Tarsila do Amaral's Self-Portraits as a Spanish Persona, 1921-1924

An in-depth examination focuses on Tarsila do Amaral's self-portraits created between 1921 and 1924, which account for under 3% of her total oeuvre. This analysis highlights ten artworks, including seven self-portraits and three idealized representations, particularly 'A espanhola (Paquita)' (1922), which features her niece Maria Souza Lima. The research connects Tarsila's artistic identities to her return to São Paulo and her involvement in the São Paulo-Paris art scene. The artworks are categorized into two groups: the first (1921-1922) reveals naturalist experimentation infused with Impressionist styles, such as 'Autorretrato com lenço vermelho' and 'Autorretrato com vestido laranja.' The second group marks a transition to post-Impressionism, with 'A espanhola (Paquita)' as a key example. Tarsila's 'Spanish' identity empowered her in a male-dominated environment, evolving by 1923. Accompanying photographs depict her in Spanish attire for her 1922 exhibitor card in Paris.