A linha que contorna a crônica: a obra de Tarsila do Amaral

Abstract

The proposal of this dissertation is to investigate the artistic work of Tarsila do Amaral, both her plastic and written workmanship. This research intends to understand how her painting, elaborated as a drawing, with colors delimited by lines and geometrized images, acquires a dependence on a narrative of literary matrix. Tarsila do Amaral, modernist painter, seems to organize the spaces in her paintings when constructing lines, carefully elaborated, printing a cerebral aspect to her work. Therefore, from these two forms of art, image and text, which dialogue between them in the workmanship of the painter, the necessity of writing a dissertation in the chronicle form came out. This literary genre demonstrated to be the form that best adjusted to handle the study object throughout the research, thus writing chronicles having as a starting point Tarsila do Amaral s pictures and texts allowed a more detailed and detained look at her workmanship, also making possible to treat all aspects of her life that touched her art. It seems important to realize the foreign influences on her formation as a painter and her search for an identity as an artist. Emphasizing the ludic aspect of her workmanship, the following chronicles seek to understand how a rational painting can produce a result close to a childish image, especially in the Pau-Brasil period. In the Anthropophagic phase, the focus of the study was especially concentrated on the Abaporu screen, on its elaboration, inspiration and unfoldings as literary and artistic movement. Accordingly, twenty one chronicles provide a panorama of the relevant aspects in the workmanship of Tarsila do Amaral since the beginning of her drawing studies until the period in which she has already received the right acknowledgment of her artistic work