The visual devices of modernity as a problem. A Negra of Tarsila do Amaral and the photography of the nineteenth century

Authors

Downloads

Abstract

Visual devices, such as photography or painting, established complex relations of power between colonizing and colonized subjects. As Edward Said demonstrated in Orientalism, culture was a valuable ally in this complex imperial system of colonial domination. The present text aims to establish connections between Brazilian photography and the genealogy of A Negra (1923) by Tarsila do Amaral. Starting from the conviction that images are constructors of realities, we aim to highlight some relationships and problems that link the photography of the late nineteenth century and the modernist painting of the early twentieth.

Keywords

Brazil, modernism, photography, painting, colonialism, modernity, coloniality

Downloads

Download data is not yet available.

References

Alloula, M. (1986). The colonial harem. Minnesota: University of Minnesota Press.

Amaral, T. (1972). “Entrevista: Tarsila do Amaral”, Revista Veja, 23/02/1972, Edição 181, concedida por Leo Gilson Ribeiro. [En línea]. Recuperado de http://www.elfikurten.com. br/2016/04/tarsila-do-amaral-ultima-entrevista.html

Andrade, M. (1974). “O movimento modernista” in Andrade, M. (1974). Aspectos da literatura brasileira. São Paulo: Livraria Martins Editora, pp. 231-255.

Andrade, O. (2011). A utopia antropofágica. São Paulo: Globo.

Barriendos, J. (2011). “La colonialidad del ver. Hacia un nuevo diálogo visual interepistémico” in Nómadas, núm. 35, octubre, pp. 13-29.

Ermakoff, G. (2004). O negro na fotografia brasileira do século xix. Rio de Janeiro: G. Ermakoff Casa Editorial.

Eulalio, A. (2001). A aventura de Blaise Cendrars: ensaio, cronologia, filme, depoimentos, antologia, desenhos, conferências, correspondência, traduções. 2. ed. rev. e ampl. por Carlos Augusto Calil. São Paulo: Fapesp.

Koutsoukos, S. S. M. (2007). “Amas na fotografia brasileira da segunda metade do século XIX” in Camargo, D. (Ed.). Representação imagética das africanidades no Brasil. Campinas/SãoPaulo: Unicamp/Projetos Especiais Studium. Recuperado de http:// www.studium.iar.unicamp.br/africanidades/

Milliet, M. A. (2002). “Tarsila e Di Cavalcanti: mito e realidade na pintura brasilera” in Tarsila do Amaral e Di Cavalcanti. Mito e realidade no modernismo brasileiro. São Paulo: MAM, 7-20.

Pollock, G. (1999). Differencing the canon. Feminist desire and the writing of art’s histories. London: Routledge.

Said, E. (2008). Orientalismo. Barcelona: Debolsillo.

Santiago, S. (2000). Uma literatura nos trópicos. Ensaios sobre dependência cultural. 2ª ed. Rio de Janeiro: Rocco.

Author Biography

Paulo H. Duarte-Feitoza, University of Girona

PhD in Human and Cultural Sciences, and Master's in Communication and Cultural Studies from the University of Girona. He is an associate professor of Contemporary Art History at the University of Girona (UdG) and a collaborating professor on the Master's Degree in Cultural Management at the Universitat Oberta de Catalunya (UOC). He is a member of the Chair of Contemporary Art and Culture (CACC-UdG) and a regular collaborator of the UNESCO Chair of Cultural Policies and Cooperation. He is a teacher and researcher in cultural management and policies as well as in the history of arts and culture with special emphasis on colonial issues, which is one of his main lines of research.

DOI

https://doi.org/10.33115/udg_bib/cp.v6i12.22009

Published

2017-06-01

How to Cite

Duarte-Feitoza, P. H. (2017). The visual devices of modernity as a problem. A Negra of Tarsila do Amaral and the photography of the nineteenth century. Communication Papers. Media Literacy and Gender Studies., 6(12), 79–91. https://doi.org/10.33115/udg_bib/cp.v6i12.22009

Issue

Vol. 6 No. 12 (2017)

Section

Articles