A N T H R O P O P H A G YF E B R U A R Y 4

Revista de Antropofagia (1928)

A N T H R O P O P H A G Y

A N T H R O P O P H A G Y

Tarsila do Amaral (1886-1973)

Oswald de Andrade (1890-1954)

Tarsila do Amaral, Abaporu (1928)

“person who eats”

That is because we never had grammars or collections of old plants. And we never knew what was urban, suburban, frontier and continental.

We want the Carahiba revolution. Bigger than the French Revolution. The unification of all effective uprisings toward man. Without us, Europe would not even have its wretched declaration of the rights of man.

Children of the sun, mother of the living. Fiercely met and loved, with all the hypocrisy of longing, by immigrants, slaves and tourists. In the country of the cobra grande.

Oswald de Andrade, Anthropophagic Manifesto (1928)

Migrations. The escape from boring states. Against urban scleroses. Against Conservatories, and speculative boredom.

Anthropophagy. Absorption of the sacred enemy. To turn him into totem. The human adventure. The earthly finality. …What happens is not a sublimation of sexual instinct. It is the thermometric scale of anthropophagic instinct. Once carnal, it turns elective and creates friendship. If affective, love. If speculative, science. It deviates, it transfers itself.

But there came no crusaders. There came fugitives from a civilization we are eating up, because we are as strong and as vengeful as the Tortoise.

Oswald de Andrade, Anthropophagic Manifesto (1928)

“We already had communism. We already had the surrealist language. The golden age.” - Anthropophagic Manifesto

“I feel myself ever more Brazilian. I want to be the painter of my country…Don’t think this tendency is viewed negatively here. What they want here is that each one brings the contribution of his own country” - Tarsila, writing home from Paris, 1923

Catalogue cover for São Paulo’s 1922 Modern Art Week, designed by Emiliano Di Cavalcanti

Anita Malfatti, A bôba (The Fool) (1915-1916)

Tarsila do Amaral, Carnaval em Madureira (Carnival in Madureira) (1924)

Tarsila, A Negra (1923)

“A female slave lived on our fazenda [farm], and she had droopy lips and enormous breasts because (I was later told) in those days black women used to tie rocks to their breasts in order to lengthen them, and then they would sling them back over their shoulders to breastfeed the children they were carrying on their backs.”

-Tarsila, quoted in a 1972 interview

Lasar Segall, Bananal (Banana Plantation), or The Last Slave (1927)

Fernand Léger, Nudes in the Forest (1910)

Fernand Léger, Still Life with a Candlestick (1922)

Fernand Léger, Still Life with a Candlestick (1922)

Tarsila do Amaral, E.F.C.B. (Estrada de Ferro Central do Brasil) (Central Railway of Brazil) (1924)

Fernand Léger, Nude on a Red Background (1929)

Fernand Léger, Two Women with a Blue Vase (1935)

Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? (1897-98)

Claude Monet, La Japonaise

(1876)

Jean-León Gérôme,

Moorish Bath (1870)

Eugène Delacroix, The Women of Algiers (In Their Apartment) (1834)

Picasso’s Women of Algiers (15 paintings,1954-55)

Fred Wilson, Guarded View and Picasso/Who Rules? (1991)

Fred Wilson, Guarded View and Picasso/Who Rules? (1991)

“if my contemporary art is your traditional art, is my art your cliché?”

Tarsila, Antropofagia (1929)

Roger de la Fresnaye, Nudes in a Landscape (1910)

Karl Schmidt-Rottluff,

Akte in den Dünen (nudes in

the dunes) (1913)

Eugène Delacroix, Liberty Leading the People (1830)

Jean-Antoine Gros, Allegorical Figure of the French Republic (1794)

Standing Liberty Quarter

Emiliano di Cavalcanti, Samba (1925)