Uma leitura das telas de Tarsila do Amaral no romance Macunaíma: o herói sem nenhum caráter, de Mário de Andrade

Abstract

The present work is the result of reading and analysis that deals with the relationship between art and literature, as well as the formation of national culture. It is based on Mário de Andrade's work entitled "Macunaíma: the hero with no character," and some paintings by Tarsila do Amaral, such as "Macunaíma's Baptism" (1956), "Favela Hill" (1924), "Abaporu" (1928), and "Workers" (1933). In this sense, we seek to investigate the dialogue by exploring excerpts from the literary work and relating it to the paintings. The research is entirely related to political and social issues, such as Brazilian culture and its characteristics that had significant relevance in the context in which they were inserted. We will observe that these characteristics originated in the modernist movement, which had such a great impact during the Week of Modern Art in 1922. Present are the contributions of Carvalhal and Coutinho (2006) on comparative literature, the creation of ABRALIC, and the consolidation of Comparative Literature as disciplines by Tasso Silveira in 1940. Brazilian literature theorists Massaud Moises (2012) and Alfredo Bosi (2017) highlight the importance of Mário de Andrade and Tarsila do Amaral in the modernist literature. Both were part of the "Group of Five," which initiated the modernist movement in Brazil in 1922, with the so-called Week of Modern Art from February 13 to 17, 1922, in the city of São Paulo, bringing together various artists, including painters, musicians, writers, and politicians. Among the artistic manifestations were paintings by Anita Malfatti, poetry recitals by Oswald de Andrade, sculptures, and music. The importance and relevance of art and literature assume a fundamental role in the construction of Brazil's cultural identity.