“Tarsila do Amaral is one of the major modernist artists not only in Brazil but throughout Latin America. Her works represent brazilianness with local colors and themes.
In 1931, she was invited by her then husband, doctor Osório César, to take a trip to the Soviet Union, since she was curious to know that society so revolutionary with its art, intellectuality and culture.
On her return to Brazil in 1932, after taking part in meetings with the political left wing, Tarsila spent a month in prison. These experiences and her attentive look at society and the challenges of the Brazilian working class in the period, led the artist to paint works of social nature, such as one of the most important ones by Tarsila do Amaral in Brazil – Operários (Workers), from 1933.
In this work, she represents the industrial, economic and population growth of São Paulo, and brings both the urban scene with its factory structures that we can see in the imposing chimneys in the background of the work, and the society structured in a pyramid shape, with such different faces representing the ethnic diversity with migrants and immigrants from several parts of Brazil and the world who make up the population of São Paulo today.
Along with these anonymous characters, Tarsila added some of her friends, such as the architect Gregori Warchavchik, the opera singer Elsie Houston-Péret, the manager of her father's farm, Benedito Sampaio, and the journalist and writer from the state of Pará, Eneida de Morais, who was with her during the time in prison.
Look closely at these faces. Would you consider them happy or sad? Cheerful or tired? Why did Tarsila choose to represent them like that? How backbreaking was work in factories in the early 20th century?
Would this work be a criticism of workers conditions or a compliment to São Paulo’s work and diversity? Are both conceptions possible? Think about it while you contemplate this essential work of Brazilian art.”.