A obra Antropofagia (“Cannibalism”) de Tarsila do Amaral,
apresentada na imagem, é interpretada pelo autor do artigo
como
Leia o trecho do artigo de Jason Farago, publicado pelo jornal
The New York Times, para responder às questões
She led Latin American Art in a bold new direction
In 1928, Tarsila do Amaral painted Abaporu, a landmark
work of Brazilian Modernism, in which a nude figure,
half-human and half-animal, looks down at his massive,
swollen foot, several times the size of his head. Abaporu
inspired Tarsila’s husband at the time, the poet Oswald de
Andrade, to write his celebrated “Cannibal Manifesto,” which
flayed Brazil’s belletrist writers and called for an embrace
of local influences – in fact, for a devouring of them. The
European stereotype of native Brazilians as cannibals would
be reformatted as a cultural virtue. More than a social and
literary reform movement, cannibalism would form the basis
for a new Brazilian nationalism, in which, as de Andrade
wrote, “we made Christ to be born in Bahia.”
The unconventional nudes of A Negra, a painting
produced in 1923, and Abaporu unite in Tarsila’s final great
painting, Antropofagia, a marriage of two figures that is also
a marriage of Old World and New. The couple sit entangled,
her breast drooping over his knee, their giant feet crossed one
over the other, while, behind them, a banana leaf grows as
large as a cactus. The sun, high above the primordial couple,
is a wedge of lemon.
(Jason Farago. www.nytimes.com, 15.02.2018. Adaptado.)
Leia o trecho do artigo de Jason Farago, publicado pelo jornal The New York Times, para responder às questões
She led Latin American Art in a bold new direction
In 1928, Tarsila do Amaral painted Abaporu, a landmark work of Brazilian Modernism, in which a nude figure, half-human and half-animal, looks down at his massive, swollen foot, several times the size of his head. Abaporu inspired Tarsila’s husband at the time, the poet Oswald de Andrade, to write his celebrated “Cannibal Manifesto,” which flayed Brazil’s belletrist writers and called for an embrace of local influences – in fact, for a devouring of them. The European stereotype of native Brazilians as cannibals would be reformatted as a cultural virtue. More than a social and literary reform movement, cannibalism would form the basis for a new Brazilian nationalism, in which, as de Andrade wrote, “we made Christ to be born in Bahia.”
The unconventional nudes of A Negra, a painting produced in 1923, and Abaporu unite in Tarsila’s final great painting, Antropofagia, a marriage of two figures that is also a marriage of Old World and New. The couple sit entangled, her breast drooping over his knee, their giant feet crossed one over the other, while, behind them, a banana leaf grows as large as a cactus. The sun, high above the primordial couple, is a wedge of lemon.
(Jason Farago. www.nytimes.com, 15.02.2018. Adaptado.)
Gabarito comentado
B) Os pés que o texto faz referência, são os pés gigantes do casal que visualizamos no quadro, cruzados uns sobre os outros, conforme trecho do segundo parágrafo. ( The couple sit entangled, her breast drooping over his knee, their giant feet crossed one over the other.)
C) Na última linha lemos que o sol é representado por uma fatia de limão (The sun, high above the primordial couple, is a wedge of lemon).
D) Não há nada de suave na folha de bananeira, ela é tão grande quanto o cacto. ["uma folha de bananeira cresce do tamanho de um cacto"] (a banana leaf grows as large as a cactus).
E) Segundo o texto, a obra Antropofagia é interpretada pelo autor como o casamento entre o velho mundo (que seria a Europa) e o novo mundo (a América) (Antropofagia, a marriage of two figures that is also a marriage of Old World and New).
