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Tarsila do Amaral: Pintora da sua terra? O Estímulo Europeu e o Paradoxo Primitivista no Brasil
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A presente dissertação resulta da investigação do imaginário do primitivismo a partir de um núcleo de obras da pintora e desenhista brasileira Tarsila do Amaral, interessando-se, particularmente, pelas forças de relação paradoxais que ele provocou. Tomando como pressuposto básico que a compreensão da condição fragmentária do primitivismo exige o debate crítico, propõe-se reflexões acerca de terminologias e conceitos em disputa, associados aos modernismos, ao pós-colonialismo e ao nacionalismo. Na tentativa de responder à
pergunta: o que o rótulo da “obra prima” nos impede de ver? avalia de que formas Amaral conquistou um lugar de importância na historiografia brasileira, propondo desestabilizar a posição valorativa de “heroína nacional” no modernismo brasileiro. A sua contribuição é muitas vezes lida como movimento contra a dependência cultural europeia, ainda que as estadias da artista em Paris tivessem papel determinante na sua consagração: a “moda” primitivista na vanguarda europeia e o fascínio por culturas consideradas menos civilizadas foi
por ela instrumentalizada em vias de ganhar reconhecimento e autenticidade na Europa, utilizando como temática a paisagem brasileira. Assim, ao questionar a sua configuração canônica e “heroica” (uma narrativa linear e orgulhosa), encontramos os desequilíbrios do enquadramento primitivista. Como a relação do primitivismo funda-se no binarismo entre a civilização e a barbárie, o enfoque na realidade do Brasil foi contraditório, de modo que representações que conferiram suposta centralidade à pessoa negra, provocaram efeitos de esterotipização e silenciamento, numa relação de alteridade. São acionadas questões de classe,
gênero e raça através de uma investigação mais profunda da pintura Carnaval em Madureira, de 1924. Por fim, esta tese contraria um discurso de “evolução” unidirecional, equacionando como operou a conciliação e a contradição de elementos antagônicos na obra da artista, inscrevendo-a num contexto de hibridização cultural.
This dissertation results from the investigation of the imagery of primitivism based on a group of works by the Brazilian painter and illustrator Tarsila do Amaral, being particularly interested in the forces of the paradoxical relationship that it provoked. Taking as a basic premise that understanding the fragmentary condition of primitivism requires critical debate, the work proposes reflections on disputed terminologies and concepts, associated with modernism, post-colonialism and nationalism. In an attempt to answer the question: what does the “masterpiece” label prevent us from seeing? it assesses in what ways Amaral secured a place of importance in Brazilian historiography, aiming to destabilize the evaluative position of "national heroine" in Brazilian modernism. Her contribution is often interpreted as a movement against European cultural dependence, even though the artist's stays in Paris played a determining role in her praise: the primitivist trend in European avant-garde and the fascination with cultures considered less civilized was instrumentalized by her to gain recognition and authenticity in Europe, using the Brazilian landscape as a theme. Thus, by questioning its canonical and "heroic" configuration (a linear and proud narrative), we encounter the imbalances of primitivist framing. As the foundation of primitivism rests on the binary between civilization and barbarism, the focus on Brazil's reality was contradictory, so representations that purportedly granted centrality to black individuals resulted in effects of stereotyping and silencing, in a relationship of alterity. Issues of class, gender, and race are brought into play through a deeper investigation of the painting Carnaval em Madureira, from 1924. Finally, this thesis contradicts a discourse of unidirectional "evolution," considering how the reconciliation and contradiction of antagonistic elements operated in the artist's work, situating it within a context of cultural hybridization.
This dissertation results from the investigation of the imagery of primitivism based on a group of works by the Brazilian painter and illustrator Tarsila do Amaral, being particularly interested in the forces of the paradoxical relationship that it provoked. Taking as a basic premise that understanding the fragmentary condition of primitivism requires critical debate, the work proposes reflections on disputed terminologies and concepts, associated with modernism, post-colonialism and nationalism. In an attempt to answer the question: what does the “masterpiece” label prevent us from seeing? it assesses in what ways Amaral secured a place of importance in Brazilian historiography, aiming to destabilize the evaluative position of "national heroine" in Brazilian modernism. Her contribution is often interpreted as a movement against European cultural dependence, even though the artist's stays in Paris played a determining role in her praise: the primitivist trend in European avant-garde and the fascination with cultures considered less civilized was instrumentalized by her to gain recognition and authenticity in Europe, using the Brazilian landscape as a theme. Thus, by questioning its canonical and "heroic" configuration (a linear and proud narrative), we encounter the imbalances of primitivist framing. As the foundation of primitivism rests on the binary between civilization and barbarism, the focus on Brazil's reality was contradictory, so representations that purportedly granted centrality to black individuals resulted in effects of stereotyping and silencing, in a relationship of alterity. Issues of class, gender, and race are brought into play through a deeper investigation of the painting Carnaval em Madureira, from 1924. Finally, this thesis contradicts a discourse of unidirectional "evolution," considering how the reconciliation and contradiction of antagonistic elements operated in the artist's work, situating it within a context of cultural hybridization.
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Pintura Brasil Tarsila do Amaral Primitivismo Século XX Modernismos Primitivism Tarsila do Amaral XXth Century Modernisms Brazil