Getúlio Vargas. Along with others who were seen as leftist, she was imprisoned for a month because her travels made her appear to be a communist sympathizer. The remainder of her career she focused on social themes. Representative of this period is the painting Segundo Class (1931), which has impoverished Russian men, women and children as the subject matter. She also began writing a weekly arts and culture column for the Diario de São Paulo, which continued until 1952. In 1938, Tarsila finally settled permanently in São Paulo, where she spent the remainder of her career painting Brazilian people and landscapes. In 1950, she had an exhibition at Museum of Modern Art, São Paulo, where a reviewer called her "the most Brazilian of painters here, who represents the sun, birds, and youthful spirits of our developing country, as simple as the elements of our land and nature…". She died in São Paulo in 1973. Tarsila's life is a mark of the warm Brazilian character and an expression of it tropical exuberance." Legacy Besides the 230 paintings, hundreds of drawings, illustrations, prints, murals, and five sculptures, Tarsila's legacy is her effect on the direction of Latin American art. Tarsila moved modernism forward in Latin America, and developed a style unique to Brazil. Following her example, other Latin American artists were influenced to begin utilizing indigenous Brazilian subject matter, and developing their own style. The Amaral Crater on Mercury is named after her. In 2018 MoMA opened a solo exhibition of her work, the eighth retrospective on Latin America artists following exhibitions on Diego Rivera, Cândido Portinari, Roberto Matta, Manuel Álvarez Bravo, Armando Reverón, José Clemente Orozco and Joaquín Torres García. In August 2022 several of her paintings were recovered in Brazil from criminals who had gained them from an art dealer and collector's widow by deception and force. This included Sol poente, O sono and Pont-neuf. Major works An Angler, 1920s, Hermitage Museum, Saint Petersburg, Russia "A Negra", 1923 Cuca, 1924, Museum of Grenoble, France Landscape with Bull, 1925, Private Collector O Ovo, 1928, Gilberto Chateaubriand, Rio de Janeiro Abaporu, 1928, Eduardo Constantini, MALBA, Buenos Aires Lake, 1928, Private Collection, Rio de Janeiro Antropofagia, 1929, Paulina Nemirovsky, Nemirovsky Foundation, San Pablo Sol poente, 1929, Private Collection, São Paulo Segunda Classe, 1933, Private Collection, São Paulo Retrato de Vera Vicente Azevedo, 1937, Museu de Arte Brasileira, São Paulo Purple Landscape with 3