Tarsila do Amaral

Rosita Mariella
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Abstract

Abstract In the field of visual arts, painter Tarsila do Amaral was a pioneer in her revindication of ‘peripheral’ areas, as well as in her opposition to an exclusive Eurocentric vision of the world. The article highlights how her contribution was crucial to an early approach to decolonization that used the notion of antropofagia to present the colonized in an act of ‘devouring’ the colonizer, assimilating certain aspects and discarding others to process and build new, independent identities. Considering her white, upper-class and cosmopolitan background, the article also explores the limits of her colonial-related art practices and the common trap of exoticism in the arts. Using the history of Tarsila do Amaral as a case study, this study will question how artists from ‘peripheral’ areas were making use of their access to native cultures in order to be part of the established European art scene and hegemonic discourse.
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Tarsila do Amaral
在视觉艺术领域,画家塔西拉·多·阿马拉尔(Tarsila do Amaral)在她对“外围”区域的重新阐释以及她对世界的独家欧洲中心视野的反对方面是先驱。这篇文章强调了她的贡献对早期的非殖民化方法是如何至关重要的,这种方法使用了人类同化的概念,以一种“吞噬”殖民者的行为来呈现被殖民者,同化某些方面,抛弃其他方面,以处理和建立新的、独立的身份。结合她的白人、上层阶级和世界性背景,本文也探讨了她与殖民相关的艺术实践的局限性和艺术中常见的异国情调陷阱。以Tarsila do Amaral的历史为例,本研究将质疑来自“边缘”地区的艺术家如何利用他们对本土文化的访问,以成为已建立的欧洲艺术场景和霸权话语的一部分。
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