Leia o trecho do artigo de Jason Farago, publicado pelo The New York Times, para responder às questões 21 e 22. She led Latin American Art in a bold new direct Antropofagia (“Cannibalism”), 1929, a seminal work Modernism by Tarsila do Amaral that is part of a n her work at MoMA. In 1928, Tarsila do Amaral painted Abaporu, a land work of Brazilian Modernism, in which a nude figure, half-human and half-animal, looks down at his massive, swollen foot, several times the size of his head. Abapo inspired Tarsila’s husband at the time, the poet Oswald Andrade, to write his celebrated “Cannibal Manifesto,” flayed Brazil’s belletrist writers and called for an em of local influences – in fact, for a devouring of them. European stereotype of native Brazilians as cannibals w be reformatted as a cultural virtue. More than a social literary reform movement, cannibalism would form the ba for a new Brazilian nationalism, in which, as de Andrad wrote, “we made Christ to be born in Bahia.” The unconventional nudes of A Negra, a painting produced in 1923, and Abaporu unite in Tarsila’s final painting, Antropofagia, a marriage of two figures that a marriage of Old World and New. The couple sit entangl her breast drooping over his knee, their giant feet cro over the other, while, behind them, a banana leaf grows large as a cactus. The sun, high above the primordial c is a wedge of lemon. (Jason Farago. www.nytimes.com, 15 A obra Antropofagia (“Cannibalism”) de Tarsila do Amaral, apresentada na imagem, é interpretada pelo autor do artigo ion como

1. A)o casamento tradicional entre um homem e uma mulher.
2. B)uma referência aos trabalhadores rurais, evidenciados pelo tamanho dos pés.
3. C)a agrura implacável da natureza, representada pelo Sol sobre o sertão.
4. D)uma expressão de contraste entre a suavidade da bananeira e os espinhos do cacto mandacaru.
5. E)uma mistura entre a Europa e a América.GABARITO