returning to Brazil at the end of 1923, Tarsila and Andrade then traveled throughout Brazil to explore the variety of indigenous culture, and to find inspiration for their nationalistic art. During this period, Tarsila made drawings of the various places they visited which became the basis for many of her upcoming paintings. She also illustrated the poetry that Andrade wrote during their travels, including his pivotal book of poems entitled Pau Brasil, published in 1924. In the manifesto of the same name, Andrade emphasized that Brazilian culture was a product of importing European culture and called artists to create works that were uniquely Brazilian in order to "export" Brazilian culture, much like the wood of the Brazil tree had become an important export to the rest of the world. In addition, he challenged artists to use a modernist approach in their art, a goal they had strived for during the Semana de Arte Moderna in São Paulo. During this time, Tarsila's colors became more vibrant. In fact, she wrote that she had found the "colors I had adored as a child. I was later taught they were ugly and unsophisticated." Her initial painting from this period was E.C.F.B.(Estrada de Ferro Central do Brasil), (1924). Furthermore, at the time, she had an interest in industrialization and its impact on society. Antropofagia period In 1926, Tarsila married Andrade and they continued to travel throughout Europe and the Middle East. In Paris, in 1926, she had her first solo exhibition at the Galerie Percier. The paintings shown at the exhibition included São Paulo (1924), A Negra (1923), Lagoa Santa (1925), and Morro de Favela (1924). Her works were praised and called "exotic", "original", "naïve", and "cerebral", and her use of bright colors and tropical images was commented on. While in Paris, she was exposed to surrealism and after returning to Brazil, Tarsila began a new period of painting where she departed from urban landscapes and scenery, and began incorporating surrealist style into her nationalistic art. This shift also coincided with a larger artistic movement in São Paulo and other parts of Brazil which focused on celebrating Brazil as the country of the big snake. Cities also impacted the way that her art was formed. Including vertical representations of the buildings in large cities, like São Paulo, her art became iconic. These pieces of art that she made could include small aspects of the