO; Moacir dos Anjos, responsible for the Brazil Program at ARCOê08; JosÈ M™ Ballesteros (Decograf) and Marco Estudio Norte, S.L.; Lourdes Rico and her staff of conservators (Celia MartÌnez and Victoria de las Heras); Karine Korbier; Anna Lozbeneva of Ingoss- trakh Insurance Company, Millennium Broker Management Intêl

LLC and Gonzalo DomÌnguez Barrag·n of

UNIPSA CorredurÌa de

Seguros S.A.; Laura Lozano and Ana Tabuenca of SIT Transportes Internacionales and Luiz Carlos SantÛrio of Transportes Fink S/A; and Guillermo Nagore for the design and layout of the catalogue. In addition to the staff members of the FundaciÛn Juan Marchês depart- ments, thanks especially go to MarÌa Toledo, Aida Capa, Jacqueline de la Fuente, Daniela Heinze, Deborah L. Rold·n, MarÌa Zozaya, BelÈn Lugo, JosÈ Enrique Moreno and Jordi Sanguino. 5

INSTITUTIONS

Country City Institution Cat. n.º

BRAZIL Rio de Janeiro, RJ Gilberto Chateaubriand Collection

Museu de Arte Moderna 26, 93

Rio de Janeiro, RJ Museu da Ch·cara do CÈu, Museus Castro Maya 154, 155, 156 Rio de Janeiro, RJ Museu Nacional de Belas Artes 2 Rio de Janeiro, RJ Instituto Moreira Salles 165, 166, 167, 168 Salvador da Bahia, BA Museu de Arte Moderna da Bahia 24 S"o Paulo, SP Secretaria Municipal de Cultura 39, 40, 45, 47, 68, 74, 75, 76, 77, 78, Centro Cultural S"o Paulo 79, 80, 81, 82, 99, 101 S"o Paulo, SP FundaÁ"o Cultural Ema Gordon Klabin 178, 179 S"o Paulo, SP FundaÁ"o JosÈ e Paulina Nemirovsky 22, 29, 96, 152, 177

S"o Paulo, SP Instituto de Estudos Brasileiros, Universidade de S"o Paulo 13, 38, 41, 46, 58, 73, 83, 85, 92, 94, 95,

104, 108, 113, 114, 119, 170, 171

S"o Paulo, SP Museu de Arte Brasileira da FundaÁ"o Armando ¡lvares Penteado 23 S"o Paulo, SP Museu de Arte Contempor'nea da Universidade de S"o Paulo 5, 27, 57, 169 S"o Paulo, SP Museu de Arte Moderna de S"o Paulo 182 S"o Paulo, SP Pal·cios do Governo do Estado de S"o Paulo 1, 6, 18, 31, 34 S"o Paulo, SP Pinacoteca do Estado de S"o Paulo 9, 129, 130, 132, 133, 134, 135, 136, 137, 138 S"o Paulo, SP Biblioteca JosÈ e Guita Mindlin 116, 117, 121, 123, 127

DENMARK Copenhagen Nationalmuseet 146, 147

FRANCE Grenoble MusÈe de Grenoble 7

SPAIN Madrid Biblioteca Nacional 150, 151

Madrid FundaciÛn Juan March 118

Madrid FundaciÛn Ortega y Gasset 124

Madrid Museo de AmÈrica 140, 149, 153, 157

Madrid Museo Nacional Centro de Arte Reina SofÌa 16, 90, 181 Madrid Museo Nacional de AntropologÌa 141, 142, 143, 144, 145, 158, 159, 160, 161,

162, 163, 164

Madrid Museo Thyssen-Bornemisza 148

Valencia Biblioteca Valenciana 120, 122

RUSSIA Saint Petersburg The State Hermitage Museum 14

PRIVATE COLLECTIONS

BRAZIL B

elo Horizonte, MG Private collection 50, 51

Belo Horizonte, MG Randolfo Rocha 55, 71, 89

Riber"o Preto, SP Anette Hoffmann 49

Rio de Janeiro, RJ Max Perlingeiro, Pinakotheke Cultural 44, 67, 103, 105, 106, 107, 174, 175, 176

Rio de Janeiro, RJ Paula and Jones Bergamin 32

Rio de Janeiro, RJ GeneviËve and Jean Boghici 4, 25, 28 Rio de Janeiro, RJ Hecilda and Sergio Fadel 3, 8, 20, 21

Rio de Janeiro, RJ Roberto Marinho 12

Rio de Janeiro, RJ Private collections 17, 30

Salvador da Bahia, BA EAOÖEmprendimentos Agropecu·rios e Obras S/A 37

S"o Paulo, SP Tarsilinha do Amaral 97

S"o Paulo, SP Augusto de Bueno Vidigal 53

S"o Paulo, SP Marta and Paulo Kuczynski 102, 172, 180

S"o Paulo, SP Fulvia Leirner 52, 84

S"o Paulo, SP GÈrard Loeb 86

S"o Paulo, SP Sim"o Mendel Guss 19

S"o Paulo, SP Beatriz and Mario Pimenta Camargo 66

S"o Paulo, SP S. Pizoli 70

S"o Paulo, SP Dora Roset 35

S"o Paulo, SP Jorge Schwartz 173

S"o Paulo, SP Maura and Ricardo Simıes 56, 61

S"o Paulo, SP Private collections 10, 11, 15, 33, 36, 42, 43, 48, 54, 59, 60, 62, 63, 64,

65, 69, 72, 87, 88, 91, 98, 100, 115, 125, 126, 128, 131

SPAIN Madrid MJM 109, 110, 111, 112, 139

LENDERS

6 9

Tarsila, Brazil, Europe

FundaciÛn Juan March

13

Study of an Oeuvre. And a Biography

Aracy Amaral

1. Manifestos and Testimonials

of Avant-garde Brazil

19 Oswald de Andrade: Manifesto of Pau-Brasil Poetry (1924) Ä 23 M·rio de Andrade:

Letter to Tarsila

(November 15, 1924) Ä

25 Oswald de Andrade: Anthropophagite

Manifesto (1928) Ä 31 Tarsila do Amaral: Pau-Brasil and Anthropophagite Painting (1939) Ä

34 Tarsila do Amaral: Lasar Segall (1936) Ä 37 Blaise Cendrars (1938) Ä

41 Still the WeekŽ (1943) Ä 44 Anita Malfatti (1945) Ä 46 General Confession (1950) Ä

48 Memories of Paris (1952)

2. Four Views of Tarsila

55

Tarsila: A Structural Painting

Haroldo de Campos

59

Tarsila Revisited

Aracy Amaral

67

A QuestŽ for Tarsila

Juan Manuel Bonet

93
Tarsila and Oswald in the Wise Laziness of the Sun

Jorge Schwartz

105

3. Tarsila do Amaral: Works

CONTENTS

7 177

4. History and Context:

From the Virgin Jungle to Tarsila"s Brazil

5. Tarsila the Writer (1936...39)

203 A Master of Modern Painting Ä 204 Fernand Léger Ä 205 The School of Lhote Ä

207 Rousseau, the Other Ä 208 Mystic Cubism Ä 209 Brancusi Ä 211 Delaunay and

the Eiffel Tower

212 From Joseph Monier to Le Corbusier Ä 213 The Poet of Gardens

Ä 215 From the Banks of the Nile to the Modern Book Ä 216 Carnival Ä 217 Trends in

Modern Art

218

Forests

6. Tarsila Seen by Her Contemporaries

223 AntÛnio Ferro: Tarsila do Amaral (1926) Ä 223 M·rio de Andrade: Tarsila (1927) Ä

224 Manuel Bandeira, Emiliano Di Cavalcanti and Jorge de Lima: About Tarsila (1940) Ä

225 M·rio de Andrade: Decorativism (1940) Ä 226 Ribeiro Couto: Arbitrary Prose

on Tarsila (1940) Ä

226 SÈrgio Milliet: Tarsila (1940) Ä 226 Carlos Drummond de

Andrade:

The Word TarsilaŽ

(1940) Ä

227 SÈrgio Milliet: Tarsila (1953)

7. Tarsila do Amaral (1886-1973):

Her Life and Work

235

CHRONOLOGY

Regina Teixeira de Barros

253

SELECTED BIBLIOGRAPHY

Regina Teixeira de Barros

265

TARSILA DO AMARAL: EXHIBITIONS (1926-2009)

275

CATALOGUE OF WORKS IN THE EXHIBITION

286

CREDITS

289

EXHIBITION CATALOGUES AND OTHER PUBLICATIONS

BY THE FUNDACION JUAN MARCH

Tarsila, Brazil, Europe

9 he immense South American country of Brazil has always awakened an interest in the rest of the world as revealed, for example, in the considerable number of translations of great Brazilian literary works into other languages as well as the highly varied initiatives and institutional endeavors undertaken. In Spain, there have been very recent opportunities of seeing the work of some of the most relevant contemporary Brazilian artists. Nevertheless, perhaps still not yet suffi ciently known is Brazil"s contribution to modernity"s beginnings, nor its close ties with 20 th century avant-garde Paris, nor, as a result, the particular genealogy of modern Brazilian art. Evidence of that is the fact that in neither our country nor in the rest of Europe ... save for two exceptions ... have there been monographic exhibitions devoted to the principal fi gures of Brazilian modernity. Tarsila do Amaral (Capivari, SP, 1886 ... São Paulo, SP, 1973) is one of the major fi gures of the Latin American vanguard and the symbol of Brazilian Modernism. Exotic, sophisticated and cos- mopolitan, she completed what she called the military serviceŽ of Cubism during two intensive periods in Paris in the company of her husband Oswald de Andrade, the great fi gure of Brazilian avant-garde poetry, and also fed on other European avant-garde currents, like a civilized anthropophagite. This characterization is not excessive: later, in 1928, Oswald would write his

Anthropo-

phagite Manifesto and defi ne the Anthropophagite movement he initiated in Brazil ... cannibalism as a mode of assimilation of the culturally foreign ... as the theorization of the true ingestion by the poet and the painter of the currents and movements of European modernity during those Parisian sojourns. In Tarsila"s case, upon returning to her country, the digestion of that banquet and her

rediscovery of the colors and shapes of her childhood in Minas Gerais ... in the Brazilian interior ... would, from around 1920 to

the early 1930s, give rise to a painting so structurallyŽ Brazilian ... in the expression of Haroldo de Campos ... that today we tend to imagine Brazil in terms of Tarsila"s work.

This catalogue of the exhibition

Tarsila do Amaral

, conceived and organized by the Fundación Juan March, permits many oth- ers to learn fi rsthand of the work of the grande dame of modern

Brazilian painting.

This, the fi rst monographic exhibition devoted to her in Spain and the second in Europe focuses precisely on that epoch of Tar- sila"s life: the 1920s, which she lived between São Paulo and Paris, with a fi nal symbolic trip to Moscow, where Tarsila traveled in

1931 and a result of which is

Operários

CAT. 34), the painting that

closes this exhibition (along with some later versions of her 1920s works). Both the exhibition and catalogue highlight Tarsila"s re- lationships in France, her instruction by painters such as André Lhote, Albert Gleizes and Fernand Léger and her friendships with certain avant-garde poets, especially Blaise Cendrars. Against the background of the birth of ModernismŽ in Brazil in general, and São Paulo in particular ... with special emphasis on the decisive Week of Modern Art of 1922 ... this catalogue narrates the artist"s unique method of reconciling what she assimilated in Europe with her recently rediscovered New World perspective. Tarsila was a central fi gure of the Anthropophagite movement and her painting

Abaporu

(1928) ... joined the following year by

Antropofagia

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