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Col. M. Strauss Scantlin speaks at the Pensacola Chamber of Commerce luncheon on Wednesday, Novermber 20, 2024.
Col. M. Strauss Scantlin speaks at the Pensacola Chamber of Commerce luncheon on Wednesday, Novermber 20, 2024.
I was getting sick of Rite Aid scratching my negatives so I ordered this stuff to develop my own. Oh yah and bought a negative scanner as well. this is going to be so much fun!
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Tarsila do Amaral
Oil on canvas
Tarsila do Amaral, 1886–1973
Desiring to be “the painter of my country”, Tarsila (as she signed her work) developed a distinctly Brazilian voice within modern art. The daughter of wealthy landowners, she enjoyed a privileged childhood on her family’s coffee plantations. Following private painting lessons in São Paulo, she moved to Paris in 1920 to enrol at the Académie Julian, a school famed for offering women artists access to life drawing classes.
Tarsila returned to São Paulo in June 1922, where she formed the Grupo dos Cinco (Group of Five) alongside Anita Malfatti, Mário de Andrade, Menotti Del Picchia and Oswald de Andrade, who became her partner. In 1923 she returned to Paris with Oswald, where they would reside until 1928. Tarsila’s art during this period became known for its vibrant colours, simplified forms and distinctly Brazilian themes.
In 1928, her painting ‘Abaporu’, a simplified solitary figure with distorted proportions, provoked a fascinated reaction among her peers. It inspired Oswald to write the ‘Manifesto Antropófago’, which proposed artists engage in “cultural cannibalism” that would metaphorically “devour” wide-ranging influences to create something new and uniquely Brazilian. Despite Tarsila sometimes being sidelined as a muse to Oswald’s writing, he insisted that his manifesto put into words ideas that originated in her paintings.
The economic crash of 1929 dramatically changed Tarsila’s luxurious lifestyle and she subsequently separated from Oswald. In 1931 she held an exhibition in Moscow, following which she attended meetings of the Brazilian Communist Party. Paintings from this period, such as ‘Second Class’ (1933), reflect her more socially aware perspective.
During the 1950s she returned to her style and themes of the 1920s, and a series of exhibitions cemented her reputation as one of Brazil’s foremost artists.*
From the exhibition
Brasil! Brasil! The Birth of Modernism
(January - April 2025)
A major exhibition featuring over 130 works by ten important Brazilian artists from the twentieth century, capturing the diversity of Brazilian art at the time.
In the early 20th century a new modern art was emerging in Brazil. Starting in the 1910s and continuing into the 1970s, Brazilian artists were adapting contemporary trends, international influences and artistic traditions to create a new type of modern art; art informed by the vibrant cultures, identities and landscapes of Brazil.
Everyday life in Brazil was the subject of this new modernism and the Indigenous identity and Afro-Brazilian experience were among the many influences these artists drew upon in their work. This was a group of people looking inward at their rich cultural resource to set a new course for modernism that was borne out across South America.
The exhibition will bring an expanded view of Brazilian Modernism to UK audiences, showing work by artists who have historically received less exposure in this country, including Anita Malfatti, who spearheaded the movement, and Tarsila do Amaral, now internationally celebrated as a leading female figure of Brazilian Modernism. The exhibition will also include the self-taught artists Alfredo Volpi and Djanira da Motta e Silva, an artist of indigenous descent, Afro-Brazilian artist Rubem Valentim and performance artist, Flávio de Carvalho.
This exhibition explores a rich period of Brazilian art history through the work of ten artists, active between 1910 and the 1970s. A flourishing in the arts – including painting, sculpture, graphic design, architecture, music and literature – swept across the country, and was known collectively as Brazilian Modernism.
This was not a defined movement but rather a coming together of different cultural figures who campaigned for Brazil to move away from the old-fashioned, traditional forms of art that were rooted in the colonial (1500– 1815) and Imperial (1815–89) periods before Brazil became a republic in 1889. As a young, ambitious and optimistic nation, Brazil wanted to create its own distinctive identity.
It rejected European tastes for academic art and typical subjects such as historical allegories and religious scenes in favour of those that reflected and celebrated the country’s cultural diversity.
Brazil has a significant Indigenous population but one that has been increasingly marginalised following the influx of immigrant settlers that began during the colonial period. Portuguese colonists forcibly brought more than four million enslaved people from West Africa across the Atlantic, with the abolition of slavery only taking place in 1888. Later, significant populations of Italians, Japanese, Germans and Syrians settled in Brazil, further enriching its extraordinary ethnic diversity. Although many modernists lived and studied abroad, mainly in Europe or the US, they returned to Brazil determined to fashion a new artistic identity that looked inwards rather than outwards for inspiration.
Aside from incorporating modern approaches to art, artists travelled across the country reflecting on the different peoples and places they encountered and integrating them into their work. This exhibition celebrates this sixty year period, revealing the gradual move from the representational to the abstract.
[*Royal Academy]
Taken in the Royal Academy
This fruit develops in a different way than most commonly known fruits; this is because its seed is located outside the fruit. Even though its seed is the most exported part of the fruit; the fruit itself is enjoy in different way, from beverages to pickle and raw; it has a sweet taste, but it cannot be exported because it is delicate and perishes fairly quickly, not being able to endure the time it takes to transport it.
NASA Hyperwall Talk: GLOBE and DEVELOP: Engaging Youth and Citizen Scientists in Understanding our Environment event at the U.S. Center at the 28th Conference of the Parties to the United Nations Framework Convention on Climate Change (COP28) in Dubai, United Arab Emirates on December 8, 2023. [State Department Photo/ Public Domain]