Ministry of Culture and Museu de Arte To celebrate the 100th anniversary of the Moderna de São Paulo present exhibition that inaugurated Brazilian modernism, Anita Malfatti: 100 Years of Modern Art gathers at FEB. 7 MAM’s Great Hall about seventy different works covering the path of one of the main names in TO Brazilian art in the 20th century. Anita Malfatti’s exhibition in 1917 was crucial to the emergence of the group who would champion modern art in Brazil, so much so that APR. 30, critic Paulo Mendes de Almeida considered her as the “most historically critical character in the 2017 1922 movement.” Regina Teixeira de Barros’ curatorial work reveals an artist who is sensitive to trends and discussions in the first half of the 20th century, mindful of her status and her choices.

This exhibition at MAM recovers drawings and paintings by Malfatti, divided into three moments in her path: her initial years that consecrated her as “trigger of Brazilian modernism”; the time she spent training in Paris and her naturalist production; and, finally, her paintings with folk themes.

With essays by Regina Teixeira de Barros and GREAT Ana Paula Simioni, this edition of Moderno MAM Extra is an invitation for the public to get to know HALL this great artist’s choices. Have a good read!

MASTER SPONSORSHIP SPONSORSHIP

CURATED BY REALIZATION REGINA TEIXEIRA DE BARROS One hundred years have gone by since the 3 03 ANITA Exposição de pintura moderna Anita Malfatti [Anita Malfatti Modern Painting Exhibition] would forever CON- MALFATTI, change the path of art history in Brazil. ONE The first recognized modern art exhibition in TENTS Brazil—open between December 12, 1917, and HUNDRED January 10, 1918—comprised fifty-three works by Anita Malfatti, twenty-eight of which being YEARS landscape and portrait paintings; ten prints; five watercolors; the remaining were drawings and LATER caricatures. The set represented a summary of a six-year output by the artist, comprising her years REGINA TEIXEIRA DE BARROS of training in Germany (1910–1913) and in the United States (1914–1916), as well as recent works realized when she came back to São Paulo.1

Before Malfatti’s exhibition, São Paulo had only seen rigorously or close to strict academic art 11 ANITA shows. At first, the exhibition was received with awe and curiosity: Visitations were intense, and MALFATTI: Malfatti sold eight works. However, after Monteiro REGINA TEIXEIRA DE BARROS Lobato’s critic, “A propósito da exposição Malfatti” FROM THE [Regarding Malfatti’s exhibition], published in the afternoon edition of the newspaper O Estado CENTER TO de S. Paulo on December 20,2 most local critics echoed the judgment of that renowned literate, THE MARGINS… and five works that had been acquired were re- turned. The critic was so virulent that Malfatti’s A NECESSARY name has been associated to Lobato’s ever since. REVISION A passionate adept of naturalist art, Lobato began his appreciation of Malfatti’s show by saying: ANA PAULA CAVALCANTI SIMIONI There are two species of artists. One of them is composed by those who see things normally and consequently create pure art, keeping life’s eternal rhythms and adopting classical processes of the great 25 WORKS IN masters to concretize aesthetic emotions. Those who follow this path, if they possess EXHIBITION genius, are Praxiteles in Greece, Raphael in Italy, Rembrandt in the Netherlands, Rubens in Flanders, Reynolds in England, Lenbach in Germany, Iorn in Sweden, Rodin in France, Zuloaga in Spain. If they merely possess talent, they will add to 29 SELECTED the myriad of satellites gravitating around those everlasting suns. The other species BIBLIOGRAPHY

1) For a detailed panorama of Anita Malfatti’s life and work, see Anita Malfatti no tempo e no espaço by Marta Rossetti Batista (Edusp; Ed. 34, 2006), a must read in any 31 CREDITS study about the artist. This historian devoted years to re- search Malfatti’s life and work, and her studies unfolded into countless works in many different forms such as academic dissertations, books, and exhibitions. 2) The article was published two years later in the book Ideias de Jeca Tatu as “Paranoia ou mistificação?” [Paranoia or mystification?], the title for which it is better known. 4 is formed by those who see nature abnor- like hundreds around, without denounc- ing in Paris and her naturalist output; and, finally, mixing and with quite diversified hues—these 5 mally and interpret it under the light of ing a spark of talent, we would keep quiet, her paintings with folk themes. landscapes are structured with basis on traditional ephemeral theories, under the strabismal or maybe we would devote to her half a principles of escape lines and perspective, and are suggestion of rebel schools, emerged here dozen “candy” adjectives that the sugary closer to impressionist experiences. and there as boils of excessive culture. press always has at the ready when talking — They are the products of exhaustion and about ladies.3 Malfatti’s interest in art started at home, seeing As well as landscapes, the portrait genre would sadism of all periods of decadence; they her mother paint and give painting classes. At also be a constant throughout her artistic path. In are the fruit of the end of seasons, spoiled One hundred years have gone by since the twenty, encouraged by her godfather Jorge Krug, Retrato de um professor [Portrait of a Teacher], since birth. Shooting stars shine for an Exposição de pintura moderna Anita Malfatti and, she traveled to Germany7 to pursue her artistic done in Germany, one can see the traditional fram- instant, most often with scandalous light, since then, a myth has been crystallized around the training. She settled in Berlin, which, in a fortuitous ing of the picture, but more boldness in color usage and soon disappear into the darkness of “sensitive of Brazil”—as Mário de Andrade would coincidence, would also be the destination for and brushstrokes distributed in different directions, oblivion. Even though they deem them- refer to the artist—and her “tormentor,” Monteiro many artists from the expressionist avant-garde, sometimes blurring outlines, here and there. In Meu selves as new, as precursors of an art still Lobato. Rumor has it that Malfatti would never re- which certainly contributed to the path Malfatti’s irmão Alexandre [My Brother Alexandre], painted to come, nothing is older than abnormal or cover from this incident and that her brief apogee painting would take. During the period she stayed when she came back to Brazil, in early 1914, Malfatti teratological art: It was born with para- was followed by extreme, definitive decadence.4 there, the German capital city hosted members of resorted to new resources: the white opening on noia and mystification. Psychiatrists have Contemporary critics were unanimous in using Die Brücke [The Bridge] and New Secession, saw the shirt and the pale face of the leaning figure studied it for a long time in the treaties, terms such as “retraction,” “retrocession,” and “step the launch of the Der Sturm magazine and gal- contrast with his jacket’s and the surroundings’ dark, documented in the many drawings that backward” to refer to her output after 1917. Even her lery, staged exhibitions by French impressionists, cold tones, and split the screen diagonally. adorn internal walls in insane asylums. The great friend Mário de Andrade made a statement Nordic expressionists, and Italian futurists. only difference is that this art is sincere in in this sense: “After the exhibition, Anita retreated. In 1915, recently arrived in New York, Malfatti at- insane asylums, a logical product of brains She went home and disappeared, wounded.” And Soon after her arrival, Malfatti studied drawing at tended, for a brief moment, the Art Student League, deranged by the most bizarre psychoses; still, “uncertain, trembling between these different the Royal Academy of Berlin. She had classes on whose teachings were anchored in the classical and outside of them, in public exhibitions, orders she gradually lost herself.”5 color theory under Fritz Burger, of painting tech- tradition. Few months later, she was introduced heralded by the press and absorbed by nique under Bischoff-Culm, but it was Lovis Corinth to the work of Homer Boss and, together with a crazy Americans, there is no sincerity, no Now, blaming her change in painting to the trauma who revealed to her the power of color. Years later, course peer, she went to look for the “Modern logic—they are pure mystification. Lobato might have caused to her extreme sensitiv- Malfatti would describe how moved she was when teacher, a great misunderstood philosopher who ity is actually not realizing how watchful Malfatti she first saw an exhibition by her master: “The paint let everyone paint as they wished,”9 who was taking The article goes on disdaining modern art-isms, has always been regarding different branches was thrown with such an impulse, with such slides advantage of the summer to work on Monhegan but Lobato does recognize Malfatti’s competence: of artistic debate in her time. Both in Brazil and and sudden stops that it looked like life itself was Island with a few students. It was on that occa- Europe, modernism was constituted not only by running away through the canvas.”8 sion, in that isolated small island on the Canadian That artist possesses vigorous, uncommon historic avant-gardes, by the transgressive propos- border, that the repertoire assimilated in Germany talent. Rarely through a work twisted to als of the isms, but also by a moment of revising art In 1912, Malfatti went to Cologne to visit the fourth manifested: During her two-month sojourn, Malfatti the wrong direction so many, so precious history, of looking at tradition not to condemn it, Sonderbund, the great exhibition of European painted O farol [The Lighthouse], Ventania [Wind latent qualities can be noticed. From any but to establish a dialog between past and present. modern art, with works by Cézanne, Gauguin, Storm], Paisagem (amarela) [Landscape (Yellow)], of those small frames, one can realize how Schiele, Kokoschka, Nolde, Matisse, the Nabis, and Marinha (penhascos) [Seascape (Cliffs)], among the author is independent, how original she In light of that, the Anita Malfatti: 100 Years of cubists from the School of Paris, expressionists other views on the island that would consecrate her is, how inventive she is, the high degree in Modern Art exhibition presents a selection of from The Bridge and Der Blaue Reiter [The Blue as a pioneer in Brazilian modern art. In them, patch- which she possesses countless both innate works covering different aspects of her output Rider], as well as notable retrospectives of Van es of bright colors and sharp contrasts structure the and acquired most fertile qualities to build and shows her as an artist who is sensitive to the Gogh and Munch. compositions, pointing to the impact expressionist a strong artistic individuality. However, artistic trends around her, responding consciously and fauvist painting had had on the artist. In O farol, seduced by theories she calls modern art, to discussions unfolding through the first half of Even though Malfatti has lived in the epicenter of winding brushstrokes of citric yellow, purple, white, she entered the realms of a highly debat- the 1900s. The show aims at presenting a slice of German expressionism, those influences would and pink collide on the stirred-up clouds at dusk; able impressionism and devotes her whole Malfatti’s production under the light of these is- only reflect in her way of painting when she moved wind is also present in the maze of greens on the talent to a new kind of caricature. sues and, thus, it is divided into three different mo- to the United States, a few years later. From her bushes and the hairdo of orange-colored vegeta- ments: The first years that consecrated her as the German sojourn, few works are left: Some attempts tion on the hill. In A ventania, sky and land—and The famous author goes on listing a series of “dis- “trigger of Brazilian modernism”;6 her years of train- into metal etching and paintings such as A floresta everything that manifests between one and the agreeable considerations,” as he puts it. However, [The Forest] and O jardim [The Garden], done dur- other—are taken by the materiality of curves trans- he once again interrupts his criticism to modern ing the summer vacations of 1912 in the village of lating the commotion of nature wrapped by the art’s “excesses” to make an exception: “Ms. Malfatti’s Treseburg. Even though these open-air paintings wind. In Paisagem (amarela), a less material painting painting is not cubist, so that these words are not reveal her initial interest in color—here, applied than the others, the graphisms of naked branches directly addressed to her; but since she added to 3) Monteiro Lobato quoted in Batista, Anita Malfatti no through small juxtaposed brushstrokes without on the forefront oppose the color patches that or- her exhibition some cube-like character, it makes us tempo e no espaço, 211. ganize the remaining of the landscape. Years later, believe that it tends to her as some supreme ideal.” 4) Thankfully, Anita Malfatti’s output is being reviewed Malfatti would explain: “I was painting with a differ- over the past few years by a new generation of art And he justifies his harsh words: ent tuning fork, and it was that song of color that historians who are gradually demystifying the current 10 narrative. See the Selected Bibliography at the end, comforted me and enriched my life.” A true friend to an artist is not one who particularly publications by Ana Paula Simioni, Renata 7) Her chosen destination alone—certainly impelled by her showers them with laudations, but one Gomes Cardoso, Roberta Paredes Valin, Sônia Maria de mother’s family German origin—makes Anita Malfatti a who gives them a real opinion, although Carvalho Pinto, and Tadeu Chiarelli. unique artist, seeing that most Brazilian artists would go 5) Mário de Andrade quoted in Batista, Anita Malfatti no to Paris to pursue their artistic training. harsh, and translates clearly to them, with tempo e no espaço, 235 and 245. 8) Anita Malfatti, “A chegada da arte moderna no Brasil” no reservations, that which everyone 6) Expression coined by Mário da Silva Brito in História do (lecture, Pinacoteca do Estado de São Paulo, October 9) Anita Malfatti, “1917,” Revista Anual do Salão de Maio – thinks on their backs.… If we saw on Ms. modernismo brasileiro 1. Antecedentes: a Semana de 25, 1951), published in Mestres do modernismo (São RASM (1939), unnumbered. Malfatti nothing but “a lady who paints,” Arte Moderna (Rio de Janeiro: Civilização Brasileira, 1974). Paulo: Pinacoteca do Estado, 2004), 261–274. 10) Malfatti, “A chegada da arte moderna no Brasil”, 267. 6 Back to New York, Malfatti continued to work under Boss’ guidance—as the red seat and the pro- apart genre. Like all paintings in the ism modernism. Malfatti’s pioneering character would 7 with Homer Boss, a character around whom portions between figure and canvas. genre, cubism, futurism, impressionism, only come to be recognized by a more numerous many refugees from WWI gathered, among them Marinettism, it is hors-concours.12 group of intellectuals four years later, precisely Marcel Duchamp and Juan Gris, Russian writer If on the one hand, in her female portraits, the at the Semana de Arte Moderna de 1922 [Week Maxim Gorki, ballerinas Isadora Duncan and models are recorded sitting, mostly on three-quar- Lobato’s words caught the attention of writer of Modern Art of 1922] when her works occupied Napierkowska, as well as Sergei Diaghilev, direc- ters and from a slightly “from above” perspective, Arnaldo Simões Pinto, director of the Vida the spotlight at the hall of São Paulo’s Municipal tor of the Russian Ballets. Just like Berlin, the city in O japonês [The Japanese Man], on the other, Moderna magazine, and of future modernist Di Theater. For the show during the Semana, twenty was ebullient with innovations presented at the the painter seems to have taken their position. Cavalcanti. Together they came to see Malfatti of her works were selected, highlighting her mo- Armory Show in 1912 and in Alfred Stieglitz’s up- Observed from this point of view, the male figure and, excited with the uniqueness of her images, dernity, among them, some that had been exhib- to-date 291 gallery. The isms—cubism, expres- becomes monumental; its extremities extrapolate they proposed to her to do an exhibition—the ited in 1917, as well as one pastel nude and recent sionism, futurism—were resonating in New York the limits of the canvas. In that painting, strange- Exposição de pintura moderna Anita Malfatti. works with Brazilian themes.15 and, once again, Malfatti was at the right time ness does not emerge through contrast, but and place where art transgressed, and modern through the analogy of pink, purple, and brown As well as taking from storage part of the output The connection between Malfatti and the group life went on intensively. tones shared by the figure and the background. set aside for the show—set in a room lent by Count of future modernists had gradually become closer: Lara at Rua Líbero Badaró—Malfatti presented she had met Di Cavalcanti, Oswald and Mário In the exciting environment of the Independent In her pastel and charcoal works, the portrayed more recent works, done after she came back to de Andrade at the time of the exhibition in 1917; School of Art, Malfatti painted portraits “with subjects have distorted traces and, just like in the Brazil, such as her painting Tropical. In tune with she had shared space in the studios of Pedro the same spirit that landscapes had inspired paintings, they are framed so as to cover most of the nationalist debate happening in São Paulo at Alexandrino and Georg Elpons with Tarsila do us.”11 The unnatural colors of the portrayed, the the paper’s surface, having the top of the head that time, in addition to the banana-tree leaves, Amaral between 1919 and 1920; she had become unexpected framing, the anatomical deforma- invariably suppressed. Emphasis on psychologi- Tropical displays on the foreground a still life that close to the group of young writers Guilherme de tions, the contrasts between shape and color, cal aspects is present in works such as Retrato de stands out thanks to its naturalist treatment. In Almeida, Sergio Milliet, and Menotti Del Picchia at the expressive extravagances—to the eyes of the mulher [Woman Portrait], O secretário da escola opposition to the tropical fruits, the woman has a the turn of the decade. savvy—caused awe when exhibited in the provin- (Retrato de Bailey) [The School Secretary (Bailey more synthetic finishing, which characterizes her cial 1917 São Paulo. Portrait)], and Homem sentado (dormindo) [Man more as a human type—a mulatto—than as an indi- The alliances from that time were recorded on por- Sitting Down (Sleeping)]. The same “mutilated” vidual.13 Even though Tropical is an iconic painting traits she made of her friends, among them three In Mulher de cabelos verdes [Woman with Green framing is frequent in the large-format nudes of Malfatti’s interest for seeking some Brazilian of Mário de Andrade and one of Amaral—who had Hair], the angled face with pointy ears and chin, that she did—also in charcoal or pastel—at Homer imaginary, it is important to highlight that issues been introduced to the others by Malfatti in the pug nose, and arched eyebrows contrasts with the Boss’s school. In her male nudes, Malfatti high- with a nationalist theme were already present in second half of 1922, during one of her returns from body’s and the background’s curvaceous volumes, lights the vigor of moving muscles, utilizing thick works done in the United States. Even though she the French capital. If on the one hand, on Mário de accentuating the sinister air of the portrayed lady. lines and fumed zones to accentuate body mass. was in a full “pictorial idyll,”14 disclosing the uni- Andrade’s pastel, she used marked contrast on the Just like in the painting Meu irmão Alexandre, In her female nudes, on the other hand, she favors verse of colors, in that occasion, Malfatti already planes that make up the image, on Amaral’s, on the the strident green in the cleavage reverberates finer, albeit no less expressive, lines. That series showed interest for such themes—just like other other, she chose a more naturalistic approach with with the hair’s greenish mass and with the lines of of drawings was not included in the 1917 exhibi- foreign artists living in New York did. In her pastel subtle hues highlighting her friend’s elegance. The the same color present in the face’s architecture. tion—probably because they represent a disturb- O homem de sete cores [Man in Seven Colors], intimacy of the group is recorded on the delight- Chromatic dissonances add to the model’s enig- ing theme in itself. After all, it was expected that the human figure shares forefront with banana- ful drawing Grupo dos Cinco [Group of Five] from matic, even scary expression. young bourgeois ladies were pretty, well man- tree leaves; blues, greens, and yellow, the colors 1922 in which Amaral and Mário de Andrade play nered, and homemakers, obeying rules dictated of the Brazilian flag, dominate the composition. the piano, Del Picchia and Oswald de Andrade In the painting A estudante [The Female Student], by the classical canon. Coincidently or not, these are the dominating col- rest on the floor, and Malfatti naps on the couch. red patches distributed in different parts of the ors in A boba [The Fool], a painting that also shares Other testimonies of this conviviality are canvases body contrast with others in citric yellow, lending Back to São Paulo in August 1916, Malfatti was characteristics with the other portraits done at the painted at the same time, by Malfatti and Amaral, the young model an unhealthy appearance. Her twenty-six. Well-traveled and updated, she found Independent School of Art such as highlighting having as subject the bunches of daisies Mário de curved posture and her shoulders projecting to the a timid artistic milieu, mostly asleep in the comfort psychological details, image building through col- Andrade had sent to Amaral.16 On Malfatti’s paint- front, outlined by thick color lines, denounce a mix of academic textbooks. For her family, the result of or patches, untraditional framing of the figure, etc. ing, the white flowers on the foreground gradually of annoyance and discouragement. Purples and her studies abroad revealed a great disappointment give in to color patches that virtually propagate to greens dominate the background and reflect on and, as her biographer Marta Rossetti Batista de- When Lobato published his comments regard- the whole of the canvas. the student’s clothing. scribes, the artist put her works temporally aside. ing Exposição de pintura moderna Anita Malfatti exactly one hundred years ago, young author In 1923, Malfatti traveled to Paris with a grant from A estudante russa [The Russian Student], a painting In mid- 1917, Malfatti sent a painting to the Concurso Oswald de Andrade was the only person who the Pensionato Artístico do Estado de São Paulo deemed to be a self-portrait, has a soberer coloring: do Saci competition promoted by Monteiro Lobato. would publicly intervene to defend the show, [Artistic Boarding School of São Paulo State]. both the costume of the artist and the background Upon commenting some of the works that had which would come to be ground zero for Brazilian Contrary to the other Brazilian modernists who on which she is represented are filled with a thin lay- been submitted at O Estado de S. Paulo news daily, arrived at the City of Lights in the early 1920s, er of ink, so as to resemble at times the watercolor the critic would show his disapproval regarding Malfatti was already a mature artist. On the first effects, at times the effect of the charcoal pencil. Malfatti’s painting: two years, she said, “I attended academies and free Probably realized before Malfatti was encouraged courses, I visited studios, I sought on salons the

to throw herself at the effusion of colors, this paint- Ms. Malfatti also sent her ism contribution. 12) Monteiro Lobato quoted in Batista, Anita Malfatti no ing already presents some characteristics that A traveler and his horse, leisurely riding on tempo e no espaço, 191. would be constant in the later portraits—painted a red road, fall apart in a horror fit when they 13) Regarding this painting, see Tadeu Chiarelli, “Tropical, see hanging from a bamboo rod something de Anita Malfatti,” in Arte brasileira na Pinacoteca do Es- 15) Regarding Anita Malfatti’s participation in the Modern otherworldly. The rider falls apart, the horse tado de São Paulo, ed. Taisa Palhares (São Paulo: Cosac Naify / Imprensa Oficial / Pinacoteca, 2009), 134–145. Art Week, see: Aracy Amaral, Artes plásticas na Semana falls apart, trying to get away from its own 14) Expression used by the artist to describe her sojourn in de 22, 5th ed. (São Paulo: Editora 34, 1997). neck, which extends long as if it were made the United States. Malfatti, “A chegada da arte moderna 16) Apropos, see: Aracy Amaral, Tarsila sua obra e seu tem- 11) Idem. from the best rubber from Pará. Falling- no Brasil,” 267. po (São Paulo: Editora 34, 2003), 69–70. 8 most advanced things that were being made.… I those occasions, she recorded French and Italian no kinship to the simple curtain of Chanson de the artist was involved with her peers on a testimo- 9 am very curious and thus my exhaustive peregri- town landscapes on delicate watercolors as well Montmartre, just as there is no similarity between ny about the 1930s: “[Malfatti’s] home was always nation through the big city seeking things to see, as in oil paintings with naturalistic hues and care- the rooms behind the two figures: inMulher do full, with people coming for tea or drinks before to learn.”17 The most advanced thing she saw and ful brushstrokes. While her views near the water Pará, one does not glimpse a small twin bed; the dinner; they would often dine there, and meetings learned was the recovering of realistic, naturalist, allude strongly to Albert Marquet’s seascapes, configuration of furniture inside the dark room is up in the evenings were frequent. With this, I met all and classic trends and, with them, the valorization both for the palette and the thorough treatment to the client’s imagination. Looking at this work, it is painters from that time; I often saw Volpi, Zanini, of the métier. Innovations belonged to the past. of the painting, Paisagem dos Pirineus, Cauterets inevitable to make associations with two paintings Rebolo, and Pennacchi.”23 [Pyrenees Landscape, Cauterets] alludes to land- by Édouard Manet: Le balcon [The Balcony] and Regarding her discoveries in Paris, Malfatti wrote scapes by Paul Cézanne, organized through the Olympia. The former, for the color analogies and the In that time, she painted mostly portraits of family to Mário de Andrade: juxtaposition of short color brushstrokes. place chosen for the portrait; the latter, for the eroti- members, friends, intellectuals, and members of cism and the direct gaze towards the viewer. the elite, as well as religious themes. The pictures Fortune has turned for me. See how many During the period sponsored by the São Paulo of her niece Liliana and her friend Antônio Marino good things. In my painting, I will come to State administration, Malfatti also innovated her The state’s grantees were committed to following Gouvêa display a naturalistic treatment in close a great phase. I made a huge discovery “for image repertoire by painting interiors and scenes the program’s rules: by the end of the apprentice- dialogue with tradition. They are built with careful me.” I know that now I will always be able of women on balconies.20 In Interior de Mônaco ship, they had to prove their studies by presenting brushstrokes and refined colors, and both present to attain harmonious unification of my hues [Monaco Interior], the room on the forefront is two copies of works by masters recognized by one particularity compared to other portraits of the and the relationship between them in a way structured through patterns: table cloth, wallpaper, art history, as well as one original composition. same period: a neuter background is replaced by that all of them seem like parts of the same valance—not to mention the checkered floor—that Malfatti reproduced Jean-François Millet’s Les a landscape and by the reproduction of one of her whole—finding out the “local color” and are abundantly decorated with floral motifs in neu- glaneuses [The Harvesters] and Eugène Delacroix’s paintings, respectively. Liliana poses before a deli- applying it simultaneously, according to the tral tones. The dark space is suffocating and opens Femmes d’Alger dans leur appartement [Women of cate landscape by the sea, whose treatment harks problem to be solved. The same system to another, in which light and air seem to circulate: Algiers in their Apartment] (both copies belonging back to treatment from the Renaissance, while in the rhythm of the drawing.… I will work some subtle luminosity reflects from the blue to the collection of Pinacoteca do Estado de São on the background, in Gouvêa’s portrait, is Lago now with method and understanding, and I robe the figure that has its back to us is wearing, Paulo). She worked extensively on Puritas (a reli- Maggiore [Lake Maggiore], a painting by Malfatti know this marks the beginning of an era.18 projecting nothing but a slight shade on the floor. gious painting that can be seen at the Museu de that belonged to the collection of her friend who is Both the white plane of the door that stands ajar Arte Sacra de São Paulo), but she ended up pre- portrayed. The representation of Baby de Almeida, During the five years she lived in Paris, Malfatti and the floor’s red patch guide the viewer’s gaze senting Tropical as proof of her originality.21 modernist poet Guilherme de Almeida’s wife, and drew a great deal. If her works on paper had large towards a space beyond that which is presented to of Carolina da Silva Telles, daughter of the “mod- dimensions in the United States, now, more nu- us. This device is quite common in interior paint- Malfatti was back to São Paulo in September 1928. ernist dame” Olívia Guedes Penteado, manifest merous, they were set to the size of notebooks ings by French artists contemporary to Malfatti A few months later, she prepared a solo show with many analogies among them: beyond the fact and acquired a new purpose. As if in a journal, she such as Pierre Bonnard and Édouard Vuillard, as her Parisian output, according to determinations that both canvases have the same dimensions, recorded ideas that could be used in future paint- well as in those by Matisse. of Pensionato Artístico. Her contained art, “with the women portrayed are in similar positions, with ings, made color notes, diversified themes. In order no excesses,” that she displayed received some similar cleavages and necklaces. The light auras to train her left hand, due to the congenital prob- Henri Matisse was a reference as well for the two praise and some less positive critics. Years later, circling their heads add to these parallels, lending lem in the other hand, she drew countless graphite paintings in which solitary women are portrayed Malfatti would take stock: “I was sure that my work a slight theatrical air to the figures, particularly to and China ink nudes—now mostly female—from on balconies, particularly in regard to the use of was good; both the French and American moderns Baby de Almeida’s. In Flávio Motta’s portrait, done living models. In that new phase, she outlined bod- architectonic elements as a resource to present had said so spontaneously, with no stakes.… I knew in the early 1940s, a fumed effect of the brush- ies with fine and delicate traces, but at the same sequential planes, creating a certain depth. Both those critics had no basis.”22 strokes combined with the model’s lost eyes add a time they were firm and precise.19 in Chanson de Montmartre [Montmartre Song] dreamy air to the young artist. and Mulher do Pará [Woman from Pará (State)], the In the 1930s, Malfatti taught at the Escola Her search for refinement in hermétier also guided figure is situated between the parapet’s bars and Americana, the Escola Normal do Mackenzie In 1944, Malfatti traveled to Belo Horizonte to take a new series of paintings in which the means em- the ornate curtains. Furthermore, both are framed College, and at her studio. In parallel, she was a fre- part in the Exposição de arte moderna [Exhibition ployed to do the work and technical ability are by Venetian blinds and, once again, it is possible quent contributor to distinguished shows, among of Modern Art] organized by Guignard and joined a evident concerns, as these qualities marked her to glimpse a space (now shaded) beyond the bal- them one of Brazilian art at the Roerich Museum in group of artists to visit the historical towns, where entire output during the phase at the French capi- cony. However, similarities stop here. Chanson de New York, in which she exhibited as well. She took she saw processions and festivals—themes that tal. She enlarged her repertoire of technical and Montmartre is a painting that intends to be simple: part in the committee of the Salão Revolucionário she would incorporate into her repertoire of imag- compositional solutions by attending free courses the young lady with doll traits and virginal dress [Revolutionary Salon], invited by Lucio Costa, es from then on. Na porta da venda [In Front of the and visiting contemporary exhibitions. During her waters small flowers, accompanied by her cat (with got involved in the events of Sociedade Pró-Arte Grocer’s], O trolinho [The Small Trolley], Trenzinho vacations, Malfatti traveled through Europe and, in a red bow) and a bird. The disproportion between Moderna [Pro-Modern Art Society], joined the art- [Small Train], and Samba are from that period; they the figure and her house with a compressed roof ists of Família Artística Paulista [São Paulo’s Artistic are paintings in which Malfatti inserted groups reiterates the naïve aspect of the set. On the other Family], and was part of organizing commissions of three to four people, each one focused on one hand, Mulher do Pará is a provocative painting: for many different salons, having exhibited her activity. In Porta da venda, the scene framed by a a proud woman with her see-through dress, red work in most of them. Sofia Tassinari, who trained St. John’s pole and a garland displays three groups 17) Anita Malfatti quoted in Batista, Anita Malfatti no tempo shoes and choker, faces the passerby. Her hieratic under Malfatti for eight years, would confirm that on the foreground, each one suggesting a different e no espaço, 319–320. pose and her weird big, ornate hair suggest im- narrative: while two women exchange ideas and 18) Letter from Malfatti to Mário de Andrade, 1925, quoted in Batista, Anita Malfatti no tempo e no espaço, 321. mobility, and wait. The sophisticated curtains have impressions in front of one of the grocer’s doors, 19) Regarding Malfatti’s drawing, see Ana Paula Simioni and Ana Paula Camargo Lima, “Desenhos de Anita Malfatti: Coleção de Artes Visuais do Instituto de Estudos Brasi- 21) Regarding Malfatti’s choice to donate an older painting, leiros,” Anita Malfatti, ed. Lygia Eluf (Campinas: Editora see: Chiarelli, “Tropical, de Anita Malfatti,” and Marcelo da Unicamp; São Paulo: Imprensa Oficial do Estado, Mattos Araujo, Os modernistas na Pinacoteca: o Museu 2011), 11-15; and Roberta Paredes Valin, Cadernos-diários 20) Malfatti also devoted herself to a series of biblical entre a vanguarda e a tradição (doctoral dissertation, 23) “Depoimentos sobre Anita Malfatti: Sofia Tassinari (Os de Anita Malfatti: uma trajetória desenhada em Paris passages, for which Maurice Denis and the journey to Universidade de São Paulo, 2002). anos 30),” O Estado de S. Paulo (December 13, 1969). (master’s dissertation, Universidade de São Paulo, 2015). Florence were certainly key references. 22) Malfatti, “A chegada da arte moderna no Brasil”, 167. Literary Section, 3. 10 in front of the other, an old man accompanied Thus, one hundred years after Exposição de pin- On an international perspective, there were rare, re- 11 by children admires a horse; in the middle of the tura moderna Anita Malfatti, it seems to us that it ally very rare, women artists who stood out during street, a mother is occupied with her children. The is crucial to reexamine the artist’s output under modernism. An extended research by Catherine dirt pavement—figured through a patch of beiges the light of a wider view of modernism, not re- ANITA Gonnard and Élisabeth Lebovici recorded three and browns—frames two small homes and gets to stricting the understanding of her production to thousand female artists acting in the European art the woods at the back of the scene. the discourse elaborated by the modernist. The world between 1900 and 1930. Even though this exhibition in 1917 was, undoubtedly, a watershed in MALFATTI: figure represents only 10 percent of the overall es- Just like in this painting, the others are stages for Brazilian art history and deserves to be celebrated timated total of artists (about thirty thousand), few different events that unfold in different planes, as such. However, Malfatti’s contribution to mod- of them are known today. How many female names always with calculated brushstrokes and moder- ernism in Brazil is not restricted to the formal inno- associated to cubism, fauvism, or Dadaism can be ated tones. While O trolinho and Trenzinho obey vations she presented in 1917. Her commitment to quickly pointed out or have their works available a similar logic of spatial structure, Samba stands experimentalism was always present in other pe- in museums? That is, even if these artists have had out for its homogenous and soft background over riods in her path, be it in the radicalism with which some renown in life, they were “almost immedi- which figures in circles seem to hover. she launched herself into her return to order, be it FROM ately excluded by art history’s harsh selection.”1 in her bold appropriation of the “folk mode” in the That set of paintings with folk themes flirts with last years of her life. A renowned chart devised by Alfred Barr—a no- some “simplification” in space construction, table MoMA director in its first years—evidently close to that adopted by naïf artists. In a letter At the end of the day, Monteiro Lobato was right THE signals male dominance in the avant-garde, attrib- addressed to Mário de Andrade after his death, when he recognized, one hundred years ago: “In uting to Cézanne, Seurat, and Gauguin “paternity” she updates him: “I researched all techniques and any of those little paintings one can realize how in gestating future foundation movements of mod- came back to simplicity, directly; I am not more independent its author is, how unique she is, how CENTER ernism. As Griselda Pollock pointedly notes, why modern or outdated, but I write and paint that inventive she is, the high degree of her countless does this happen? Were there no women among which enchants me.”24 Contrary to what the mod- qualities, both innate and acquired, all of them most modern artists? Why are all names in the canon ernist historiography preaches, adhesion to a folk fertile for her to build strong artistic individuality.”25 male? According to the author, the problem is not language does not represent one further step of TO THE the actual presence of women in that circuit, as it Malfatti’s towards the abyss. Once again, Malfatti certainly existed, but the manner in which the his- reveals herself to be aware of the debate going tory of modern art is built as selective discourse on in the artistic milieu that, in that second half MARGINS… normalizing gendered practices.2 Among them, we of the 1940s, was discovering and exalting naïf need to observe a highly masculine artistic mythol- artists such as José Antônio da Silva and Heitor ogy associating artistic genius to transgressive dos Prazeres. Other artists who were assimilated elements of a lifestyle considered as “bourgeois,” by the art system in that decade turn—such as A NECES- guided by the binomial work-family. It is a mat- Emídio de Souza, Djanira, Cássio M’Boy, and ter of building a figure of the modern artist based Tereza D’Amico—adopted vernacular vocabulary not only on the art produced but on their lifestyle and formal solutions typical of primitive painting, forged as an “artist lifestyle” rejecting established even though they had been trained in studios or SARY order by embracing transgression experiences had had formal artistic training. Malfatti followed such as Bohemia, dandyism, free eroticism directly this movement closely, as she would visit Souza opposed to traditional marriage.3 To build oneself often in Itanhaém and frequently met with M’Boy REVISION at Embu. Thus, when she incorporates “simplicity,” she does it intentionally, in tune with current dis- ANA PAULA CAVALCANTI SIMIONI* cussions, avoiding accommodating in that which was familiar to her. 1) Catherine Gonnard and Élisabeth Lebovici, Femmes Artistes/Artistes Femmes, Paris de 1880 à nos jours (Paris: In that sense, her paintings Festa de Georgina Éditions Hazan, 2007), 8–9. Translated into Portuguese by [Georgina’s Party] and Vida na roça [Life in the the author and converted into English by the translator. Country] are extreme paintings in which Malfatti 2) Regarding this, Griselda Pollock says, “…Over each move- renounced the faded palette, and chose bright ment a named artist presides. All those canonized as the initiators of modern art are men. Is this because there colors and filled the space with small scenes dis- were no women involved in early modern movements? tributed through the zigzag of rivers and roads that No. Is it because those who were, were without signifi- traverse the canvas. Simplicity is deliberated here, cance in determining the shape and character of modern the result of an open attitude, receptive to innova- art? No. Or is it rather because what modernist art history tions, a posture that her contemporary critics were celebrates is a selective tradition which normalizes, as the only modernism, a particular and gendered set of not able to understand. practices? I would argue for this explanation. As a result any attempt to deal with artists in the early history of modernism who are women necessitates a deconstruc- tion of the masculinist myths of modernism.” Griselda Pollock, “Modernity and Spaces of Femininity,” in Vision and Difference (London: Routledge, 1988), 50. 3) Janet Wolff, “The Invisible Flâneuse. Women and the 24) Anita Malfatti, “Carta para Mário de Andrade, Caminho Literature of Modernity,” Theory, Culture & Society (Nov. do Céu,” in Mário de Andrade, Cartas a Anita Malfatti 25) Monteiro Lobato quoted in Batista, Anita Malfatti no * Lecturer with Universidade de São Paulo’s Instituto 1985); Gill Perry, Women Artists and the Parisian Avant- (Rio de Janeiro: Forense Universitária, 1989), 40. tempo e no espaço, 206. de Estudos Brasileiros. Garde (Manchester University Press, 1995). 12 as a modern artist meant, thus, to brandish a series de Andrade, all of them still beginners in the São ity in the historiography of Brazilian modern art. lent study for A boba [The Fool]) and become more 13 of rupture and freedom acts that were virtually Paulo culture world—distinguished her innovative Most studies about Brazilian artists in the 1920s precise, fine, and devoted to capturing—mostly fe- inconceivable to the women belonging to those character and championed her in the pages of prioritize those who, in that decade, spent time in male—body poses exhibited in private academies same generations. São Paulo newspapers, opposing the notorious Paris, then considered the world’s art capital; it is where she trained in Paris.12 criticism she had received from Monteiro Lobato. the case of Vicente do Rego Monteiro, Antônio From this perspective, the Brazilian case poses an From that point on, Anita Malfatti had her histori- Gomide, Victor Brecheret (landed in 1921), and How to explain to her generation peers something interesting uniqueness. Differently from virtually cal importance connected to her condition of the Anita Malfatti, Tarsila do Amaral, Di Cavalcanti, that was only understandable as retrocession? As all international experiences, here, women were catalyst of the modern movement. More than her and sculptor Celso Antônio (who arrived in 1923).8 Tadeu Chiarelli pointed out very well, in a moment recognized as protagonists of modernism. Anita works, it was her function as a victim that allowed, Among them are also included those who ad- when the group of moderns was still seeking le- Malfatti is today considered as the one who intro- according to that perspective, for artists (all of opted certain particular aesthetic parties. Thus, gitimacy in Brazil and abroad, it was hard to accept duced the avant-garde languages in Brazil—a sym- them male) to recognize themselves as “modern.” artists with different orientations are set aside, that the artist was deliberately seeking any artistic bolic key place, however oscillating, historically, as Ultimately, it was the “Anita affair” that fostered even though they were their contemporaries path different from the one championed by them. we intend to discuss. Next to her is Tarsila do Ama- the creation of the group who, later, would or- and were in the same center as those mentioned In that sense, external causes needed to be forged ral, whose recognition has not always been sure ganize the Semana de 22 [Week of 22], an event above. Helena Pereira da Silva Ohashi, Alípio to explain the artist’s derailing: and stable throughout the 20th century, but who is, repeatedly praised for its modernist narratives. Dutra, Tulio Mugnani, Angelina Agostini, among today, undoubtedly pointed out as the most promi- Mário da Silva Brito’s article, to this day a valuable many others, because they were not considered We can believe that to those who, from nent artist in the 1920s by synthesizing the ideal of reference, is exemplary in this sense: “modern,” were not subject of attention either by the beginning, were struggling to build national painting in tune with the art avant-gardes their generational peers or by later historiogra- an ascending, triumphant history for abroad, which was, then, the motto embraced by Lobato was cruel, as well as incompetent for phy. It was expected that Brazilian artists, once in modernism in São Paulo, it would not be the first generation of moderns. the job he was doing. Anita Malfatti, young Paris, would follow a determined path: that they interesting to face the need to try to un- and pioneering, battling against the social would embrace some kind of modernism—pref- derstand the reasons that led one of the and family environment, needed encour- erably cubism—and that, through it, they would leading local artists to devote herself to agement and warmth…. However, indirectly, mold some “Brazilian international art.”9 That is, avant-garde experimentation to abandon VIEWS ON ANITA: he consecrated the one who, at first, was his there was a need to mold production synthesizing such a path and embrace tradition.… After FROM MODERN TO REGRESSIVE victim. “Anita Malfatti”—notes Menotti Del international modern language with a kind of “na- all, how to lend credibility to an aesthetic- Picchia—“entered then our artistic martyrol- tive” iconographic lexicon. ideological movement whose first major Anita Malfatti is a controversial character in Brazil- ogy. The result: Modernism gaining space, artist abandons its postulates to embrace ian art history, and she has been receiving solid this celebrated painter became a saint However, in Paris, Malfatti did not follow the antici- those that, theoretically, should have been analysis.4 It is hard today to observe her output of sorts from the demonic wing of the pated, desired path. Instead of radicalizing her path overcome? Resorting to disrespectful without being contaminated by the history of re- reformers. Her name carries the prestige through marked ruptures with tradition, she in- argumentation towards the artist, they ception she had through time. Through a series of of thaumaturges and martyrs.” vested in the opposite sense, doing that which was transformed Anita Malfatti—at the time a discourse layers, representations about Malfatti conventionally called a “return to personal order.”10 woman seeking professionalization and were molded—first cited as modern, taking a posi- Lobato had, above everything else, the This is evident not only in her painting, now with with experience abroad included (some- tion of victim next and, finally, of “regressive” artist. non-intended and non-coveted merit of a notably faded palette, a “smoothing of her tech- thing that would not be a small feat for a gathering around that mocked painter nique,” according to researcher Renata Cardoso, Brazilian woman, with a congenital hand- A brief summary of these discourses: Malfatti the group of the moderns. Next to her are which takes her far from intense chromatic con- icap, in last century’s second decade)— conquers a prominent place after her exhibition in many of the youngsters who would orga- trast characteristic of works from the 1910s,11 but they transformed this professional into 1917 when for the first time, a local artist exhibited nize and take part in the Week of Modern also in her drawings, which lose the expressivity of a woman who was nothing but insecure, works capable of challenging the predominat- Art a few years later. Her exhibition is the her charcoal male nudes (also present in the excel- capable of hindering her own output due ing realist-naturalist taste by bringing to Brazil first phase in this innovative starting point.6 to a newspaper critic.13 paintings incorporating free chromaticism from an expressionist matrix she came to know in her Malfatti is described as someone whose merit training journeys in Germany and the US.5 It is was that of having gathered the group of the worth noting that these were then uncommon moderns, and it is worth noting that this was not 8) Marta Rossetti Batista, Os artistas brasileiros na Escola ANITA WITH TARSILA: ARTISTS, WOMEN, destinations for Brazilian artists who usually had her intention. With that, she is stripped of any de Paris: anos 20 (doctorate dissertation, Escola de MODERN, AND LATIN AMERICAN IN PARIS Paris as their primary reference for training. Even kind of agency regarding the fate of development Comunicações e Artes, Universidade de São Paulo, less common was a woman, Brazilian, no less, to of modern art in Brazil. In that process, the artist 1987). About the presence of other artists in the French Beyond Malfatti’s supposed “deviations,” another capital city at the time, see: Marcia Camargos, Entre a travel by herself, for years, supported by her fam- exerts, according to Paulo Mendes de Almeida, a complicated recurrence was configured in histori- vanguarda e a tradição (São Paulo: Ed. Alameda, 2011). 7 ily, seeking training to become a professional art- merely “polarizing function.” Thus, in these narra- 9) Sergio Miceli, "Anita Malfatti: gênero e experiência ography, that of a supposed competition between ist. During this brief period, her peers in her gen- tives, the artist and her works weaken and lose a imigrante," in Nacional estrangeiro. História social e her and Amaral, who would have been a hindrance eration—such as the then illustrator Di Cavalcanti central role they had in their original context. cultural do modernismo artístico em São Paulo (São and young writers Oswald de Andrade and Mário Paulo: Companhia das Letras, 2003). Regarding this, The artistic path developed in France between see: Annateresa Fabris, “Modernismo: nacionalismo e engajamento,” in Bienal Brasil Século XX, ed. Nelson 1923 and 1928 contributed significantly for her to Aguilar (São Paulo: Fundação Bienal, 1994); Annateresa come to occupy, more and more, a place of fragil- Fabris, “Vanguarda e modernismo: o caso brasileiro,” in Modernidade e modernismo no Brasil (Campinas: 12) About nudes done by Malfatti in the 1920s, see particu- 4) The production about the artist is large, it is impossible Mercado de Letras, 1994). larly Roberta Valin, Cadernos-diários de Anita Malfatti: to list all the works here. Please refer to the Selected 10) Batista, Anita Malfatti no tempo e no espaço (São Paulo: uma trajetória desenhada em Paris (master’s dissertation Bibliography for some highlighted pieces. Ed. 34/Edusp, 2006). in Brazilian Cultures and Identities, IEB-USP, 2015), 57–70. 5) Mário da Silva Brito, História do modernismo brasileiro 1. 11) Renata Gosmes Cardoso, “Anita Malfatti em Paris, 13) Tadeu Chiarelli, “Tropical, de Anita Malfatti,” in Arte bra- Antecedentes: a Semana de Arte Moderna (Rio de Janei- 6) Brito, História do modernismo brasileiro, 6th ed. (1997), 1923–1928,” 19&20 (Rio de Janeiro) 9, no. 1 (Jan/Jun 2014). sileira na Pinacoteca do Estado de São Paulo, ed. Taisa ro: Civilização Brasileira, 1974); Paulo Mendes de Almeida, 54. Highlights by the author. Available at http://www.dezenovevinte.net/artistas/artis- Palhares (São Paulo: Cosac Naify / Imprensa Oficial / De Anita ao Museu (São Paulo: Perspectiva, 1976). 7) Mendes de Almeida, De Anita ao museu, 23. tas_amalfatti.htm (in Portuguese). Pinacoteca, 2009). Highlights by the author. 14 in her career.14 Amaral is taken as the paradigm tury of her presence in Brazilian artistic scenes. Now courage, get ready as I will give you there will be a little bit for me too, don’t you 15 of a continuous journey by following a path that There is no way to recover a pure, unbiased, or “bouleversante” news. I am classic! As a think? Therefore, I will tell you a bit about goes from post-impressionist art to avant-garde original regard to her output and her works, but it futurist, I am dead and have been buried. I my painting. I continue to work freely with- geographically and symbolically associated with is indeed possible to revisit them under the light am not laughing, no. It is the truth; you can out following any fixed school or any teach- an ascending line traced between São Paulo and of new paradigms, always subject to updates and recite the Ite in pax in my futurist phase er. I am, thus, well inserted into my time. I Paris. Meanwhile, Malfatti is constructed almost as criticism. Among them, it would be worthwhile or rather modern because I have never do not worry, the same way I have never an inverted reflection, constituting a paradigm of to reconsider the notion of artistic “retrocession” belonged to a particular school. worried, with originality. This note comes “regressive” journey as, instead of radicalizing her that permeates modernist narratives. In parallel, it by itself. I seek within simple, direct, and path towards that which was modern (understood, is important to give back to the artist mastery over I am neither sad nor happy. That’s it. I balanced composition the most subtlety generally, as unique), when she went from the cen- her acts, her choices, and, lastly, we need to con- work and work, and this is what came out. in color quality. I try to preserve the draw- ter of the modernist experience in peripheral São textualize them. With that, Malfatti becomes not an I cannot force myself to please anyone. ing and the values always fair and severe. I Paulo, she ended up encountering, in the French excrescence or a victim, much less some unique In this I am, stay, and will always be free. could explain better saying that my work’s capital city, the fringes of avant-garde.15 heroin, but a historic subject who acted in a still- Actually, all, or almost all great artists here whole poetry is in the colors. It is through undefined field of possibilities, comprising many are going through this enormous problem. color that I always try to say that which However, it is necessary to review these compari- different understandings of what “modern” was. Matisse, Derain, Picasso. All of them are moves me. In my composition, form and sons, first because, as Maria de Fátima Couto16 has The notion of retrocession presupposes its op- currently living this reaction. I had been value [are] subject to the immutable laws pointed out, they are neither natural nor evident, they posite, that is, artistic progress, which is some- apprehensive because of that, but today I of painting science. My paintings are not do not emanate from any kind of formal similarity thing indefinable and indefensible. Furthermore, saw many artists who ensured me that this random things. I solve all my problems be- emerging from their works but from strictly biograph- it comes from a clear conception of modernism is the current phase in Paris. We’re back to forehand and then quickly execute. When ical components such as the artists’ gender. Other that disregards diversity of schools, movements, Mother Nature….”19 I let the temptation of improvisation take than that, it is worthwhile noting that such compari- and conceptions that were present—and compet- myself, it is an endless streak of doubt and sons that often acquire analytical outlines are based ing—in Paris in the 1920s. Mostly, her generational The painter shows she is aware of the process powerlessness. In Florence, I learned to do on reckless use of contemporary sources such as contemporaries rebuffed Anita Malfatti’s path due later known as “return to order,” something many incisions and apply gold like the ancients correspondence between Mário de Andrade, Ama- to her initial approach to painter Maurice Denis,18 artists were going through in the interwar years, did. I’ve been going to the Louvre every day ral, Malfatti, Milliet, and other agents of the time that who would have isolated her from the small, but among them three who had already established for the past three months. I am applying the sought to explain Malfatti’s removal due to resent- powerful, circle comprising Oswald de Andrade, their names between avant-gardes.20 At that mo- last touches to Raphael’s Belle jardinière. I ments towards her former friend. However, as I said Tarsila do Amaral, Sergio Milliet, Yan de Almeida ment, they were moving away from the most radi- will also copy Delacroix’s Femmes d’Algier before, these writings mirror feuds of the time and Prado, and Mário de Andrade, among others. Mau- cal research that would happen later and were because I believe that painting marked must be analyzed within their particular context.17 rice Denis had established his name with the Nabis going back to elements associated with tradition an era. It is distinctly the note of transition in the late 1800s, but, in the 1920s, he was seen by such as human body figuration, landscape (some- between the old world and the new. I see Anita Malfatti who comes to us today results from Brazilians as a traditional, “official” artist due to his times linked to regional or national discourse) or now so clearly that all modern art sucked a set of discourse layers accumulated over a cen- defense of religious painting renovation and a se- even, in Derain’s case, religious themes; mean- its science from ancient art and if the same ries of public commissions of decorative character while, formally, the canvases seemed to recover a basic rules were not found on both, there he had received. That supposed isolation displays, certain appreciation for the most artisanal aspect could be no understanding between one of course, the group’s aesthetic choices, but it of picture making. The Brazilian painter justified other and other. Will our whole revolution cannot be taken as evidence that those parties her options by inserting herself within an inter- bring us the fruit of a new Renaissance? were the only possible or legitimate ones. In let- nationally generalized trend. Furthermore, she When we are old, maybe we will be able to 14) Regarding this, see: Gilda Mello e Souza, O baile das 21 quatro artes. Exercícios de leitura (São Paulo: Livraria ters exchanged with Mário de Andrade, she herself stressed her freedom from any school and her watch the new miracle of centuries! Duas Cidades, 1980). The author says: “However, it is displays keen, sensitive awareness of that compli- independence regarding any group, any obliga- not hard to evaluate what would have been, for Malfatti, cated process of which she was a part: tion to “please” whomever. Beyond revealing herself aware of the methods her daily confrontation with Amaral’s beauty. It is false she was utilizing in her compositions, she also of- to rationalize saying that she was a prestigious artist Years later, still in Paris, in one of the letters writ- fers a reflection of theoretical nature on the rela- and the modernists’ admiration for her art was enough. Did they, by any chance, show strictly artistic interest ten to her privileged interlocutor again Malfatti tionship between modern art and tradition, named towards Amaral? Didn’t they consider her, as well as a reveals keen awareness regarding methods she here through ancient masters such as Raphael and great painter, the ‘wondrous fallen from heaven,’ the was developing, explaining them with assurance modern masters such as Delacroix. Copying was ‘little country girl wearing Poiret,’ ‘goddess,’ ‘mistress of 18) Sergio Milliet did not hide his dismay when he wrote: to Mário de Andrade: a required procedure for those with scholarships balance and measure, enemy of excesses’?,” 271. “Anita is unfortunately working with Maurício Denis.” from the state of São Paulo, which was exactly her 15) Batista, Anita Malfatti no tempo e no espaço, 313; Miceli, See: Yan de Almeida Prado, A grande Semana de Arte I have high hopes for the exhibition I may situation in Paris. However, Malfatti adds sense to Nacional estrangeiro, 97; José Carlos Durand, Arte, privilé- Moderna (São Paulo: Edart, 1976), 68. In his communica- gio e distinção: artes plásticas, arquitetura e classe dirigen- tion with the artist, Mário de Andrade often complained do next year! So many were happy, maybe her “duty”: respecting and learning the “great art” te no Brasil, 1855/1985 (São Paulo: Perspectiva, 1989). about her initial approach to “that religious artist” whose from the past’s masterpieces. Thus, modern art is 16) Maria de Fátima M. Couto, “Caminhos e descaminhos name he could never remember. Andrade wrote, “My perceived not as rupture, but as the new unfolding do modernismo brasileiro: o ‘confronto’ entre Tarsila friends know me well and never said anything negative of a history of long-term forms. She was not alone e Anita,” Revista Esboços (Florianópolis: UFSC), no. about you or your works to me, however, I felt they were in this process, it was indeed a dominant theme in 19 (2008). Available at http://dx.doi.org/10.5007/2175- losing their interest in you. I felt and I suffered. I believe interwar France, and Maurice Denis was actually 7976.2008v15n19p125 (in Portuguese). Accessed on they are behaving badly, Anita. Because, if you changed 19) Letter from Anita Malfatti to Mário de Andrade. Paris, 11/8/2016. your orientation, if you don’t share the exact same opin- February 23, 1924. Universidade de São Paulo's Instituto one of the champions of “tradition rebirth,” which 17) Bibliography on the correspondence with Mário de An- ion that they do, this is no reason for them to avoid you. de Estudos Brasileiros collection. drade is extensive, however, I would highlight: Marilda We should never put theory before friendship. Second, 20) Regarding her “return to order,” see: Tadeu Chiarelli, Ionta, As cores da amizade na escrita epistolar de Anita talent is something that if we have, we do not lose it for Novecento Sudamericano (São Paulo: Instituto Italiano de Malfatti, Oneyda Alvarenga, Henriquieta Lisboa e Mário nothing. If they one day recognized you were talented, Cultura, 2003); Ana Gonçalves Magalhães, “Uma nova luz de Andrade (doctoral dissertation on Social History, they should wait and see what you are going to do in sobre o acervo modernista do MAC USP,” Revista USP Unicamp, 2004); Marco A. Moraes, Orgulho de jamais your new path. And say their opinion honestly. That is (São Paulo), no. 90 (2011); Romy Golan, Modernity and 21) Letter from Anita Malfatti to Mário de Andrade, Paris, aconselhar: a epistolografia de Mário de Andrade (São what they should do. I think they made a mistake this Nostalgia. Art and Politics in France between the Wars November 17 and 18, 1927. Universidade de São Paulo's Paulo: Edusp/Fapesp, 2007). time. But don’t get upset about it, my Anita….” (New Haven and London: Yale University Press, 1995). Instituto de Estudos Brasileiros collection. 16 was felt with urgency before the devastation suf- their works, considering the mastery of techniques O FAROL, 1915 Oil on canvas Collection Gilberto Chateaubriand MAM RJ 17 fered between 1914 and 1919.22 Many authors con- they displayed, than with the way in which they pre- 46.3 x 61 cm nected to the avant-gardes devoted themselves sented themselves, more or less promptly, ready to to reflecting upon the relationships between con- occupy the places that were expected from them as temporaries and ancients, such as Lionello Venturi artists from the “South,” that is, as spokespersons for in his famous article “Il gusto dei primitivi”23 and autochthon heritages and, therefore, primarily seen Carlo Carrà, a futurist painter who in 1916 wrote an as primitive and exotic.25 article devoted to Giotto from a perspective close to what he championed.24 It is, thus, crucial to review, under the light of a more complex picture involving relationships It seems that, in her French period, Anita Malfatti between artistic centers and peripheries,26 in a tried to assimilate themes and debates that were maze of artistic groups vying for leadership in the “in the air,” propagated by that which was conven- modern setting, the places occupied by Anita tionally called School of Paris. In that sense, rather Malfatti and Tarsila do Amaral. Generally speaking, than responding to the pleas and agenda of her narratives tend to fix them on opposite ends; thus, origin group, Malfatti sought a different path, stay- on the one side would be Amaral, the muse, and ing with internationalism, balanced modernism, on the other Malfatti, the martyr. Even though with and dialogue with the Western pictorial tradition, opposite signs, both face quite reified archetypes which was in effect in the French capital city as of possible kinds of femininity, which are elabo- well. And that might be the greatest difference rated from elements much more based on psych- between her and her peer Tarsila do Amaral; that biographical aspects than related to their works. is, the way in which both developed distinct strate- In this international geography of modernism, of gies to insert themselves in the modern French which Brazil was a part, both show how to con- circuits of their time. struct oneself as a modern artist “in the feminine” meant to inhabit a very limited set of possibilities By analyzing the presence of four Latin American oscillating between conservative extremes such women—Tarsila do Amaral, Lola Cueto, Anita Mal- as muse-woman or fragile-woman. The exhibition fatti, and Amelia Pelaez—in Paris in the 1920s, Mi- presented to us now is an invitation to go beyond chele Greet shows that their reception success was these discourse places that are, even unintention- proportional to the way in which they were capable ally, the fruit of generalized views. In order to break of responding to demands for exoticism and primi- away from this, it is crucial to revisit the works in tivism arising in the French artistic field to which their production contexts, which means looking they were subject. Thus, while Amaral soon under- at them under the light of varied, undefined quar- stood that “Paris was fed up with Parisian art” and rels for what was understood as modernism then, developed “local” themes in her paintings, with Rio quarrels that thrived in the world’s many cultural de Janeiro landscapes or favelas, imaginary, exotic capitals.27 Malfatti experimented and acted on this creatures (Cuca), or national types (black women), context from her quite particular position as art- through formalization that brought her closer to a ist, woman, Brazilian, but trained in Germany, the certain primitivism valued by that same circuit, Lola United States, and France, who “chose” paths and Cueto from Mexico chose to “recover” objects as- answers that were different from those canonized sociated with some native facture, seen as ancestral by her generation. from her country, through tapestry, pieces that were then recreated through modern languages learned from the avant-gardes. Anita Malfatti and the Cuban Amelia Pelaez, on the other hand, devoted them- selves to a different kind of international insertion, thus avoiding, at first, to construct works with local “accents.” As Greet demonstrates quite well, while the two first ones were quite successful, the lat- ter two were less noticed in international circuits. Their reception has less to do with the quality of 25) Michele Greet, “‘Exhilarating Exile’: Four Latin American Women Exhibit in Paris,” Artelogie, no. 5 (October 2013). Available at: http://cral.in2p3.fr/artelogie/spip.php?arti- cle262. Accessed on 11/8/2016. 26) Béatrice Joyeux-Prunel, Les avant-gardes artistiques 22) Claire Maigon, L’Âge Critique des Salons : 1914-1925. 1848-1918. Une histoire transnationale (Paris: Editions L’Ecole Française, la tradition et l’art moderne. (Presses Gallimard, 2016); C. Ginzburg and E. Castelnuovo, Universitaires de Rouen et du Havre, 2014). “Domination symbolique et géographie artistique [dans 23) Lionello Venturi, Il gusto dei primitivi (Bologna: Ed. l’histoire de l’art italien],” in Actes de la recherche en Nicola Zanichelli, 1926). sciences sociales (Paris) 40, no. 1 (1981). 24) Carlo Carrà, “Causerie sur Giotto,” in L’Éclat des Choses 27) Béatrice Joyeux-Prunel, Nul n’est prophète en son Ordinaires, ed. Isabel Violannte (Paris: Éditions Images pays ? L’internationalisation de la peinture des avant- Modernes, 2015). gardes parisiennes, 1844-1914 (Paris: Musée d’Orsay, 2009). 18 NU MASCULINO (SEGURANDO Charcoal and stumped charcoal on paper Private collection O JAPONÊS, 1915/16 Oil on canvas Visual Arts collection, Instituto de 19 BASTÃO), 1915/16 62.3 x 47.5 cm 61 x 51 cm Estudos Brasileiros USP 20 TROPICAL, C. 1916 Oil on canvas Collection Pinacoteca do Estado de São CHINESA, 1921/22 Oil on canvas Private collection 21 77 x 102 cm Paulo, Brazil. Gift of the artist in compliance 100 x 77 cm with the Pensionato Artístico Act, 1929 22 RETRATO DE A.M.G, C. 1933 Oil on canvas Collection N.B.E. NU DEITADO (CABELOS China ink and graphite on paper Collection Museu de Arte 23 95.5 x 90.3 cm AO VENTO), C. 1925 21.9 x 28.1 cm Contemporânea USP 24 VIDA NA ROÇA, C. 1956 Oil on wood Collection Almeida e Dale Galeria de Arte BURRINHO CORRENDO FIGURA FEMININA 25 63 x 87 cm (MAGAZINE COVER (INACABADA), C. 1912 COPY), 1909 WORKS 2005 edition Oil on canvas Etching 29.5 x 20 cm 15.5 x 11 cm IN Collection Sylvia Malfatti Visual Arts Collection, Instituto de Estudos Brasileiros USP

EXHIBI- A FLORESTA, 1912 MOÇA COM FITA Oil on canvas glued on cardboard NOS CABELOS, C. 1912 20.5 x 29 cm 2005 edition TION Collection Gilberto Chateaubriand Etching MAM RJ 12.5 x 10 cm

Visual Arts Collection, Instituto de Estudos Brasileiros USP O JARDIM, 1912

Oil on canvas glued on cardboard 23.5 x 29.5 cm RETRATO DE UM PROFESSOR, 1912/13 Collection Gilberto Chateaubriand MAM RJ Oil on canvas 50.5 x 40 cm

Collection Museu de Arte Brasileira PAISAGEM, C. 1912 – MAB-FAAP

2005 edition Etching 9 x 12 cm ÁRVORES E ÁGUA, 1914

Visual Arts Collection, Instituto de Etching Estudos Brasileiros USP 8.5 x 14.2 cm

Private collection

PAISAGEM (COM DUAS ÁRVORES À DIREITA), C. 1912 MEU IRMÃO 2005 edition ALEXANDRE, 1914 Etching 12.5 x 17.5 cm Oil on canvas 43 x 57 cm Visual Arts Collection, Instituto de Estudos Brasileiros USP Collection Sylvia Malfatti

MOÇA COM MÃO NO A ESTUDANTE RUSSA, QUEIXO, C. 1912 C. 1915

2005 edition Oil on canvas Etching 76 x 61 cm 12.5 x 17.5 cm Visual Arts Collection, Instituto de Visual Arts Collection, Instituto de Estudos Brasileiros USP Estudos Brasileiros USP

O FAROL, 1915

Oil on canvas 46.3 x 61 cm

Collection Gilberto Chateaubriand MAM RJ 26 MARINHA, MONHEGAN, 1915 O HOMEM DE SETE NU MASCULINO NU MASCULINO COM RETRATO DE MÁRIO DE PORTO DE MÔNACO, 27 CORES, 1915/16 (CAPINANDO), 1915/16 BASTÃO I, 1920s ANDRADE III, C. 1923 1925/26 Oil on canvas 35.5 x 46 cm Pastel and charcoal on paper Charcoal on paper Charcoal on paper Oil on canvas Oil on canvas 60.7 x 45 cm 60.5 x 43 cm 63 x 48.5 cm 44 x 38 cm 54 x 64.5 cm Collection Instituto Moreira Salles Collection Museu de Arte Brasileira Collection Sylvia Malfatti Collection MAM, gift of Emanoel Visual Arts Collection, Instituto de Collection Museu de Arte – MAB-FAAP Araujo Estudos Brasileiros USP Contemporânea USP

PAISAGEM (AMARELA), MONHEGAN, 1915 NU FEMININO, SENTADO NU FEMININO, COSTAS (COM PANEJAMENTO À NU COM JARRO II, 1920s VENEZA, CANAL, C. 1924 CHANSON DE Oil on canvas (GRANDE NU), 1915/16 ESQUERDA), 1915/16 MONTMARTRE, 1926 41 x 50.5 cm Charcoal on paper Watercolor and graphite on paper Charcoal on paper Charcoal on paper 63 x 48 cm 16.5 x 26.5 cm Oil on canvas Collection Instituto Cultural 62.4 x 47.5 cm 60.5 x 45.5 cm 73.3 x 60.2 cm Capobianco Collection James Lisboa Private collection Collection Arte da Cidade / Centro Private collection Collection James Lisboa Cultural São Paulo / SMC / PMSP

DORSO MASCULINO, NU DE COQUE EM PÉ, 1920s INTERIOR DE MÔNACO, C. 1915/16 MARINHA (PENHASCOS), C. 1925 PAISAGEM DOS PIRINEUS, O SECRETÁRIO DA 1915/16 Graphite and China ink on paper CAUTERETS, 1926 Charcoal on paper ESCOLA OU RETRATO 35 x 27.5 cm Oil on canvas 68 x 48 cm DE BAILEY, 1915/16 Oil on wood 73 x 60 cm Oil on canvas 26.1 x 36.1 cm Private collection 45.8 x 54.8 cm Private collection Charcoal on paper Collection BM&FBOVESPA 61.5 x 47 cm Private collection Collection José Thomaz Assumpção Collection Museu de Arte CHINESA, 1921/22 A ESTUDANTE, 1915/16 Contemporânea USP LAGO MAGGIORE, C. 1925 TROPICAL, C. 1916 Oil on canvas Oil on canvas 100 x 77 cm Oil on canvas MULHER DO PARÁ (NO 76.5 x 60.5 cm Oil on canvas 46.2 x 54.8 cm BALCÃO), 1927 RETRATO DE MULHER 77 x 102 cm Private collection Collection Museu de Arte de São (ESTUDO PARA A BOBA), Collection Antonio Augusto Oil on canvas Paulo Assis Chateaubriand 1915/16 Collection Pinacoteca do Estado Gouvêa Pedroso 80 x 65 cm de São Paulo, Brazil. Gift of the artist Charcoal on paper in compliance with the Pensionato FIGURA FEMININA, 1921/22 Collection Milú Villela 59 x 40 cm Artístico Act, 1929 O JAPONÊS, 1915/16 Pastel on paper VISTA DO FORT ANTOINE Collection Museu de Arte Brasileira 47 x 31.2 cm EM MÔNACO, C. 1925 Oil on canvas – MAB-FAAP NU EM PÉ, INCLINANDO-SE, 61 x 51 cm ACADEMIA VIII, C. 1916 Private collection Watercolor on paper ENTRE PEDRAS, 1928 25.5 x 34.5 cm Visual Arts Collection, Instituto de Charcoal on paper China ink on paper Estudos Brasileiros USP NU FEMININO (FRENTE), 62 x 47.5 cm Collection Max Perlingeiro 26 x 19.5 cm 1915/16 GRUPO DOS CINCO, 1922 Collection Gilberto Chateaubriand Collection Sylvia Malfatti Charcoal on paper MAM RJ Pen and color pencil on paper NU CUBISTA N. 1, 1915/16 62.2 x 47 cm 26.5 x 36.5 cm NU DEITADO (CABELOS AO VENTO), C. 1925 Oil on canvas Collection Sandra Brecheret Visual Arts Collection, Instituto de CAROLINA DA SILVA 51 x 39 cm Pellegrini PAISAGEM (ESTUDO), Estudos Brasileiros USP China ink and graphite on paper TELLES, 1929/30 1920s 21.9 x 28.1 cm Private collection Oil on canvas Watercolor and graphite on paper Collection Museu de Arte 46 x 40 cm NU MASCULINO 18.5 x 26.1 cm MÁRIO DE ANDRADE NA Contemporânea USP (SEGURANDO BASTÃO), PAULICEIA (CARDÁPIO), Private collection BARCOS, 1915/16 1915/16 Private collection C. 1922

Watercolor and graphite on paper Charcoal and stumped charcoal China ink and gouache on paper NU DE COSTAS, RECLINADO 19.7 x 27 cm on paper 9.7 x 7.9 cm EM DIAGONAL II, C. 1925 BABY DE ALMEIDA, 62.3 x 47.5 cm CASARIO NA ENCOSTA 1929/30 Private collection (COM VULCÃO E Visual Arts Collection, Instituto de China ink on paper Private collection AEROPLANO), 1920s Estudos Brasileiros USP 27.5 x 29 cm Oil on canvas 46.5 x 41.5 cm Watercolor on paper Collection Sylvia Malfatti 27.5 x 36.8 cm Collection Casa Guilherme de Almeida – Governo do Estado de Private collection São Paulo – Secretaria de Cultura

28 VOLUTAS E NU SENTADO O TROLINHO, 1940s FESTA DE GEORGINA, Almeida, Paulo Mendes de. De Edited by Isabel Violannte. Paris: 29 (TRANÇAS PRESAS), 1930s C. 1952 Anita ao Museu. São Paulo: Éditions Images Modernes, 2015. Oil on canvas Perspectiva, 1976. Graphite and China ink on paper 39 x 47 cm Oil on canvas SE- Chiarelli, Tadeu. Novecento 23 x 35.5 cm 45 x 55 cm Amaral, Aracy. Artes plásticas na Sudamericano. São Paulo: Instituto Collection Roberto Marinho / Semana de 22. 5th ed. São Paulo: Italiano de Cultura, 2003. Collection Sylvia Malfatti Instituto Casa Roberto Marinho Private collection Ed. 34, 1997. LECT- ______. “Tropical, de Anita ______. Tarsila sua obra e seu Malfatti.” In Arte brasileira na tempo. São Paulo: Editora 34, 2003. Pinacoteca do Estado de São Paulo. HOMEM DE CALÇÃO, MARINHA, 1940s VIDA NA ROÇA, C. 1956 Edited by Taisa Palhares. São Paulo: INCLINADO, 1930s Andrade, Mário de. Cartas a Anita Cosac Naify / Imprensa Oficial / Oil on canvas Oil on wood ED Malfatti. Edited by Marta Rossetti Pinacoteca, 2009. Graphite on paper 51 x 61 cm 63 x 87 cm Batista. Rio de Janeiro: Forense 33 x 24 cm Universitária, 1989. ______. Um jeca nos vernissages. Collection Decio Antonio de Collection Almeida e Dale Galeria São Paulo: Edusp, 1995. Private collection Gouvêa Pedroso de Arte Araujo, Marcelo Mattos. Os modernistas na Pinacoteca: o COUTO, Maria de Fátima Morethy. Museu entre a vanguarda e a “Caminhos e descaminhos tradição. PhD diss. Universidade do modernismo brasileiro: o HOMEM DE CALÇÃO ITANHAÉM, 1940s BIBLI- de São Paulo, 2002. ‘confronto’ entre Tarsila e Anita.” SENTADO, EMPUNHANDO Revista Esboços (Florianópolis: BASTÃO, 1930s Watercolor on paper Batista, Marta Rossetti. Os UFSC), no. 19 (2008). Available at 16.5 x 26.5 cm artistas brasileiros na Escola de http://dx.doi.org/10.5007/2175- Graphite on paper OGRA- Paris: anos 20. PhD diss. Escola 7976.2008v15n19p125. In Portuguese. 33.7 x 24.1 cm Private collection de Comunicações e Artes, Universidade de São Paulo, 1987. Durand, José Carlos. Arte, privilégio e Private collection distinção: artes plásticas, arquitetura PHY ______. Anita Malfatti no tempo e classe dirigente no Brasil, 1855/1985. NA PORTA DA VENDA, e no espaço. São Paulo: Edusp / Ed. São Paulo: Perspectiva, 1989. 1940s/50s 34, 2006. RETRATO DE A.M.G., Fabris, Annateresa. “Modernismo: C. 1933 Oil on canvas on wood ______. Escritos sobre arte e nacionalismo e engajamento.” In 26.3 x 36.8 cm modernismo brasileiro. Edited by Bienal Brasil Século XX. Edited by Oil on canvas Ana Paula de Camargo Lima. São Nelson Aguilar. São Paulo: Fundação 95.5 x 90.3 cm Private collection Paulo: Prata Design, 2012. Bienal, 1994.

Collection N.B.E. Brito, Mário da Silva. História ______. “Vanguarda e do modernismo brasileiro 1. modernismo: o caso brasileiro.” SAMBA, 1941/45 Antecedentes: a Semana de Arte In Modernidade e modernismo Moderna. Rio de Janeiro: Civilização no Brasil. Campinas: Mercado de LILIANA MARIA, 1935/37 Oil on canvas Brasileira, 1974. Letras, 1994. 39.3 x 49.3 cm Oil on canvas Camargos, Marcia. Entre a Ginzburg, C. and E. Castelnuovo. 65 x 54 cm Private collection vanguarda e a tradição. São Paulo: “Domination symbolique et Ed. Alameda, 2011. géographie artistique [dans l’histoire Private collection de l’art italien].” In Actes de la Cardoso, Renata Gomes. A pintura recherche en sciences sociales FLÁVIO MOTTA, 1941/42 de Anita Malfatti nos períodos (Paris), 40, no. 1 (1981). iniciais de sua trajetória: proposta TRENZINHO, 1940s Oil on canvas de revisão a partir da análise de Golan, Romy. Modernity and 40.3 x 32.7 cm obras. Master’s diss. Unicamp, 2007. Nostalgia. Art and Politics in France Oil on canvas between the Wars. New Haven and 34.2 x 43.8 cm Private collection ______. Modernismo e tradição: London: Yale University Press, 1995. a produção de Anita Malfatti nos Collection Paulo Kuczynski anos de 1920. PhD diss. Universidade Gonnard, Catherine and Élisabeth Escritório de Arte Estadual de Campinas, Unicamp, 2012. Lebovici. Femmes Artistes/Artistes RETRATO DE PAULO Femmes, Paris de 1880 à nos jours. BOMFIM, 1943/45 ______. “Anita Malfatti em Paris, Paris: Éditions Hazan, 2007. 1923–1928.” 19&20 (Rio de Janeiro) 9, Oil on canvas no. 1 (January–June 2014). Available at Greet, Michele. “‘Exhilarating Exile’: 51 x 45 cm http://www.dezenovevinte.net/artistas/ Four Latin American Women Exhibit artistas_amalfatti.htm. In Portuguese. in Paris.” Artelogie, no. 5 (October Collection Paulo Bomfim 2013). Available at http://cral.in2p3.fr/ ______. “Sergio Milliet: críticas a artelogie/spip.php?article262. Anita Malfatti.” Revista do Instituto de Estudos Brasileiros (São Paulo), Ionta, Marilda. As cores da no. 63 (2016). Available at http:// amizade na escrita epistolar de dx.doi.org/10.11606/issn.2316-901X. Anita Malfatti, Oneyda Alvarenga, v0i63p219-234. In Portuguese. Henriquieta Lisboa e Mário de Andrade. PhD diss. in social history. Carrà, Carlo. “Causerie sur Giotto.” Unicamp, 2004. In L’Éclat des Choses Ordinaires. 30 Joyeux-Prunel, Béatrice. Nul Prado, Yan de Almeida. A grande ANITA SÊNIOR PLUS 31 n’est prophète en son pays ? Semana de Arte Moderna. São MALFATTI: Levy & Salomão Advogados L’internationalisation de la peinture Paulo: Edart, 1976. 100 des avant-gardes parisiennes, 1844- CRED- YEARS OF SÊNIOR 1914. Paris: Musée d’Orsay, 2009. Simioni, Ana Paula. “Em busca MODERN Canal Curta! dos múltiplos modernos: artistas ART DPZ ______. Les avant-gardes brasileiros em Paris, década EMS artistiques 1848-1918. Une histoire de 1920.” In Arte e vida social. ITS Estadão transnationale. Paris: Editions Pesquisas recentes no Brasil e na – Folha de S.Paulo Gallimard, 2016. França. Edited by Glaucia Villas- REALIZATION Instituto Votorantim Boas and Alain Quemin. Open Museu de Arte Moderna PwC Magalhães, Ana Gonçalves. “Uma Editions Press, 2016. Available at de São Paulo Rádio Eldorado nova luz sobre o acervo modernista https://books.openedition.org/ Revista Arte!Brasileiros do MAC USP.” Revista USP (São oep/565. In Portuguese. CURATORSHIP Trip Editora Paulo), no. 90 (2011). Regina Teixeira de Barros Simioni, Ana Paula Cavalcanti and PLENO Maigon, Claire. L’Âge Critique Ana Paula Felicissimo de Camargo PRODUCTION ArtLoad des Salons : 1914-1925. L’Ecole Lima. “Desenhos de Anita Malfatti: Curadoria MAM Bolsa de Arte Française, la tradition et l’art Coleção de Artes Visuais do Caixa Belas Artes moderne. Presses Universitaires Instituto de Estudos Brasileiros.” In EXPOGRAPHIC PROJECT Credit Suisse de Rouen et du Havre, 2014. Anita Malfatti. Edited by Lygia Eluf. AND LIGHTING Klabin Campinas: Editora da Unicamp; Alvaro Razuk Arquitetura KPMG Auditores Independentes Malfatti, Anita. “1917.” RASM – São Paulo: Imprensa Oficial do Alvaro Razuk Montana Química Revista Anual do Salão de Maio Estado, 2011. Juliana Prado Godoy Pirelli (São Paulo), no. 1 (1939). Ricardo Amado Power Segurança e Vigilância Ltda. Simioni, Ana Paula C., Ana Paula Reserva Cultural ______. “A chegada da arte Felicissimo de Camargo Lima, and GRAPHIC DESIGN Revista Adega moderna no Brasil.” Conference Lygia Eluf. Cadernos de desenho: Estúdio Campo Saint Paul Escola de Negócios held at Pinacoteca do Estado de Anita Malfatti. Campinas: Ed. Paula Tinoco and Roderico Souza São Paulo on October 25, 1951. In Unicamp/Imesp, 2012. Assistant Caterina Bloise MÁSTER Mestres do modernismo. São Paulo: Bloomberg Philanthropies Pinacoteca do Estado, 2004. Valin, Roberta Paredes. Cadernos- EXPOGRAPHIC PROJECT Casa da Chris diários de Anita Malfatti: uma EXECUTION FIAP Malfatti, Doris. Minha tia Anita trajetória desenhada em Paris. Ação Cenografia Gusmão & Labrunie – Prop. Malfatti. São Paulo: Ed. Terceiro Master’s diss. Universidade de São Intelectual Nome, 2009. Paulo, 2015. CONSERVATION Revista piauí Acervo MAM Sanofi Aventis Mello e Souza, Gilda. O baile das Venturi, Lionello. Il gusto dei quatro artes. Exercícios de leitura. São primitivi. Bologna: Ed. Nicola INSTALLATION APOIADOR Paulo: Livraria Duas Cidades, 1980. Zanichelli, 1926. Manuseio `CAUSE MAGAZINE Cultura e Mercado Miceli, Sergio. “Anita Malfatti: Wolff, Janet. “The Invisible SHIPPING FESP Fundação Escola de Socio- gênero e experiência imigrante.” Flâneuse. Women and the Literature Inmensum logia e Política de São Paulo In Nacional estrangeiro. São Paulo: of Modernity.” Theory, Culture & FFWMAG Companhia das Letras, 2003. Society (November 1985). ENGLISH TRANSLATION Goethe-Institut Ana Ban ICIB Instituto Cultural Ítalo- Moraes, Marco A. Orgulho de Brasileiro jamais aconselhar: a epistolografia COMMUNICATION ICTS Protiviti de Mário de Andrade. São Paulo: Conteúdo Comunicação IFESP Instituto de Estudos France- Edusp/Fapesp, 2007. ses e Europeus de São Paulo SUPPORT Instituto Filantropia Oliveira, Lívia Novaes de. O Instituto Anita Malfatti IPEN moderno de Anita Malfatti. Master’s Paulista S.A. Empreendimentos diss. Universidade do Porto, 2013. Pernilongo Filmes Partners of MAM Senac Perry, Gill. Women Artists and the – Seven English – Español Parisian Avant-Garde. Manchester MANTENEDORES Top Clip Monitoramento University Press, 1995. & Informação

Pinto, Sônia Maria de Carvalho. PROGRAMAS EDUCATIVOS A controversa pintura de Anita BTG Pactual (Contatos com a Arte) Malfatti. PhD diss. Universidade de Cielo (Olhar de perto) São Paulo, 2007. Comgás (Família MAM)

Pollock, Griselda. “Modernity and Spaces of Femininity.” In Vision and ACKNOWLEDGMENTS Difference. London: Routledge, 1988. Instituto do Patrimônio Histórico e Ar- tístico Nacional, Secretaria da Cultura Portinari Greggio, Luzia. Anita do Estado de São Paulo, Secretaria Malfatti – Tomei a liberdade de da Educação do Estado de São Paulo, pintar a meu modo. São Paulo: Secretaria Municipal do Verde e do Magma Cultural Ed., 2007. Meio Ambiente de São Paulo Adriano Pedrosa Mary Lou Paris PHOTOS Alcebíades Paes Garcia Max Perlingeiro Isabella Matheus (p. 20) Almeida e Dale Galeria de Arte Max Perlingeiro Filho Leonardo Crescenti (p. 19, 22) Alvaro Ancona de Faria Michel Etlin Paula Bobrow (p. 18) Ana Helena Curti Milú Villela Romulo Fialdini (p. 21, 23) Ana Lucia Moreira Miriam Haber Romulo Fialdini and Valentino Ana Luisa Martins Museu Casa Guilherme de Fialdini (p. 17) Ana Magalhães Almeida Sérgio Guerini (p. 24) Ana Maria and Mauris Warchavchik Museu de Arte Contemporânea Ana Maria Tavares Museu de Arte de São Paulo PRINTING AND PHOTO Ana Paula Simioni Museu de Arte Moderna do Rio RETOUCHING Antonio Augusto Gouvêa de Janeiro Stillgraf Pedroso Nazareth Pacheco Aracy Amaral Nikita Lukin PRINT RUN Ari Casagrande Odette Vieira 1,000 copies Beatriz Guarita Yunes Orandi Momesso Bianca Dettino Paula and Airton Bobrow – Biblioteca Brasiliana Guita e José Paulo Bomfim MAM São Paulo Mindlin Paulo Portella Ibirapuera Park, portão 3 Biblioteca Mário de Andrade Paulo Roberto Amaral Barbosa + 55 11 5085 -1300 BM&FBOVESPA Pena Schmidt www.mam.org.br Breno Krasilchik Peter Cohn Carlos A. M. R. Zenon Pinacoteca de São Paulo OPENING HOURS Carlos Alberto Gouvêa Pinakotheke Cultural Tuesday-Sunday and public holidays Chateaubriand Rafael Pennachi 10 am - 6 pm Carlos Augusto Calil Randolpho Rocha Tickets until 5:30 pm Carlos Roberto Ferreira Brandão Raquel and Raul Sarhan Carlos Warchavchik Renato Magalhães Gouveia ADMISSION R$6.00 Centro Cultural São Paulo Renato Magalhães Gouveia Filho Half-price for students, with a stu- Claudia Calaça Ricardo Camargo dent's card. Free for children under Claudia Caroli Romulo Fialdini 10, senior citizens over 60, MAM part- Decio Antonio de Gouvêa Sandra Brecheret Pellegrini ners and students, staff members of Pedroso Sandra Fogagnoli partner organizations and museums, Di Bonetti Sandra Krug H. Villela and Paulo members of ICOM, AICA, and ABCA Elisabete Ribas Francisco Ewbank Villela with identification, environmental Fernando Cocchiarale Sandra Nitrini officers, and officers from CET, GCM, Galeria TNT Sérgio Guerini PM and subway staff, car-park atten- Giancarlo Hannud Stella Teixeira de Barros dants and taxi drivers with identifica- Glória Motta Sylvia Malfatti tion and up to four guests. Instituto Anita Malfatti Tadeu Chiarelli Instituto Casa Roberto Marinho Taisa Palhares FREE ADMISSION Instituto de Estudos Brasileiros da Telmo Porto ON SATURDAYS Universidade de São Paulo Ulisses Miziara Isabella Matheus Valéria Piccoli GROUP TOURS Ivo Mesquita Verônica Cavalcante +55 11 5085 -1313 Jaime Acioli Wilma and Rodolpho Ortenblad [email protected] James Lisboa Escritório de Arte Jayme Augusto Penteado da DISABLED ACCESS Silva Telles and Renata Staff Moderno MAM Extra PARKING WITH ZONA Carneiro da Cunha – AZUL PASS Joana Moreno de Andrade REALIZATION Jorge Schwartz Museu de Arte Moderna FOLLOW MAM ONLINE José Luiz Hernández Alfonso de São Paulo /mamoficial José Thomaz Assumpção Júlia Ayerbe GRAPHIC DESIGN Julio Capobianco Estúdio Campo Kátia Canton Kiko Pini EDITORIAL COORDINATION Laura Rodriguez Renato Schreiner Salem Lauro Cavalcanti Leonardo Crescenti EDITORIAL PRODUCTION Luciano Momesso Rafael Itsuo Luiz Armando Bagolin Luiz Antonio de Almeida Braga PROOFREADING AND Luiz Guilherme Assumpção TEXT PREPARATION Luiz José Bueno de Aguiar Regina Stocklen Manuela Bacelar Marcelo Monzani ENGLISH TRANSLATION Marcelo Tápia Ana Ban Marcos Simon Maria Odette Arruda TEXTS Marta and Paulo Kuczynski Regina Teixeira de Barros Martin Wurzmann Ana Paula Cavalcanti Simioni FEBRUARY 7 TO APRIL 30, 2017

GREAT HALL

CURATED BY ISSN 1984-4832 9771984483004 REGINA TEIXEIRA DE BARROS