During the early 1920s, Tarsila do Amaral drew inspiration from her native country. She studied the culture and landscape of Brazil and began painting her observations as a way to convey her nationalistic expressionism.
Read MoreArguably do Amaral's most famous artwork, Abaporu (1928) was a birthday gift to her husband Oswald de Andrade. In this painting, do Amaral depicts a seated nude figure beside a blooming cactus. The title is from the South American Tupi-Guarani language and translates to 'Man Who Eats Man'.
After receiving Abaporu as a gift, do Amaral's husband wrote the Manifesto of Anthropophagy (1928), a publication that considered Brazil's colonial suffering and proposed the country assert its independence through the 'artistic cannibalism' of exterior influences. Do Amaral's painting became the centrepiece for this significant Latin American arts movement.
Do Amaral's painting style began to change after she divorced de Andrade in 1930. In Lonely Figure (1930), do Amaral paints a figure facing away from the viewer with hair that flows out of the frame. The figure is facing a minimal yet infinite landscape and appears to be in a state of contemplation.
Lonely Figure is a figurative self-portrait that explores simple form of representation. Do Amaral's painting signifies her move away from creative portrayals of nature and wildlife. Lonely Figure was the only painting she produced in 1930.
In the 1930s do Amaral's practice became focused on social themes. Her paintings Operáios (Workers) and Segunda Classe (Second Class) (both 1933) portray dimly lit migrant workers grouped together in grim surroundings.
Do Amaral's paintings highlight the racial diversity amongst migrants in Brazil. The paintings also reflect on the subordinated position of the working class in the world's modern industrial society.
