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Tarsila do Amaral's Lesser-Known 1940s Works Reveal a Different Artist

publication · 2026-07-28

An article on ArteRef explores Tarsila do Amaral's lesser-known works from the 1940s, which feature a more restrained palette and introspective style, often dismissed by historiography as a minor period. The analysis traces recurring motifs from her iconic paintings Abaporu (1928) and Composição (Figura Só) (1930) into later works like Terra (1943) and Primavera (duas figuras) (1946). In Terra, the hair motif from Composição reappears, now blending with the earth, while the figure is distorted and unified with the land. In Primavera, two figures merge, one echoing Abaporu's disproportionate leg and arm, and the other featuring the hair from Composição. The article contextualizes the shift in palette as a response to the 1929 economic crisis, which devastated her family's fortune, forcing her to produce portraits for a more secure market. The subdued colors reflect market demands rather than personal decline. The piece invites readers to see Tarsila beyond her famous caipira colors and Parisian glamour, as an artist whose life and struggles are embedded in her evolving imagery.

Key facts

  • Tarsila do Amaral is known for her caipira colors: pure blue, violet pink, bright yellow, singing green.
  • Her 1940s works have a more restrained, introspective palette often considered a minor period.
  • Abaporu (1928) features a figure with a huge leg and arm resting on the ground before a cactus.
  • Composição (Figura Só) (1930) was painted during economic crisis and the end of her marriage to Oswald de Andrade.
  • In Terra (1943), the hair from Composição reappears, now confused with the soil; the figure is distorted and unified with the earth.
  • Primavera (duas figuras) (1946) merges two figures: one with Abaporu's leg and arm, the other with Composição's hair.
  • The 1929 crisis devastated Tarsila's family fortune; she worked to support herself in the 1940s, painting portraits for a stable market.
  • The article suggests her 1940s palette was influenced by market demands rather than personal decline.

Entities

Artists

  • Tarsila do Amaral
  • Oswald de Andrade

Institutions

  • Museo de Arte Latinoamericano de Buenos Aires (MALBA)
  • MASP
  • ArteRef
  • Tarsila do Amaral S/A

Locations

  • Brasil
  • Paris
  • Buenos Aires
  • Argentina

Sources