city, like a gas pump, or large elements like buildings. Her mix of detail was important because those details made up the city. Building on the ideas of the earlier Pau-Brasil movement, artists strove to appropriate European styles and influences in order to develop modes and techniques that were uniquely theirs and Brazilian. This Pau-Brasil movement was a concept that was modernistic of Brazil. Tarsila's first painting during this period was Abaporu (1928), which had been given as an untitled painting to Andrade for his birthday. The subject is a large stylized human figure with enormous feet sitting on the ground next to a cactus with a lemon-slice sun in the background. Andrade selected the eventual title, Abaporu, which is an Indian term for "man eats", in collaboration with the poet Raul Bopp. This was related to the then current ideas regarding the melding of European style and influences. Soon after, Andrade wrote his Anthropophagite Manifesto, which literally called Brazilians to devour European styles, ridding themselves of all direct influences, and to create their own style and culture. Colonialism played a role in her work; Tarsila incorporated this concept into her art. Instead of being devoured by Europe, they would devour Europe themselves. Andrade used Abaporu for the cover of the manifesto as a representation of his ideals. The following year the manifesto's influence continued, Tarsila painted Antropofagia (1929), which featured the Abaporu figure together with the female figure from A Negra from 1923, as well as the Brazilian banana leaf, cactus, and again the lemon-slice sun. In 1929, Tarsila had her first solo exhibition in Brazil at the Palace Hotel in Rio de Janeiro, and it was followed by another at the Salon Gloria in São Paulo. In 1930, she was featured in exhibitions in New York and Paris. Unfortunately, 1930 also saw the end of Tarsila and Andrade's marriage. This brought an end to their collaboration. Later career and death In 1931, Tarsila traveled to the Soviet Union. While there, she had exhibitions of her works in Moscow at the Museum of Occidental Art, and she traveled to various other cities and museums. The poverty and plight of the Russian people had a great effect on her, as seen in her painting Workers (Operarios) (1933). Upon her return to Brazil in 1932, she became involved in the São Paulo Constitutional Revolt against the dictatorship in Brazil, led by