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Tarsila was born on September 1st in Capivari, state of São Paulo, and was the daughter of Lydia Dias de Aguiar do Amaral and José Estanislau do Amaral. She grew up on her father’s properties, notably São Bernardo and Sertão farms, in the interior of the state of São Paulo
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Tarsila studied at Colégio Sion in São Paulo.
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Tarsila studied at the school ‘Sacre – Coeur de Jésus’ in Barcelona, where she made her first painting, a copy of a Sagrado Coração de Jesus (Sacred Heart of Jesus).
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Tarsila returned to Brazil and married André Teixeira Pinto. From this union was born Dulce, her only daughter.
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Tarsila separated from her husband and went to live in the city of São Paulo.
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Tarsila departed to Paris, where she studied at Academie Julien, and with Emile Renard. She also took courses in freehand drawing. She brought along her daughter Dulce to study at a boarding school in London, England.
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The painting Figura (Passaporte) was accepted at the “Salon Officiel dês Artistes Français.”
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In September, Tarsila had an exhibition at the Salão de Belas Artes de São Paulo (Hall of Fine Arts) , at the Palácio das Indústrias (Palace of Crafts).
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She studied with André Lhote. Afterwards she met Blaise Cendrars, who introduced Tarsila and Oswald to the Parisian intelligentsia. She also studied with Albert Gleizes and with Fernand Léger. Tarsila showed the painting A Negra to Léger, who was impressed. This work gave Tarsila a place of prominence in the Brazilian art scene at the time.
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Cendrars came on a visit to Brazil. Tarsila, Oswald and a group of modernists took him to Carnival in Rio de Janeiro and Holy Week in the historical cities of the state of Minas Gerais. Tarsila began her “Pau-Brasil” phase. At the “Conferência de Cendrars” (Cendrars’ Conference) in São Paulo, Tarsila presented the painting E.F.C.B. (Estrada de Ferro Central do Brasil), or Central do Brasil Railroad, inspired on these trips.
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She prepared paintings for her Exhibition in Paris, scheduled for the following year.
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First Individual Exhibition from Tarsila in Paris, at the Galerie Percier.
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They spent a great part of that year at Santa Teresa do Alto Farm, which belonged to Tarsila.
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Tarsila painted Abaporu in January as a birthday present to Oswald. The painting served as inspiration for the Antropophagic Movement.
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Tarsila worked at the Pinacoteca (Art Gallery) of the state of São Paulo as Director. But with the fall of Júlio Prestes, she lost her job.
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Tarsila separated from Oswald.
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Tarsila was jailed for a month, for taking part in Partido Comunista Brasileiro (Brazilian Communist Party) meetings, which was illegal at the time. Her relatioship with Osório Cesar ended shortly after this incident.
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Tarsila started a romance with Luís Martins, who was more than twenty years younger than her.
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Tarsila started to work as a columnist at the Diários Associados newspaper, owned by her friend Assis Chateaubriand.
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Tarsila took part in the Exposição Coletiva (Collective Exhibition) in the city of Belo Horizonte.
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Beatriz, Tarsila’s granddaughter from Tarsila’s only daughter, Dulce, drowned at the age of fifteen, when she tried to rescue her friend in a lake. Tarsila made this portrait based on a picture she had of Beatriz.
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The work Fazenda marks the beginning of the Neo Pau-Brasil phase in Tarsila’s painting; she returned to the theme of Pau-Brasil, which originally started in 1924. In this phase, she also included rural landscapes and cubist compositions, as seen in Paisagem com Lavadeira.
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Tarsila had a Retrospective Exhibition at the Museum of Modern Art of São Paulo, introduced by Sérgio Milliet.
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Tarsila earned the Prêmio Aquisição (Acquisition Prize) for E.F.C.B., at the I Bienal de São Paulo (First Biennial Art Exhibition of São Paulo).
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arsila painted the mural Procissão (Painel) at the Hall of History in Ibirapuera Park, in commemoration of the IV Centenário of São Paulo (Quadricentennial anniversary of São Paulo).
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Tarsila had a Special Hall at the VII Bienal de São Paulo (7th Biennial of São Paulo).
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Special Participation at the XXXII Bienal de Veneza.
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Tarsila’s daughter Dulce passed away.
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Tribute to Tarsila at the Galeria Tema de São Paulo (Tema Gallery in São Paulo)
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Pictured here is the catalogue of Tarsila’s Retrospective Exhibition: Tarsila – 50 Years of Painting, which took place at the Museu de Arte Moderna do Rio (Museum of Modern Art of Rio de Janeiro). Afterwards, it was also held at the Museu de Arte Contemporânea (Museum of Contemporary Art ) in São Paulo, under the curatorship of professor Aracy Amaral.
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On January 17, 1973, Tarsila do Amaral, a painter and drawer, died in São Paulo, one of the central figures at the beginning of the Brazilian modernist movement.
