The Venice Biennale 2024 celebrates the profound impact of three Brazilian modernist masters: Tarsila do Amaral, Anita Malfatti, and Eliseu Visconti. This showcases their transformative contributions to the art world. Through their unique vision and groundbreaking techniques, each artist has significantly influenced the trajectory of Brazilian modernism and left an indelible mark on global art.
Tarsila do Amaral
Tarsila do Amaral stands as one of the greatest Brazilian modernist artists of the twentieth century, her influence deeply woven into the fabric of modern art. Among her significant works is “Estudo (Academia no. 2)” (1923), a painting that emerged following her intensive studies with André Lhote and Albert Gleizes. These mentors imparted to her the techniques and principles of Cubism, which are distinctly visible in this painting.
“Estudo (Academia no. 2)” showcases Amaral’s deft incorporation of Cubist influences, particularly evident in the volumetric and geometric constructions within the composition. The central figure of the woman is rendered with a sense of solidity and structure that reflects the Cubist emphasis on form. Her body, the surrounding furniture, the vegetation in the top right corner, and the framed landscape in the background are articulated through precise, geometric shapes that convey a sense of three-dimensionality and depth.
However, this work is not merely an exercise in Cubism; it also heralds the characteristic luminosity that would define Tarsila do Amaral’s oeuvre. This luminosity would peak during her Pau-Brasil phase (1924–1928), a period marked by vibrant colour palettes inspired by Brazilian landscapes and culture. In “Estudo (Academia no. 2),” this emerging luminosity is evident in the bluish and reddish tones that permeate the painting. The vegetation near the woman’s back is particularly noteworthy, depicted in lush, vivid colours that hint at the tropical flora. This element anchors the composition in a distinctly Brazilian context and foreshadows the exaggerated, almost surreal representations of tropical plants that would become prominent in her later Anthropophagic phase (1929–1930).
The integration of these vibrant elements signifies Tarsila’s early steps towards developing a unique artistic language that fused European modernist techniques with Brazilian themes and motifs. Her work during this period reflects a burgeoning sense of national identity and pride, an effort to create an art that was both modern and authentically Brazilian.
Tarsila do Amaral’s impact on the art world was further cemented by her participation in international exhibitions, most notably her exhibition at the Biennale Arte in 1964. This event marked a significant milestone in her career, placing her work on a global stage and highlighting her contributions to modernist art. The Biennale allowed a broader audience to engage with her unique vision, seamlessly blending Cubist influences with Brazilian culture’s vibrant colours and forms.
Her work continues to be celebrated for its innovative fusion of styles and role in developing modern art in Brazil. “Estudo (Academia no. 2)” stands as a testament to her early mastery and enduring influence, encapsulating the beginning of a journey that would see her become one of the leading figures in twentieth-century modernism. The painting is not just a piece of art but a significant marker of cultural exchange and artistic evolution, showcasing Tarsila do Amaral’s profound ability to merge different artistic traditions into a cohesive and compelling narrative.
Anita Malfatti
Anita Malfatti is regarded as a pioneering artist of Brazilian Modernism, her contributions profoundly shaping the movement’s trajectory. Her early artistic training took her to Berlin and New York, where she developed a distinctive style characterized by expressionist portraits that delved deeply into the psychological nuances of her subjects. One of her seminal works from this period is “A mulher de cabelos verdes” (1915), a striking example of her innovative approach to portraiture.
In “A mulher de cabelos verdes,” Malfatti constructs the figure with a vivid interplay of red and green spots, creating a dynamic and vibrant contrast that immediately captures the viewer’s attention. These contrasting colours define the form and infuse the painting with energy and vitality. The anatomy of the woman’s face is intentionally distorted, with elongated features such as the forehead, chin, ear, and nose juxtaposed against the rounded lines of her cheeks and double chin. These distortions highlight the woman’s advanced age while resonating with the abstract background, creating a cohesive and harmonious composition.
The woman’s expression is particularly noteworthy, with raised eyebrows, an intriguing gaze, and an uncertain smile conveying an enigmatic and disturbing presence. This portrayal invites viewers to engage with the psychological depth of the character, offering a glimpse into her inner world. Malfatti’s ability to capture such complexity and emotion through her expressionist techniques marks her as a significant figure in modern art.
“A mulher de cabelos verdes” was among the works exhibited in Malfatti’s groundbreaking 1917 exhibition in São Paulo. This exhibition is widely considered a turning point in the history of art in Brazil, as it introduced radical new artistic ideas and techniques that challenged traditional aesthetics and paved the way for the development of Brazilian Modernism. The exhibition sparked controversy and debate, ultimately contributing to the evolution of a unique Brazilian artistic identity.
Anita Malfatti’s inclusion in the Venice Biennale for the first time marks a significant milestone in recognising her work on an international stage. This exhibition allows a global audience to appreciate her innovative contributions to modern art and understand her profound impact on the Brazilian art scene. Through her expressive and psychologically rich portraits, Malfatti not only captured the essence of her subjects but also pushed the boundaries of traditional portraiture, making her an enduring and influential figure in the history of modern art.
Eliseu Visconti
Eliseu Visconti was an Italian immigrant who navigated the artistic worlds of two continents, merging Brazilian academicism with the modernist currents of Parisian fin-de-siècle. His work “Autorretrato” (1902) is a vivid testament to his unique position and artistic evolution. Created shortly after his return to Brazil following seven years of rigorous training in Paris, the painting captures the essence of an artist caught between two worlds.
In “Autorretrato,” Visconti’s defiant gaze directly confronts the viewer, establishing an immediate and intense connection. This self-portrait emerged when his works, while largely ignored by the public, received critical acclaim in Paris. The defiance in his expression can be seen as a reaction to this dichotomy of recognition and neglect. Visconti wields his brushes like weapons against an empty backdrop, symbolizing the raw canvas he is transforming. This backdrop also metaphorically represents the blank slate of his career upon his return to Brazil, ready to be filled with his unique artistic vision.
The duality in Visconti’s approach is strikingly apparent in the painting. The left side of his face is rendered with meticulous realism, showcasing his technical proficiency and adherence to academic traditions. In contrast, the right side is more sketchy and embodies the post-impressionistic techniques he absorbed in Paris. This juxtaposition highlights his work’s tension and synthesis between tradition and modernity. Positioned between his eyes and the top of his head, the sky and clouds in the background outline a horizon, symbolizing the forces that guide him—a keen eye for observation and a deep self-awareness.
This self-portrait is one among at least forty self-portraits Visconti created over five decades, reflecting his enduring pride in his craft and his continuous exploration of his own identity as an artist. As an avid reader of Goethe, Visconti was inspired to innovate beyond traditional constraints, constructing his image through a blend of classical and modernist elements. The presentation of Eliseu Visconti’s work at the Venice Biennale marks a significant moment in art history, as it is the first time his work is showcased at this prestigious event. This exhibition provides a global platform for Visconti’s unique artistic synthesis, allowing audiences to engage with his distinctive approach to blending Brazilian and European influences. His ability to integrate diverse artistic traditions into a cohesive and compelling personal style underscores his importance as a bridge between different cultural and creative worlds. Thus, Visconti’s legacy is celebrated for his technical skill, artistic innovation, and ability to navigate and merge disparate influences into a singular vision. His self-portraits, especially “Autorretrato,” stand as powerful testaments to his journey as an artist who deftly balanced tradition with modernity, creating works that resonate with his Brazilian heritage and European training. The Venice Biennale’s recognition of his work ensures that his contributions to art will be appreciated by a broader audience, cementing his place in the pantheon of influential modernist artists.
Jain Syriac Babu is a Kerala-born, Italy-based theatre artist and art enthusiast.
