A seminal work of Brazilian Modernism, this 1923 portrait by Tarsila do Amaral combines Cubist-inspired geometric simplification with a distinctively national subject.

Painted in Paris in 1923, A Negra represents a significant moment in the development of Brazilian Modernism. Tarsila do Amaral, having studied under Fernand Léger and André Lhote, synthesised the lessons of European Cubism with a distinctively Brazilian subject matter. The work depicts a seated female figure, rendered with simplified, monumental forms that emphasise volume and mass. The figure occupies the centre of the composition, her body constructed from smooth, rounded shapes that contrast with the geometric, planar background. The palette is composed of earthy tones, including ochre, brown, and muted green, punctuated by horizontal bands of blue and white. These colours evoke the Brazilian environment, grounding the figure within a specific cultural context. The distortion of the figure, particularly the exaggerated proportions of the head and limbs, reflects the artist's interest in the aesthetic of primitive art, which was then circulating among the Parisian avant-garde. By applying these formal techniques to a figure rooted in her own national identity, Amaral moved away from the strictures of European academic painting. This work is often discussed in relation to the artist's childhood memories of the coffee plantations in São Paulo. The figure is solitary, yet her presence is commanding. The lack of traditional perspective and the focus on flat, decorative planes align the painting with the broader modernist shift toward abstraction and the reduction of form to its essential components. It remains a primary example of how Amaral navigated the tension between international modernist trends and the desire to create a visual language that was uniquely Brazilian.