tag:blogger.com,1999:blog-166220355232400912024-03-10T18:45:59.028+00:00A Arte em PortugalPortuguese Art from Past to PresentMargarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.comBlogger130125tag:blogger.com,1999:blog-16622035523240091.post-5819228528696697882024-03-10T18:44:00.005+00:002024-03-10T18:44:57.961+00:00Leandro Braga (1839-1897)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZ6gU17tsbkeBHbz2TNkD0Y4ksLxtzzbEuurfhx-9Y54d4NkOmCYA-VyqM7tAJ9wBSRVbVlCfsgUTzOZCjuj7U7Co8gpTdM_6RZK82QrXlKLEXGjvy_52CpX8cA_1SBbByDa4RxyJGbXa08aNWiqh7pLNsj5_-fc8y_-K3pst4c1gdNoljohPKauZokI/s2522/GetMultimediaImage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2522" data-original-width="1728" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZ6gU17tsbkeBHbz2TNkD0Y4ksLxtzzbEuurfhx-9Y54d4NkOmCYA-VyqM7tAJ9wBSRVbVlCfsgUTzOZCjuj7U7Co8gpTdM_6RZK82QrXlKLEXGjvy_52CpX8cA_1SBbByDa4RxyJGbXa08aNWiqh7pLNsj5_-fc8y_-K3pst4c1gdNoljohPKauZokI/s320/GetMultimediaImage.jpg" width="219" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://museu.parlamento.pt/DetalhesObra/Index/6350?tipo=OBJ">Cadeira da Presidência da Câmara dos Pares</a> </i>(1866, Assembleia da República)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT_-HwaMFpXRrr3gJMsyuLy5EgxHV2OPjQLZbNaYzvVFQS_jLPQ4qFo6s4b2vKXnHEYJGeM8ibRWYJMnes04xNRbcrct3SrYaAfYcILPqdpWmUwu-edr7Ct-DWV4mHvmy-L3hKIOK4DveQoFPe2txSebFmlfm9GMUEL80BSN-fzPbT2GginqDcShC5o88/s657/Screenshot%202024-03-10%20175859.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="657" data-original-width="587" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT_-HwaMFpXRrr3gJMsyuLy5EgxHV2OPjQLZbNaYzvVFQS_jLPQ4qFo6s4b2vKXnHEYJGeM8ibRWYJMnes04xNRbcrct3SrYaAfYcILPqdpWmUwu-edr7Ct-DWV4mHvmy-L3hKIOK4DveQoFPe2txSebFmlfm9GMUEL80BSN-fzPbT2GginqDcShC5o88/s320/Screenshot%202024-03-10%20175859.png" width="286" /></a></div><div class="separator" style="clear: both; text-align: center;">Aparador monumental (1879, Sala de Jantar da Rainha, Palácio Nacional da Ajuda, Lisboa*)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUeG_9FxZbkiKvO9UqH8BoHtZnWj19w-whrPF-0vdpR53yHP1taiehOzdeUIi1cYV969ny8H5vue-WIbTBUmkED7Zf_fZwBNzQUwCKcaJI8cDt_K4w-sfV3SYin8XCEigx6pNYdDJjWhyphenhyphenvbYF4HffasTPDVNAVZddRpzOSsccZHEYD_vH6BJLWq5cVsQ/s708/Screenshot%202024-03-10%20182429.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="522" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBUeG_9FxZbkiKvO9UqH8BoHtZnWj19w-whrPF-0vdpR53yHP1taiehOzdeUIi1cYV969ny8H5vue-WIbTBUmkED7Zf_fZwBNzQUwCKcaJI8cDt_K4w-sfV3SYin8XCEigx6pNYdDJjWhyphenhyphenvbYF4HffasTPDVNAVZddRpzOSsccZHEYD_vH6BJLWq5cVsQ/s320/Screenshot%202024-03-10%20182429.png" width="236" /></a></div><div class="separator" style="clear: both; text-align: center;">Escultura para o restaurante Leão de Ouro (1885, Rua 1.º de Dezembro, Lisboa - cf. <a href="https://www.pl7885.dev/LPIX85">https://www.pl7885.dev/LPIX85</a>)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8UgCVM73MesFMBmlrJyYhpPpUAA2zW-egZbhGD-JIF5ypm9ZGr_SMV3YxBMtMq-1Wv9VagFLkgHF8ZQUEO2Yc56SykZmYoQTF_8nu-UG1yGpyuea6Tfx8CBCQlwpjD_GXz2h-QOrAcJIf5N4t67XS19ag4AZCfVpEusXhP1-qeUmhnRPWRWaYCQVW5ao/s556/Screenshot%202024-03-10%20183641.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="402" data-original-width="556" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8UgCVM73MesFMBmlrJyYhpPpUAA2zW-egZbhGD-JIF5ypm9ZGr_SMV3YxBMtMq-1Wv9VagFLkgHF8ZQUEO2Yc56SykZmYoQTF_8nu-UG1yGpyuea6Tfx8CBCQlwpjD_GXz2h-QOrAcJIf5N4t67XS19ag4AZCfVpEusXhP1-qeUmhnRPWRWaYCQVW5ao/s320/Screenshot%202024-03-10%20183641.png" width="320" /></a></div><div style="text-align: center;">Sala de Jantar da época Luís XIV (1891, Palácio Foz, Lisboa - cf. <a href="https://www.flickr.com/photos/biblarte/">https://www.flickr.com/photos/biblarte/</a>)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjLLlcxrVZ-fDnq9uyC0GAHOr_MwBzf0gGAcOIBafruE97P0W4Z6JcsGfF3i1FBUOIukVXGgLOex08sO_qU2lS1pc_1egoQOj1W1L-M6Z3r_JOJUwL2-Wij1A7KeRH6_1UA31ExKkzx-MzrZ2UtzBD02FWC3zG4G11k86RAoZ8aIBZfHX530mFQXsPL9o/s677/Screenshot%202024-03-10%20180031.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="677" data-original-width="516" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjLLlcxrVZ-fDnq9uyC0GAHOr_MwBzf0gGAcOIBafruE97P0W4Z6JcsGfF3i1FBUOIukVXGgLOex08sO_qU2lS1pc_1egoQOj1W1L-M6Z3r_JOJUwL2-Wij1A7KeRH6_1UA31ExKkzx-MzrZ2UtzBD02FWC3zG4G11k86RAoZ8aIBZfHX530mFQXsPL9o/s320/Screenshot%202024-03-10%20180031.png" width="244" /></a></div><div class="separator" style="clear: both; text-align: center;">Fogão de Sala (c. 1894, Casa Biester, Sintra*)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Leandro de Sousa Braga nasceu em Braga a 22 de março de 1839, e faleceu em Lisboa a 6 de abril de 1897. Era filho de André de Sousa Braga, armador de igrejas. Desde criança que mostrava vocação para a escultura, acompanhando o seu pai às igrejas onde este trabalhava. Foi para Lisboa em 1853, com catorze anos de idade, entrando como aprendiz na oficina de entalhador Inácio Caetano, tornando-se oficial ao fim de três anos de aprendizagem. Foi nessa época que executou a decoração da tribuna do teatro de S. Carlos. Em 1862, passou para o atelier do escultor Anatole Calmels, que então trabalhava na execução do Arco Triunfal da Praça do Comércio, onde Leandro Braga colaborou. Nesta época estava a ser construída a sala da Câmara dos Pares, e sendo o escultor Calmels encarregado do modelo para o dossel do trono, a execução em madeira foi realizada por Leandro Braga. Depois executou por modelo próprio a cadeira presidencial do trono. Abriu um atelier na calçada do Combro, que foi visitado pelo rei D. Fernando, que lhe encomendou alguns trabalhos. Desde essa época, executou obras de talha de grande importância, como a decoração da casa de jantar, do Palácio da Ajuda, encomenda de D. Maria Pia, que também lhe encomendou a obra de talha do seu atelier e do seu boudoir. Nas festas do centenário de Camões, em 1880, decorou o carro das Ciências, e no do marquês de Pombal, em 1882, o das Artes. Por ocasião do casamento de D. Carlos, decorou algumas salas do palácio de Belém, e executou o leito nupcial, em estilo Luís XV. Também foi o autor das decorações e da mobília da casa de jantar, estilo século XVI, do conde de Cabral; do chalé dos duques de Palmela em Cascais; da escada e gabinete Renascença, da sala de baile e da sala Luís XVI do palácio Foz; bem como, do salão, da casa de jantar, dum gabinete e da capela do chalé de Frederico Biester em Sintra. Em companhia do marquês da Foz, percorreu a França e a Inglaterra, visitando palácios e museus, aperfeiçoando os seus conhecimentos de arte, delineando o plano de decoração do palácio da Avenida, que conseguiu que fosse confiado a artistas portugueses.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl. <i>Portugal, Dicionário Histórico, Corográfico, Heráldico, Biográfico, Bibliográfico, Numismático e Artístico</i>, Vol. II, Lisboa, João Romano Torres - Editor, 1906 [h<a href="ttps://www.arqnet.pt/dicionario/braga_leandro.html">ttps://www.arqnet.pt/dicionario/braga_leandro.html</a>]; * Pedro Bebiano Braga e Maria Helena Mendes Pinto, <i>Leandro Braga e as Artes Decorativas (1839-1997)</i>, Instituto da Comunicação Social, 1997.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #444444;">Leandro de Sousa Braga was born in Braga on March 22, 1839, and died in Lisbon on April 6, 1897. He was the son of André de Sousa Braga, a church builder. Since he was a child, he showed a vocation for sculpture, accompanying his father to the churches where he worked. He went to Lisbon in 1853, at the age of fourteen, entering as an apprentice in the workshop of carver Inácio Caetano, becoming an officer after three years of apprenticeship. It was at this time that he decorated the tribune of the S. Carlos theater. In 1862, he moved to the studio of the sculptor Anatole Calmels, who was then working on the execution of the Triumphal Arch in Praça do Comércio, where Leandro Braga collaborated. At this time, the Chamber of Peers room was being built, and with the sculptor Calmels in charge of the model for the throne's canopy, the wooden execution was carried out by Leandro Braga. He then created the presidential throne chair on his own model. He opened a studio on the Combro street, which was visited by King Fernando, who commissioned some works from him. Since that time, he carried out carving works of great importance, such as the decoration of the dining room at Palácio da Ajuda, commissioned by the Queen Maria Pia, who also commissioned him to carry out the carving work for her studio and her boudoir. At Camões' centenary celebrations, in 1880, he decorated the Sciences car, and at the Marquis of Pombal's, in 1882, the Arts car. On the occasion of D. Carlos's wedding, he decorated some rooms in the Belém palace, and created the wedding bed, in the Louis XV style. He was also the author of the decorations and furniture for the 16th century style dining house of the Count of Cabral; the Dukes of Palmela chalet in Cascais; the Renascença staircase and cabinet, the ballroom and the Luís XVI room of the Foz palace; as well as the hall, the dining room, an office and the chapel of Frederico Biester's chalet in Sintra. In the company of the Marquis of Foz, he traveled through France and England, visiting palaces and museums, improving his knowledge of art, outlining the decoration plan for the Avenida palace, which he managed to entrust to Portuguese artists.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-74802160532303139522024-02-11T15:47:00.002+00:002024-02-11T15:47:18.554+00:00Bruno José do Vale (f. 1780)<div style="text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih9X2izazLslnjuUmcBXHcuvNlvepPMUe6Wf1WXRPOKzQMvIKUhvKeXzHs0Rs2fYtsBuoVXRwGOmOMuNKbYgrRYvr-pGi4xAX0m3gX3GFYQkBnV_3xWpWAXj1om-n2AR4OV1ekNzlJFCTaDd5ODTkvt47acgEa23dASmk-dUCxtzDOnEyY516WjpXx5rw/s1861/sagrada-familia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1861" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih9X2izazLslnjuUmcBXHcuvNlvepPMUe6Wf1WXRPOKzQMvIKUhvKeXzHs0Rs2fYtsBuoVXRwGOmOMuNKbYgrRYvr-pGi4xAX0m3gX3GFYQkBnV_3xWpWAXj1om-n2AR4OV1ekNzlJFCTaDd5ODTkvt47acgEa23dASmk-dUCxtzDOnEyY516WjpXx5rw/s320/sagrada-familia.jpg" width="172" /></a></div><div class="separator" style="clear: both;"><i><a href="https://laudatosimovement.org/pt/igreja-de-santo-antonio-de-lisboa/">Sagrada Família</a> </i>(1775, Igreja de Santo António, Lisboa)</div><div class="separator" style="clear: both;">-</div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcRAyefbn2i6n_frjUvzdVBSKwO7l6P5A6PD-noTHceL9XeSYVmacE-Nr6jWvZQUfsMBCQyidBFs01otQXspaKGK2ZeE6kTG0xrjKMjAE_tHFfmqB7_WOw1U4jDanKusnYdChgbZBbiufyzeRrCcx31e7USPkDL2uy0_gnOHkS_HOcXU66waKHPLJgEuA/s1442/e579b76eec4ce3bf0f7579a30344662c13b4d572.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcRAyefbn2i6n_frjUvzdVBSKwO7l6P5A6PD-noTHceL9XeSYVmacE-Nr6jWvZQUfsMBCQyidBFs01otQXspaKGK2ZeE6kTG0xrjKMjAE_tHFfmqB7_WOw1U4jDanKusnYdChgbZBbiufyzeRrCcx31e7USPkDL2uy0_gnOHkS_HOcXU66waKHPLJgEuA/s320/e579b76eec4ce3bf0f7579a30344662c13b4d572.jpg" /></a></div><div style="text-align: center;"><a href="https://app.fta.art/fr/artwork/a4c92da0aa312a20258d556b5b6c577b7f1e29f7"><i>Martírio de São Sebastião</i></a> (Igreja de Santa Isabel, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqrgWOYJM6RzLoQJvgMjQbAd_iuFuucYGfSOHyPCaIaK1-dFszvYzrhUiIblzxtvoQcVqK3RBKwMUHvvKA4CvdlwBYbU9ER2djjcUcaTu5WXzAhXjdjTr-wvCWCniyAwzW1wUbX9sW6uKLAbHgHL5pxqC0chSPyHcNFgkTPxGxiD54IGtJjHt6pHvSDE/s900/Piedade,_Bruno_Jos%C3%A9_do_Vale,_Igreja_de_Nossa_Senhora_da_Concei%C3%A7%C3%A3o_Velha_01.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjqrgWOYJM6RzLoQJvgMjQbAd_iuFuucYGfSOHyPCaIaK1-dFszvYzrhUiIblzxtvoQcVqK3RBKwMUHvvKA4CvdlwBYbU9ER2djjcUcaTu5WXzAhXjdjTr-wvCWCniyAwzW1wUbX9sW6uKLAbHgHL5pxqC0chSPyHcNFgkTPxGxiD54IGtJjHt6pHvSDE/s320/Piedade,_Bruno_Jos%C3%A9_do_Vale,_Igreja_de_Nossa_Senhora_da_Concei%C3%A7%C3%A3o_Velha_01.jpg" /></a></div><div style="text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Piedade,_Bruno_Jos%C3%A9_do_Vale,_Igreja_de_Nossa_Senhora_da_Concei%C3%A7%C3%A3o_Velha_01.jpg">Piedade </a></i>(Igreja de Nossa Senhora da Conceição Velha, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOsmySa3R3lv2yEzLky8w7-mPs4L37VxSoRIrStyiBQrM67MgkVhRKfDn4Lv3x9e1OTLA_mnAkZCux-SG6cJD1Ay0Y6Rg3j0HPgktvji-ThQHzS5fyGh2fnv10BS15XlYYcXsPeJZ49zROtz2D5wdeDU4sf8wVefF3nPlBa_37sUua3ig1aqu8fk-u6Uo/s2817/IMG_20240211_151847.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2682" data-original-width="2817" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOsmySa3R3lv2yEzLky8w7-mPs4L37VxSoRIrStyiBQrM67MgkVhRKfDn4Lv3x9e1OTLA_mnAkZCux-SG6cJD1Ay0Y6Rg3j0HPgktvji-ThQHzS5fyGh2fnv10BS15XlYYcXsPeJZ49zROtz2D5wdeDU4sf8wVefF3nPlBa_37sUua3ig1aqu8fk-u6Uo/s320/IMG_20240211_151847.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span lang="PT" style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: PT; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><i>Alegoria à Pátria Portuguesa
e sua Organização </i>(detalhe) (Tecto da Sala D. Maria
II, </span><span style="font-family: "Times New Roman", serif; font-size: 16px;">Museu Militar, </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Lisboa, in José-Augusto França, <i>Museu Militar</i>, 1996)</span></div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Bruno José do Vale (f. 1780) foi um pintor natural de Lisboa, que foi discípulo de José da Costa Negreiros. Trabalhou temas sagrados, alegóricos e retratos. Entre as suas obras conta-se o tecto da escada do Arsenal do Exército (Museu Militar de Lisboa), um quadro de S. Sebastião, para a Igreja de Santa Isabel, e outro na Igreja de Santo António da Sé.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl.: <i>Portugal, Dicionário Histórico </i>[<a href="https://www.arqnet.pt/dicionario/valebruno.html">https://www.arqnet.pt/dicionario/valebruno.html</a>]; A. Raczynski, <i>Dictionnaire du Portugal</i>, Paris, 1847, p. 292; Sousa Viterbo, <i>Notícia de Alguns Pintores Portugueses</i>, 3.ª série, 1911, p. 164.</div><div style="text-align: justify;"><span style="color: #666666;">-</span></div><div style="text-align: justify;"><span style="color: #666666;">Bruno José do Vale (f. 1780) was born in Lisbon, being a disciple of José da Costa Negreiros. He worked on sacred and allegorical themes, and portraits. Among his works are the ceiling of the stairs of the Army Arsenal (Military Museum of Lisbon), a painting of <i>S. Sebastião</i> for the Church of Santa Isabel, and another in the Church of Santo António da Sé.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-81934532342427936102024-01-14T17:06:00.007+00:002024-01-14T17:07:34.893+00:00Thomaz de Mello (1906-1990)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZKaFPhVducbaX2jttB0FsFb4e5HznvMD1CTSuikAJOstGnuWaOclYVFdWq6g58YwJI9gXqQXBu1VW-rKtIbLXTj4dP_ANEVRbIs3Ei1ono3-EHWSdDEVRBps-ba0TRJLZcuoARi6zLI10KXXDVoKKITEBzCmE5G6T6mH9W8f5NnbeWo9r9Rrpo4D8ZQ/s565/Imagem%20(1).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZKaFPhVducbaX2jttB0FsFb4e5HznvMD1CTSuikAJOstGnuWaOclYVFdWq6g58YwJI9gXqQXBu1VW-rKtIbLXTj4dP_ANEVRbIs3Ei1ono3-EHWSdDEVRBps-ba0TRJLZcuoARi6zLI10KXXDVoKKITEBzCmE5G6T6mH9W8f5NnbeWo9r9Rrpo4D8ZQ/s320/Imagem%20(1).jpg" /></a></div><div style="text-align: center;"><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=6&REGPAG=50&CRITERIO=thomaz&IDFOTO=46834">Figurino para <i>"Anjo Bom" - Teatro do Povo</i></a> (1940, Museu Nacional do Teatro e da Dança, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhFtOXPUlFcjyczOkpNwiUgF6EE-eVfM7qsZKuUcpSI5SukWCxe4HvUEHf3K1gmYHqDVMkhiG4kEF3-eaJMSaUooICLJrETRguGHXadsBbCVc5pPcbDlpGgQE1k0mO4AjXs71LPTOvU-Qu_jOvrRmJg6d1bFYj7I7gk16ZJ9yW384sGPpy2rC59Zd3ncY/s565/Imagem.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhFtOXPUlFcjyczOkpNwiUgF6EE-eVfM7qsZKuUcpSI5SukWCxe4HvUEHf3K1gmYHqDVMkhiG4kEF3-eaJMSaUooICLJrETRguGHXadsBbCVc5pPcbDlpGgQE1k0mO4AjXs71LPTOvU-Qu_jOvrRmJg6d1bFYj7I7gk16ZJ9yW384sGPpy2rC59Zd3ncY/s320/Imagem.jpg" /></a></div><div style="text-align: center;"><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=1&REGPAG=50&CRITERIO=thomaz&IDFOTO=148292"><i>Viloa da ilha da Madeira</i> (miniatura) </a>(década de 40, Museu de Arte Popular, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRyLGyOZUMCuWsAcCtLwmyBw9Vf-ogThD-ZwM0dKfZD5xGmrvhbJ6-rcpAmeY_tHnAdAN_Snc8U1-Hf1d-wg6d4mChit3wKyzgulx_NsN81o50g7jc6BRaG8qDFNHhqltNI967z5EjD4bEUnKWvInjwuEBsrVyqm9l2wDq9DKeNlxbVdqnVMr7aMylyU/s450/ThumbnailDownloader.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRyLGyOZUMCuWsAcCtLwmyBw9Vf-ogThD-ZwM0dKfZD5xGmrvhbJ6-rcpAmeY_tHnAdAN_Snc8U1-Hf1d-wg6d4mChit3wKyzgulx_NsN81o50g7jc6BRaG8qDFNHhqltNI967z5EjD4bEUnKWvInjwuEBsrVyqm9l2wDq9DKeNlxbVdqnVMr7aMylyU/s320/ThumbnailDownloader.jpg" /></a></div><div><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=235758">Projeto </a>(1937-1942, Museu Nacional do Azulejo, Lisboa)</div></div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEick5H7MAJwXHlW7_R3hlpwpzgl_HmPtjSBSE8HBZlh-Gf7NIYBLdq3-4XB1eJAl2jTCY7hr_skIAx6dOZY3dVlVCnDFWSFQ8NhRSOa_2FYHPE4CUyEItUH0TkMjEESg7aPTIoGR3YqJ6fooQ9RHRneX4QJj18GBjHR20VJc07v2dHNcu2xapSa-OcSGsE/s528/tomazmello-1.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEick5H7MAJwXHlW7_R3hlpwpzgl_HmPtjSBSE8HBZlh-Gf7NIYBLdq3-4XB1eJAl2jTCY7hr_skIAx6dOZY3dVlVCnDFWSFQ8NhRSOa_2FYHPE4CUyEItUH0TkMjEESg7aPTIoGR3YqJ6fooQ9RHRneX4QJj18GBjHR20VJc07v2dHNcu2xapSa-OcSGsE/s320/tomazmello-1.jpg" /></a></div><div style="text-align: center;"><i><a href="http://tipografos.net/portugal/tomaz-mello.html">Arte del Pueblo Portugués</a></i></div><div style="text-align: center;">-</div><div style="text-align: center;"><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNjjmpD4ZtX0ZalseaWC5G0LfhxhKPW1RKWFwGlycrD9qAmhdsMArApNwv8VCT_eJUulCUO8JmXG2L63T5BYA61pPcZWcKKmvn7WPWuxVviBX8M5TiZnnxdSp_D8mmkI-VLRCPfY39fRCrTFBmgAjO91r3FFXTzrw4M2LO67uxKsGm2surWZ5t1RIka4s/s577/Screenshot%202024-01-14%20165358.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNjjmpD4ZtX0ZalseaWC5G0LfhxhKPW1RKWFwGlycrD9qAmhdsMArApNwv8VCT_eJUulCUO8JmXG2L63T5BYA61pPcZWcKKmvn7WPWuxVviBX8M5TiZnnxdSp_D8mmkI-VLRCPfY39fRCrTFBmgAjO91r3FFXTzrw4M2LO67uxKsGm2surWZ5t1RIka4s/s320/Screenshot%202024-01-14%20165358.png" /></a></div><div><i><a href="https://gulbenkian.pt/cam/works_cam/new-york-144166/">New York</a></i> (1950, Centro de Arte Moderna - Fundação Calouste Gulbenkian, Lisboa)</div></div><div style="text-align: center;">-</div><div style="text-align: justify;">Thomaz de Mello (Tom) nasceu no Rio de Janeiro, a 11 de janeiro de 1906, tendo vindo para Portugal em 1926, com a companhia de teatro de Leopoldo Fróis. Tendo-se integrado entre os modernistas portugueses, entre 1935 e 1951, participou em todas as Exposições de Arte Moderna do S.P.N./S.N.I., recebendo o Prémio Francisco de Holanda em 1945. Dirigiu, com António Pedro, a Galeria UP, ao Chiado, que foi a primeira galeria comercial de arte de Lisboa, inaugurada em Março de 1933. A partir de 1937 integrou, juntamente com Carlos Botelho, Bernardo Marques, Fred Kradolfer e José Rocha, a equipa de decoradores do S.P.N. (Sociedade de Propaganda de Portugal), ficando encarregues da realização dos pavilhões de Portugal nas Exposições Internacionais de Paris (1937), Nova Iorque e S. Francisco (1939). Em 1937, obteve o Grande Prémio de Decoração e de Artesanato, na Exposição de Artes e Técnicas de Paris. Colaborou com a Companhia Portuguesa de Bailado Verde Gaio, com cenários e figurinos para o bailado <i>Passatempo </i>(Teatro Nacional de D. Maria II, 1941). Em 1948 integrou a equipa de artistas decoradores do Museu de Arte Popular, realizando murais no vestíbulo e nas salas de Entre-Douro-e-Minho e Algarve. Como ilustrador trabalhou em várias publicações, entre as quais a revista <i>Panorama </i>e a <i>Ilustração</i>. Em 1973, o SNI (Secretariano Nacional de Informação) organizou, no Palácio Foz, em Lisboa, uma exposição retrospetiva da sua obra. Faleceu em Lisboa, a 7 de janeiro de 1990.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Fonte: <a href="https://pt.wikipedia.org/wiki/Thomaz_de_Mello">Wikipédia</a>.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Thomaz de Mello (Tom) was born in Rio de Janeiro, on January 11, 1906, and came to Portugal in 1926, with Leopoldo Fróis' theater company. Having integrated himself among the Portuguese modernists, between 1935 and 1951, he participated in all the Modern Art Exhibitions of the S.P.N./S.N.I., receiving the Francisco de Holanda Prize in 1945. He directed, with António Pedro, the UP Gallery, in Chiado, which was the first commercial art gallery in Lisbon, opened in March 1933. From 1937 onwards, together with Carlos Botelho, Bernardo Marques, Fred Kradolfer and José Rocha, he was part of the team of decorators at S.P.N. (Propaganda Society of Portugal), being responsible for creating the Portuguese pavilions at the International Exhibitions in Paris (1937), New York and S. Francisco (1939). In 1937, he won the Grand Prize for Decoration and Crafts at the Paris Arts and Techniques Exhibition. He collaborated with the Portuguese Ballet Company Verde Gaio, with sets and costumes for the ballet <i>Passatempo </i>(National Theatre D. Maria II, 1941). In 1948 he joined the team of decorating artists at the Museum of Popular Art, creating murals in the lobby and rooms of Entre-Douro-e-Minho and Algarve. As an illustrator he worked in several publications, including the magazines <i>Panorama </i>and <i>Ilustração</i>. In 1973, the SNI (National Secretary of Information) organized a retrospective exhibition of his work at Palácio Foz in Lisbon. He passed away in Lisbon, on January 7, 1990.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-15956408403977788892023-12-24T17:39:00.003+00:002023-12-24T17:43:50.802+00:00André Soares (1720-1769)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd05nvBsrbbNjj4XM_P2QcfJEo7qdHIbQmND7GtJlEdx0XPw0onGjeK8sexw7Le0pHffmfCqBmMul7ASfe7N8HrvlKSes9achm2y7rc_JCjb37rwafRatBs7iOJOJGfH13SWlpaMEow3kwlCKpM-Ap81KTjmrHAs0noaPvGynDzUPhUvs7BhMEj7rXLR4/s728/Screenshot%202023-12-24%20172831.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd05nvBsrbbNjj4XM_P2QcfJEo7qdHIbQmND7GtJlEdx0XPw0onGjeK8sexw7Le0pHffmfCqBmMul7ASfe7N8HrvlKSes9achm2y7rc_JCjb37rwafRatBs7iOJOJGfH13SWlpaMEow3kwlCKpM-Ap81KTjmrHAs0noaPvGynDzUPhUvs7BhMEj7rXLR4/s320/Screenshot%202023-12-24%20172831.png" /></a></div><div style="text-align: center;"><a href="https://bomjesus.pt/bom-jesus/casa-do-fresco/">Casa do fresco do Santuário de Bom Jesus do Monte</a> (1751, Braga)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0Ss4hMphP0D1w-wae_Wb4QUYp2bhPaZjdGVu5P4Nmytk-kfd95e5p3Yy-jQVH7Vqf2RHdxp_vCAxhx4Kp5GehzssKUhs88Ao3GuIPH_UtdHjtgdVj9fjagNMARnEM4_Y_-3zhiC7AXM9o_Njv8PQpeknrug_gkYGqGAxtG54hHPNe9bOxuygastBrL8/s617/Camara_de_braga.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR0Ss4hMphP0D1w-wae_Wb4QUYp2bhPaZjdGVu5P4Nmytk-kfd95e5p3Yy-jQVH7Vqf2RHdxp_vCAxhx4Kp5GehzssKUhs88Ao3GuIPH_UtdHjtgdVj9fjagNMARnEM4_Y_-3zhiC7AXM9o_Njv8PQpeknrug_gkYGqGAxtG54hHPNe9bOxuygastBrL8/s320/Camara_de_braga.jpg" /></a></div><div style="text-align: center;"><a href="https://pt.wikipedia.org/wiki/Pa%C3%A7os_do_Concelho_de_Braga">Câmara Municipal de Braga</a> (1753, Braga)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UqcO2U8aWGqrrpxRPa8L8hQXoCQiY2uXvZf0rxjFg_WKBHV7QfOmH57vM_nhDL2qb6daTC5LJVDUz8jWUTnzzVc0CPR-yWe9Zq5fS88OmRip338buzN5m5PDMSyPpdOxkYzEixzhiVf58mRydMNn1UIne-URmDwTOBGpCkPdbPFUMpF8pnOPc7_QquA/s1200/Main_facade_of_Pal%C3%A1cio_do_Raio_01.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9UqcO2U8aWGqrrpxRPa8L8hQXoCQiY2uXvZf0rxjFg_WKBHV7QfOmH57vM_nhDL2qb6daTC5LJVDUz8jWUTnzzVc0CPR-yWe9Zq5fS88OmRip338buzN5m5PDMSyPpdOxkYzEixzhiVf58mRydMNn1UIne-URmDwTOBGpCkPdbPFUMpF8pnOPc7_QquA/s320/Main_facade_of_Pal%C3%A1cio_do_Raio_01.jpg" /></a></div><div style="text-align: center;"><a href="https://pt.wikipedia.org/wiki/Ficheiro:Main_facade_of_Pal%C3%A1cio_do_Raio_01.jpg">Palácio do Raio</a> (c. 1754, Braga)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnOkhAdiQTsv0jpD2c6-Kl985Rr2MCtirXwHujrvTzmTkI24DrwKpjcQ_HiX41otnCKuJVH9aR_mHd0gZ4iml1IVTR_D9TPnU8QaQhSgj8656Ol7tSjIfbNqudTEvD8O9EMCzsFYL7-82VfhlO0bTq74t1Fn5wlYYtdO0xjd7IaI_QprfKK1IpxiTF174/s900/Igreja_de_Santa_Maria_Madalena-Braga.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnOkhAdiQTsv0jpD2c6-Kl985Rr2MCtirXwHujrvTzmTkI24DrwKpjcQ_HiX41otnCKuJVH9aR_mHd0gZ4iml1IVTR_D9TPnU8QaQhSgj8656Ol7tSjIfbNqudTEvD8O9EMCzsFYL7-82VfhlO0bTq74t1Fn5wlYYtdO0xjd7IaI_QprfKK1IpxiTF174/s320/Igreja_de_Santa_Maria_Madalena-Braga.jpg" /></a></div><div style="text-align: center;"><a href="https://pt.wikipedia.org/wiki/Igreja_de_Santa_Maria_Madalena_(Braga)">Igreja de Santa Maria Madalena</a> (1753-1757, Falperra)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAaDoOnA41uBz3t9VOKJ069nMup1isjCF8EWW9zs3Zymb4NrWvPE_QaJLyr1NhLzNwdUa4ZRpp9Gfeyd8ChVlrU28M4KnzGLm4sSbJbeaqVbWz1x6Y11Ikds8BHD8Vib-1cnnetGrBaX6ZS7vy38yvaCCGH8oce4qjR9O4T1AhUMl4N2OHrHDhgMaUT-0/s1104/Tibaes_Church_Interior.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAaDoOnA41uBz3t9VOKJ069nMup1isjCF8EWW9zs3Zymb4NrWvPE_QaJLyr1NhLzNwdUa4ZRpp9Gfeyd8ChVlrU28M4KnzGLm4sSbJbeaqVbWz1x6Y11Ikds8BHD8Vib-1cnnetGrBaX6ZS7vy38yvaCCGH8oce4qjR9O4T1AhUMl4N2OHrHDhgMaUT-0/s320/Tibaes_Church_Interior.JPG" /></a></div><div style="text-align: center;"><a href="https://pt.wikipedia.org/wiki/Mosteiro_de_Tib%C3%A3es">Interior da Igreja do Mosteiro de Tibães</a></div><div style="text-align: center;">-</div><div style="text-align: justify;">André Soares nasceu em Braga, no dia 20 de Novembro de 1720. Filho de um mercador, supõe-se que possuía uma situação finceira desafogada. Em 1737, iniciou os estudos com o objectivo de se tornar clérigo, mas que não foram concluídos, não se sabendo onde terá feito a aprendizagem do desenho, arquitetura ou talha. Ligado ao estilo tardo-barroco e rococó, teve inicialmente a protecção do arcebispo D. José de Bragança, que o convidou a desenhar o novo Paço Arquiepiscopal de Braga. A sua obra está espalhada pelo Norte de Portugal, sobretudo nas imediações de Braga. Em arquitectura, são sobretudo conhecidos o Palácio do Raio e a Igreja de Santa Maria Madalena, em escultura destaca-se a talha do Mosteiro de Tibães. Morreu no dia 26 de Novembro de 1769.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl. - «André Soares» - <a href="https://pt.wikipedia.org/wiki/André_Soares">https://pt.wikipedia.org/wiki/André_Soares</a></div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">André Soares was born in Braga, on November 20, 1720. Son of a merchant, it is assumed that he had a comfortable financial situation. In 1737, he began studies with the aim of becoming a clergyman, but they were not completed, and it is not known where he learned drawing, architecture or carving. Linked to the late-baroque and rococo style, he initially had the protection of Archbishop José de Bragança, who invited him to design the new Archbishop's Palace of Braga. His work is spread across the North of Portugal, especially around Braga. In architecture, some of his best works are the Raio Palace and the Church of Santa Maria Madalena; in sculpture the carvings of the Monastery of Tibães stand out. He died on November 26, 1769.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-86843513312017815442023-11-26T18:18:00.000+00:002023-11-26T18:18:01.309+00:00Manuel Maria Bordalo Pinheiro (1815-1880)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVwSOUiyttuVkWIJifR5GTInjcIDkeHwhdr_CqP0AGoKCjpq9eIMtWnV_KQp7yqb9mL-QZFyBs7eOUC3wzi3lB17opDXmqtgnWDh2HmySfW4I8hcZx-cumQjPDAE7VPsByGjVKhweT5drMIR9gyIhjyEME1CbC547UeW0qRZN9TviW56nA7EhFwjXfE2A/s565/Imagem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="551" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVwSOUiyttuVkWIJifR5GTInjcIDkeHwhdr_CqP0AGoKCjpq9eIMtWnV_KQp7yqb9mL-QZFyBs7eOUC3wzi3lB17opDXmqtgnWDh2HmySfW4I8hcZx-cumQjPDAE7VPsByGjVKhweT5drMIR9gyIhjyEME1CbC547UeW0qRZN9TviW56nA7EhFwjXfE2A/s320/Imagem.jpg" width="312" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=1&REGPAG=50&CRITERIO=pinheiro&IDFOTO=125856">D. Jaime</a> </i>(Museu Nacional de Arte Contemporânea - Museu do Chiado)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlMX5Hepr8TYD_tdl5oEL9G9aemRw3Kjc2t0bVwx1g60RbMEyxL3ribHPTXbXJ5MI4Kat68Tolx4XjbUfoJXJ0MFRNi0MiPQm-pibvq6JifDOf9IpranA7QO-tycEC5MylwvSWbwzthnpss1HomzbB9aSKc8yqmzRzTh39U_AtRd6dXft6POqL4wlDaU/s457/Screenshot%202023-11-26%20181044.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="376" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLlMX5Hepr8TYD_tdl5oEL9G9aemRw3Kjc2t0bVwx1g60RbMEyxL3ribHPTXbXJ5MI4Kat68Tolx4XjbUfoJXJ0MFRNi0MiPQm-pibvq6JifDOf9IpranA7QO-tycEC5MylwvSWbwzthnpss1HomzbB9aSKc8yqmzRzTh39U_AtRd6dXft6POqL4wlDaU/s320/Screenshot%202023-11-26%20181044.png" width="263" /></a></div><div class="separator" style="clear: both; text-align: center;">Ilustração para a obra <i><a href="https://pt.wikisource.org/wiki/Miragaia_(Almeida_Garrett)/IV">Miragaia </a></i>de Almeida Garrett (1844)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkF2HCOYVhiTmhH4YVQKMiyYvXd-pI2p4EMI4MtTSTXVSkSxCK8EH7mZ-XNESJvR-19tBw3f45u4BfISdSheMUGANTQWrcQopxr1Pj2gr5A7ekgK5nkFaMgB9QiMUhKKGsTqsq3rI9o49gmPOIXH4DWUHDAJPu5AdbU8enN5gTrSPu-UbyZvKznKiLwg/s565/Imagem%20(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="454" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtkF2HCOYVhiTmhH4YVQKMiyYvXd-pI2p4EMI4MtTSTXVSkSxCK8EH7mZ-XNESJvR-19tBw3f45u4BfISdSheMUGANTQWrcQopxr1Pj2gr5A7ekgK5nkFaMgB9QiMUhKKGsTqsq3rI9o49gmPOIXH4DWUHDAJPu5AdbU8enN5gTrSPu-UbyZvKznKiLwg/s320/Imagem%20(1).jpg" width="257" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=16&REGPAG=50&CRITERIO=pinheiro&IDFOTO=11807">D. Pedro V</a> </i>(1855, Museu Nacional dos Coches, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd5l-gpqma50wHv_j7fEo3NOt7H91NAa70I4oegkwpELveHdw44EOjCwb4zUD4tSTZF3bdkrinomNUGlnq6nyvK2EW6NcFsEV5K4H-LXIP3ltNnzHolO-SBs9g-yLgsiGUdz1PIW6ejJCyLiD4E5PLrHVQw0thtDxGm-8D9hAq66v53Yw54uB_KMQS5_I/s542/Varina_com_Torre_de_Bel%C3%A9m_(1873)_-_Manuel_Maria_Bordalo_Pinheiro.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="542" data-original-width="426" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd5l-gpqma50wHv_j7fEo3NOt7H91NAa70I4oegkwpELveHdw44EOjCwb4zUD4tSTZF3bdkrinomNUGlnq6nyvK2EW6NcFsEV5K4H-LXIP3ltNnzHolO-SBs9g-yLgsiGUdz1PIW6ejJCyLiD4E5PLrHVQw0thtDxGm-8D9hAq66v53Yw54uB_KMQS5_I/s320/Varina_com_Torre_de_Bel%C3%A9m_(1873)_-_Manuel_Maria_Bordalo_Pinheiro.png" width="252" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Varina_com_Torre_de_Bel%C3%A9m_(1873)_-_Manuel_Maria_Bordalo_Pinheiro.png">Varina com Torre de Belém</a> </i>(1873)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHANvgdXKangWvculvnDpYk0qbviL5XvJ17pXiXLUdQd0pUgr4r6N_XDcvibTCKWxlHrWOUc8JNcQEAO883nleNI8NOfmxolFVl1w3zZX9up9W4UDkpMVihgLpul1Z3a5wZHSCxYVv_n0m821vTju-AchMLuf6D1_OzB6VV4iJ0RnxMRZdK3cd_MXKG5g/s450/386961_281950601846205_977615030_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="450" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHANvgdXKangWvculvnDpYk0qbviL5XvJ17pXiXLUdQd0pUgr4r6N_XDcvibTCKWxlHrWOUc8JNcQEAO883nleNI8NOfmxolFVl1w3zZX9up9W4UDkpMVihgLpul1Z3a5wZHSCxYVv_n0m821vTju-AchMLuf6D1_OzB6VV4iJ0RnxMRZdK3cd_MXKG5g/s320/386961_281950601846205_977615030_n.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://www.facebook.com/MacauTravelTips/photos/did-you-know-portugals-national-poet-lu%C3%ADs-de-cam%C3%B5es-lived-in-macau-during-the-16/281950601846205/">Luiz de Camões</a></i> (Jardim Luís de Camões, Macau)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Nascido em Lisboa em 28 de Novembro de 1815, em 1835 assentou praça como voluntário no Batalhão Nacional Fixo e fez parte do Exército Libertador. Nesse mesmo ano tornou-se Oficial na Secretaria da Câmara dos Pares do Reino, cargo que conservou quase até ao fim da vida. Após a fundação da Academia Real de Belas Artes foi um dos seus primeiros Alunos Extraordinários, sendo discípulo (mesmo fora da escola) de António Manuel da Fonseca e de Luís Pereira de Resende. Em 1849, foi incumbido por D. Fernando para ir a Madrid, fazer estudos de pintura e copiar quadros de Velásquez; em 1851, foi a Paris (onde copiou Ingres, Delacroix, Meissonier e Van Dick) e passou por Londres, onde visitou a Exposição Universal. Como representante do romantismo português, foi autor de pequenas telas com apontamentos da vida quotidiana, de inspiração na arte flamenga e pinturas de costumes num naturalismo incipiente. Expôs desde 1840, na primeira Exposição Trienal da Academia de Belas-Artes, sendo o único concorrente à medalha de ouro com o quadro histórico <i>Os Conspiradores de 1640 perante a Duquesa de Mântua</i>, concorrendo depois a outras exposições da Academia. Em 1862 apresentara-se na primeira Exposição da Sociedade Promotora das Belas-Artes, onde expôs o quadro <i>Leitura duma sentença</i>, tendo posteriormente raramente faltado às exposições dessa sociedade. Fez também os retratos régios de D. Fernando, D. José, D. Maria I e D. Pedro V. Como escultor, tendo sido discípulo de Feliciano José Lopes, executou um busto de Camões para a gruta de Macau, mas também são relevantes outros bustos, como o de D. Pedro IV e Henriques Nogueira. Desenvolveu em Portugal a gravura para jornais ilustrados, colaborando com o <i>Jornal de Belas-Artes</i>, o <i>Panorama</i>, entre outras publicações. Faleceu em Alcolena (Belém), em 31 de Janeiro de 1880.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl.: Gulherme de Azevedo, «Manuel Maria Bordallo Pinheiro», <i>O António Maria</i>, n.º 36, 7/2/1880, p. 46; José-Augusto França, <i>A Arte em Portugal no Século XIX</i>, Vol. I, Lisboa, Bertrand Editora, 1990, pp. 272, 279 e 280; Diogo de Macedo, <i>Cadernos de Arte - V - João Cristino da Silva e Manuel Maria Bordalo Pinheiro</i>, Lisboa, Edições Excelsior, 1952; <i>O Ocidente</i>, n.º 52, 15/2/1880, p. 27; Fernando de Pamplona, <i>Dicionário de Pintores e Escultores Portugueses</i>, Vol. I, Barcelos, Livraria Civilização Editora, 1987, pp. 221-223.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Born in Lisbon on November 28, 1815, in 1835 he became a volunteer in the Fixed National Battalion and was part of the Liberation Army, after the Civil War. That same year he became an Officer in the Secretariat of the Chamber of Peers of the Kingdom, a position he held almost until the end of his life. After the founding of the Royal Academy of Fine Arts, he was one of its first Extraordinary Students, being a disciple (even outside of school) of António Manuel da Fonseca and Luís Pereira de Resende. In 1849, he was commissioned by the king Fernando to go to Madrid, carry out painting studies and copy paintings by Velásquez; in 1851, he went to Paris (where he copied Ingres, Delacroix, Meissonier and Van Dick) and went to London, where he visited the Universal Exhibition. As a representative of Portuguese romanticism, he was the author of small canvases with notes from everyday life, inspired by Flemish art and paintings of customs in an incipient naturalism. He exhibited since 1840, at the first Triennial Exhibition of the Academy of Fine Arts, being the only competitor for the gold medal with the historical painting <i>The Conspirators of 1640 before the Duchess of Mantua</i>, later competing in other exhibitions at the same Academy. In 1862 he appeared at the first Exhibition of the Sociedade Promotora das Belas-Artes, where he exhibited the painting <i>Reading of a Sentence</i>, and subsequently rarely missed other exhibitions of this art society. He also made royal portraits of the kings José I, Maria I and Pedro V, as well as Fernando II. As a sculptor, having been a disciple of Feliciano José Lopes, he created a bust of Camões for the Macau cave, but also other busts are relevant, such as that of the king Pedro IV and Henriques Nogueira. He developed engraving for illustrated newspapers in Portugal, collaborating with <i>Jornal de Belas-Artes </i>and <i>Panorama</i>, among other publications. He died in Alcolena (Belém), on January 31, 1880.</span></div><div style="mso-element: footnote-list;"><div id="ftn1" style="mso-element: footnote;">
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</div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-27503069731500690972023-10-15T18:33:00.005+01:002023-10-15T18:34:45.477+01:00Leitão de Barros (1896-1967)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hFCa7P8EP_1qKd8gvtuwUuzq9-sK3C5cflGcJoA55ZXCgbPTyUrgIwNbaGvxSifmrtqNoU0c_Q73EeR_7ivMDUTAjQF_fOFZsPWEFfhdBDzmv9_svRIyZAahoC6bPM4ccEWQCycD7ipBYNPEkLBbT3iCeGP0ZItDK77_HOaohvMZG0VANe9HCSBRDxE/s450/ThumbnailDownloader%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="450" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3hFCa7P8EP_1qKd8gvtuwUuzq9-sK3C5cflGcJoA55ZXCgbPTyUrgIwNbaGvxSifmrtqNoU0c_Q73EeR_7ivMDUTAjQF_fOFZsPWEFfhdBDzmv9_svRIyZAahoC6bPM4ccEWQCycD7ipBYNPEkLBbT3iCeGP0ZItDK77_HOaohvMZG0VANe9HCSBRDxE/s320/ThumbnailDownloader%20(2).jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=207972">Capela de São Martinho em Óbidos</a> </i>(1926, Museu Grão Vasco, Viseu)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15nQlqDvObOWN_VIkv_m9XdtsnFPL7103LI0CZOAZGiIl8krVU1sRIxQ6nQeW0Y67mJx9R-nVXKMutEHWazR36Li_ZZV7x1WwwaIZR2LIjkPj96zDN9Owc_Pt2RYaWq7HUZH5Lw8Y6W5X4SNzVIdGFZqiieb_4CBJ0ZCDoPBLHvNjc2yARUusMnxmVRg/s450/ThumbnailDownloader%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="310" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15nQlqDvObOWN_VIkv_m9XdtsnFPL7103LI0CZOAZGiIl8krVU1sRIxQ6nQeW0Y67mJx9R-nVXKMutEHWazR36Li_ZZV7x1WwwaIZR2LIjkPj96zDN9Owc_Pt2RYaWq7HUZH5Lw8Y6W5X4SNzVIdGFZqiieb_4CBJ0ZCDoPBLHvNjc2yARUusMnxmVRg/s320/ThumbnailDownloader%20(1).jpg" width="220" /></a></div><div class="separator" style="clear: both;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=207914">Igreja Matriz de Viana do Castelo</a> </i>(Museu Grão Vasco, Viseu)</div><div class="separator" style="clear: both;">-</div><div class="separator" style="clear: both;"><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga9pc-kM7Yg5jgCqGHuEYYw_UPpTZt6y1mpUY9Tv-NPL4G9DfU_0TiTJmeMD81BhyphenhyphenJYUbYqN_Sck2TvMu5cUIy7mtTuf_TC6LC-bJjJhBLDka0OpRDlRBy5sBQpUXYvxmwz5LOSj4zeg7aNHHk08tpWZ8kXv5S89poVEoZ6YxZVEh0mcG_tQl5zEOz0BQ/s565/Imagem.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga9pc-kM7Yg5jgCqGHuEYYw_UPpTZt6y1mpUY9Tv-NPL4G9DfU_0TiTJmeMD81BhyphenhyphenJYUbYqN_Sck2TvMu5cUIy7mtTuf_TC6LC-bJjJhBLDka0OpRDlRBy5sBQpUXYvxmwz5LOSj4zeg7aNHHk08tpWZ8kXv5S89poVEoZ6YxZVEh0mcG_tQl5zEOz0BQ/s320/Imagem.jpg" /></a></div><div><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=2&REGPAG=50&CRITERIO=leit%c3%a3o&IDFOTO=46798">Maquete de Cenário para peça "A Hora Imaculada". Cº Rey Colaço Robles Monteiro</a> (1926, Museu Nacional do Teatro e da Dança, Lisboa)</div><div>-</div></div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8MszBtH51kDFjBiXT1OgAfZA7kmlPWepRyCqEuWESA5-_ewhFXunlO938NU8vWhbk0MeTuTMKUMcFIO5R3RDEEh3knQRCcsm52vKXT_hqe3mQFhf34DZJZkK3MhRRHo9jXgynaUqFci_cUTDntSVbFnhVLpDny7tPcelL8-VAlhGH9cVUIqX4DwR2MXc/s450/ThumbnailDownloader.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8MszBtH51kDFjBiXT1OgAfZA7kmlPWepRyCqEuWESA5-_ewhFXunlO938NU8vWhbk0MeTuTMKUMcFIO5R3RDEEh3knQRCcsm52vKXT_hqe3mQFhf34DZJZkK3MhRRHo9jXgynaUqFci_cUTDntSVbFnhVLpDny7tPcelL8-VAlhGH9cVUIqX4DwR2MXc/s320/ThumbnailDownloader.jpg" /></a></div><div style="text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1068033">Peça “Avó Lisboa” /Cª Rey Colaço Robles Monteiro/ T. Nac. D. Maria II </a></i>( (1926, Museu Nacional do Teatro e da Dança, Lisboa)</div><div style="text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0i6vnPcZ6o5jQ2B7EjSYS_xScxsr3JaSNE8fnwbLLO2Rk1x5ed6YxJvLWZJuwP2TZ3bZzyCndS8MDx3LNQzrxaI7DewNgQdSvmpCYEL9DuHUsIYktWCNhKR_l7Q0M6fZW9nbs2QPJP6AM3hlD8xz9Ah4N3YEXNAbClAROfASCqWm3usX0JRlsyuZGr04/s798/Screenshot%202023-10-15%20182128.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="547" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0i6vnPcZ6o5jQ2B7EjSYS_xScxsr3JaSNE8fnwbLLO2Rk1x5ed6YxJvLWZJuwP2TZ3bZzyCndS8MDx3LNQzrxaI7DewNgQdSvmpCYEL9DuHUsIYktWCNhKR_l7Q0M6fZW9nbs2QPJP6AM3hlD8xz9Ah4N3YEXNAbClAROfASCqWm3usX0JRlsyuZGr04/s320/Screenshot%202023-10-15%20182128.png" width="219" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://www.imdb.com/title/tt0022365/?ref_=tt_mv_close">A Severa</a> </i>(cartaz) (1931, via IMDB)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Nascido em Lisboa, a 22 de Outubro de 1896, José Júlio Leitão de Barros frequentou a Faculdade de Ciências e a Faculdade de Letras da Universidade de Lisboa. Depois de concluir um curso da Escola Normal Superior de Lisboa, foi professor do ensino secundário (de desenho e matemática). Tirou também o curso de arquitectura na Escola de Belas-Artes, tendo exposto várias obras de pintura em Portugal, em Espanha e no Brasil. Casou em 17 de Agosto de 1923, com Helena Roque Gameiro, artista plástica e filha do aguarelista Alfredo Roque Gameiro, com quem teve dois filhos, José Manuel e Maria Helena. Foi também dramaturgo, cenógrafo e jornalista, tendo dirigido o <i>Domingo Ilustrado</i> (1925-1927) e a revista <i>Notícias Ilustrado</i> (1928-1935). Foi o principal impulsionador da construção dos estúdios da Tobis Portuguesa, concluídos em 1933. Organizou, a partir de 1934, vários cortejos históricos e marchas populares das Festas da Cidade de Lisboa. Foi ainda secretário-geral da Exposição do Mundo Português (1940) e responsável pela organização da ‘’Feira Popular’’ de Lisboa (1943). Tendo ficado conhecido sobretudo como cineasta, realizou maioritariamente filmes sobre temas de evocação histórica ou de crónica anedótica. Entre os seus filmes contam-se <i>A Severa</i> (1931), que foi o primeiro filme sonoro português. Faleceu em Lisboa, em 29 de Junho de 1967.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. <a href="https://pt.wikipedia.org/wiki/Jos%C3%A9_Leit%C3%A3o_de_Barros">Wikipédia</a>.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Born in Lisbon, on October 22, 1896, José Júlio Leitão de Barros<span style="color: black;"> </span>attended the Faculty of Sciences and the Faculty of Letters of the University of Lisbon. After completing a course at the Lisbon Normal School, he was a secondary school teacher (teaching drawing and mathematics). He also took an architecture course at the School of Fine Arts, having exhibited several works of painting in Portugal, Spain and Brazil. He married on August 17, 1923, to Helena Roque Gameiro (artist and daughter of the watercolorist Alfredo Roque Gameiro), with whom he had two children, José Manuel and Maria Helena. He was also a playwrighter, set designer and journalist, having directed <i>Domingo Ilustrado</i> (1925-1927) and the magazine <i>Notícias Ilustrado</i> (1928-1935). He was the main booster of the construction of the Tobis Portuguesa studios, completed in 1933. He organized, from 1934 onwards, several historic processions and popular marches for the Lisbon City Festivals. He was also general secretary of the Portuguese World Exhibition (1940) and responsible for organizing the ‘’Feira Popular’’ in Lisbon (1943). Having become known above all as a filmmaker, he mainly made films on subjects of historical evocation or anecdotal chronicle. His films include <i>A Severa</i> (1931), which was the first Portuguese sound film. He passed away in Lisbon, on June 29, 1967.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-78762829227710485092023-09-24T15:30:00.003+01:002023-09-24T15:36:32.812+01:00D. Carlos de Bragança (1863-1908)<div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIHo2yK0XytquAeO8IFYNHJv6BHZteFbaIPDBl6smxIAdZdvHsRNwOH3_MVYe70tNXsH8RXanXKJT6R-qyfMfGmfDkNKcbC7-vdpP1rUbDrBOWHwwEMOC0Vo3CxQ1noZyq9k2i9HSeT_Wsi5vdJZOWgjMJJkEMpy8vOHkESAVT3Ydu7-Xx2grm67ybps/s1200/1200px-Herdade_do_Roquete_(1895)_-_D._Carlos.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="820" data-original-width="1200" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIHo2yK0XytquAeO8IFYNHJv6BHZteFbaIPDBl6smxIAdZdvHsRNwOH3_MVYe70tNXsH8RXanXKJT6R-qyfMfGmfDkNKcbC7-vdpP1rUbDrBOWHwwEMOC0Vo3CxQ1noZyq9k2i9HSeT_Wsi5vdJZOWgjMJJkEMpy8vOHkESAVT3Ydu7-Xx2grm67ybps/s320/1200px-Herdade_do_Roquete_(1895)_-_D._Carlos.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Herdade_do_Roquete_(1895)_-_D._Carlos.png">Herdade do Roquete</a> </i>(1895)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7PG9D_F2kr5nCLES-hJRNPzhzhkBy03HQ4zPLyFrPqnpkmSU2NpBv0TL4vPypjnq1WhWFNLZM3hEi2xGZwi2cdPrD__UUJFfHSDc46JdG5-BydEAiXL_GxL_n76SOhUxb68kGdvrQsq-eoKUQsdtYtyg3R5mWC7WroeUtealQtUioPEmgOTyvFBgOcgs/s555/dcarlos---charneca-dos-almos-fit-555x210-6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="209" data-original-width="555" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7PG9D_F2kr5nCLES-hJRNPzhzhkBy03HQ4zPLyFrPqnpkmSU2NpBv0TL4vPypjnq1WhWFNLZM3hEi2xGZwi2cdPrD__UUJFfHSDc46JdG5-BydEAiXL_GxL_n76SOhUxb68kGdvrQsq-eoKUQsdtYtyg3R5mWC7WroeUtealQtUioPEmgOTyvFBgOcgs/s320/dcarlos---charneca-dos-almos-fit-555x210-6.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.museuartecontemporanea.gov.pt/ArtistPieces/view/14">Charneca dos Almos</a> (Alentejo) </i>(1898, MNAC, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSUf-b_xRuVnHJeVPDHdMCu7GVZNDcU2dtP2rkO0RqHkJwscHw8BYxZMACDobof9NiboXRH3fiuzOMCQHJO6JWUIvH4OPHcRHh16O29mnETvo3KSpjRd33TGEEeWxKCJIG9FZuHuyNl546sO8iWa8f1gVY0CAEHB_bw0kiD4ejhmQPz_RhONNhUVcgps/s650/Carlos_de_Bragan%C3%A7a_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="378" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSUf-b_xRuVnHJeVPDHdMCu7GVZNDcU2dtP2rkO0RqHkJwscHw8BYxZMACDobof9NiboXRH3fiuzOMCQHJO6JWUIvH4OPHcRHh16O29mnETvo3KSpjRd33TGEEeWxKCJIG9FZuHuyNl546sO8iWa8f1gVY0CAEHB_bw0kiD4ejhmQPz_RhONNhUVcgps/s320/Carlos_de_Bragan%C3%A7a_01.jpg" width="186" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Carlos_de_Bragan%C3%A7a_01.jpg">O Sobreiro</a> </i>(1905, Fundação da Casa de Bragança)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KurtXWKvtyRGf6Q7NnfJVaYJDgfgrhvW3ZZkjk9MVjAtVbC6o0xAenwC3--rgJbjFOoeQ-HP3S0D3VVxh2r0v7eIwDO3GcUYim33xFrQIlUPEoS1v-M8silwG4nuOO_jySL4id26c1cZqzkFm-ZgMytL3PfR95cZkVSbo2lL7NV4JUg_pKTBZxPcd60/s640/Carlos_I_de_Portugal_-_Arribas_da_Guia_%C3%A0_Tarde,_Cascais,_1906.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="376" data-original-width="640" height="188" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2KurtXWKvtyRGf6Q7NnfJVaYJDgfgrhvW3ZZkjk9MVjAtVbC6o0xAenwC3--rgJbjFOoeQ-HP3S0D3VVxh2r0v7eIwDO3GcUYim33xFrQIlUPEoS1v-M8silwG4nuOO_jySL4id26c1cZqzkFm-ZgMytL3PfR95cZkVSbo2lL7NV4JUg_pKTBZxPcd60/s320/Carlos_I_de_Portugal_-_Arribas_da_Guia_%C3%A0_Tarde,_Cascais,_1906.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Carlos_I_de_Portugal_-_Arribas_da_Guia_%C3%A0_Tarde,_Cascais,_1906.jpg">Arribas da Guia à Tarde</a> </i>(1906, Museu Histório e Diplomático - Palácio do Itamaraty, Rio de Janeiro)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP0DdrHefMLhhJZOjjHt96ETEQLGfywJAAeNbt32_IePq9NlG9NP_9cM0d4e9hmkB7SkJYri9W858UdlesH2snjMYzLagYLZ6Ulhcp6qpQjb_SmlKM2cxPx2aOBWky4ZDWX177dU_nQZ58l6WobWMd5ZdmGRAr4ckD1D0LIpaNjyCzL0PTjtVY1N-BLeA/s750/Carlos_de_Bragan%C3%A7a_02.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="485" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP0DdrHefMLhhJZOjjHt96ETEQLGfywJAAeNbt32_IePq9NlG9NP_9cM0d4e9hmkB7SkJYri9W858UdlesH2snjMYzLagYLZ6Ulhcp6qpQjb_SmlKM2cxPx2aOBWky4ZDWX177dU_nQZ58l6WobWMd5ZdmGRAr4ckD1D0LIpaNjyCzL0PTjtVY1N-BLeA/s320/Carlos_de_Bragan%C3%A7a_02.jpg" width="207" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Carlos_de_Bragan%C3%A7a_02.jpg">Praia de Cascais</a> </i>(1906, Casa-Museu Dr. Anastácio Gonçalves, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div>Nascido em 28 de Setembro de 1863, era filho do rei D. Luís I e da rainha D. Maria Pia de Saboia. Foi rei de Portugal desde 1889, até ao seu assassinato em 1 de Fevereiro de 1908. Foi um notável pintor, que se distinguiu sobretudo no pastel e na aguarela, tendo sido discípulo de António Manuel da Fonseca, Miguel Ângelo Lupi e Enrique Casanova. Ficaram célebres as suas marinhas, tendo sido «um dos mais fortes intérpretes do mar português» (Pamplona, 1987). São também de grande qualidade as suas representações das paisagens alentejanas e cenas da vida ribatejana. Próximo dos artistas do seu tempo, amigo de Carlos Reis (que auxiliou durante os estudos), participou em exposições colectivas, desde 1888, na Exposição Industrial de Lisboa. Também figurou nas exposições do Grémio Artístico, da Sociedade Nacional de Belas-Artes e na Exposição Universal de Paris de 1900. Foi também fotógrafo, pintor ceramista e escultor-barrista.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl.: Fernando de Pamplona, <i>Dicionário de Pintores e Escultores Portugueses</i>, Vol. II, Barcelos, Livraria Civilização Editora, 1987, pp. 43-46. Cf. também «Carlos I de Portugal», in <a href="https://pt.wikipedia.org/wiki/Carlos_I_de_Portugal">Wikipédia</a>.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Born on September 28, 1863, he was the king of Portugal from 1889, until his assassination on February 1, 1908. He was a notable painter, who distinguished himself especially in pastel and watercolor, having been a disciple of António Manuel da Fonseca, Miguel Ângelo Lupi and Enrique Casanova. His marine paintings became famous, having been «one of the strongest interpreters of the Portuguese sea» (Pamplona, 1987). His representations of Alentejo landscapes and scenes of Ribatejo life are also of high quality. Close to the artists of his time, a friend of Carlos Reis (who helped him during his studies), he participated in group exhibitions, since 1888, at the Lisbon Industrial Exhibition. He also appeared in the exhibitions of the Grémio Artístico, the National Society of Fine Arts and the Paris Universal Exhibition of 1900. He was also a photographer, ceramic painter and sculptor.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-12902538146270944682023-08-20T17:49:00.005+01:002023-08-20T17:53:38.166+01:00Laranjeira Santos (n. 1930)<p></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgggRw-jn5uPHUL_KtpXva-JStslM091Snbk8Ep9hBRZdVn1-sNr-TLgZEBTTV6OsLUgcfT4nyVDm8nvyAAJRe5rjTf3I-bY7toqc6KthzyrmCOTRIhwnjZLdanSJ9f0jz6G4K1q2X39Ne7yBI1X8MVZuu8CEWjlED68TCbli4ahY4Gu3zpOqbZMmBzSsY/s612/lazer%20i%201967.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgggRw-jn5uPHUL_KtpXva-JStslM091Snbk8Ep9hBRZdVn1-sNr-TLgZEBTTV6OsLUgcfT4nyVDm8nvyAAJRe5rjTf3I-bY7toqc6KthzyrmCOTRIhwnjZLdanSJ9f0jz6G4K1q2X39Ne7yBI1X8MVZuu8CEWjlED68TCbli4ahY4Gu3zpOqbZMmBzSsY/s320/lazer%20i%201967.png" /></a></div><div style="text-align: center;"><i><a href="https://repositorio.ul.pt/bitstream/10451/11496/2/ULFBA_PER_ARTE%20TEORIA_N6_2005_LUISA%20ALEXANDRA.pdf">Lazer I</a> </i>(1967)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsAnzBfuyglCjhb8-Br7ebsWpWAu4HOjDj83DdYgMM-4vFSTlEntFvIff9PgixZYccgp9I3atLDu8ykFyrvHxOoxtMLzc2RlFysCPCJkRL1Wg63xUuwU4Egg2oTof80f4iNhxWpLtwxw/s2048/IMG_20210821_152635.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsAnzBfuyglCjhb8-Br7ebsWpWAu4HOjDj83DdYgMM-4vFSTlEntFvIff9PgixZYccgp9I3atLDu8ykFyrvHxOoxtMLzc2RlFysCPCJkRL1Wg63xUuwU4Egg2oTof80f4iNhxWpLtwxw/s320/IMG_20210821_152635.jpg" /></a></div><div style="text-align: center;">Sem Título (1960-1970, Núcleo de Arte Contemporânea Laranjeira Santos, Figueira da Foz)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3Je40YE-Dj8Svag1hrloIasyubZpRP4m-dmjaeiGmW47S257GdRypioqy9GDoxnGiVO6RLfUM_-f8t66bPhVFhthP6vby_tsUQU9DSMi2u-cIx1rzs22gyF3kqzRXRqX96ThHkIo6e_u6ebBYbjBt8Qw4DUk8ZcUofPlt6OdOj-RZHpZw3vgLTJitVc/s581/fernando%20pessoa%2090.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI3Je40YE-Dj8Svag1hrloIasyubZpRP4m-dmjaeiGmW47S257GdRypioqy9GDoxnGiVO6RLfUM_-f8t66bPhVFhthP6vby_tsUQU9DSMi2u-cIx1rzs22gyF3kqzRXRqX96ThHkIo6e_u6ebBYbjBt8Qw4DUk8ZcUofPlt6OdOj-RZHpZw3vgLTJitVc/s320/fernando%20pessoa%2090.png" /></a></div><div style="text-align: center;"><a href="https://repositorio.ul.pt/bitstream/10451/11496/2/ULFBA_PER_ARTE%20TEORIA_N6_2005_LUISA%20ALEXANDRA.pdf"><i>Fernando Pessoa</i> </a>(1990)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mNeVphmNfgK-G40NJQ_dKPwmavGIkZz8D0ds_xFuePTw4-4svwoJ2l6JmYcXEzTh3HIgjTtqqo0MONUfVNcCYGerpVZsZKLM2rGSfdiH4IDso92uFLFjpy1GkXvnEXBYOxd1FhmpHbm44R17n51ntRLHhfRT4EYcu7eoCYbCwJ73jWRNMtEFvV70os4/s762/mae%2060.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mNeVphmNfgK-G40NJQ_dKPwmavGIkZz8D0ds_xFuePTw4-4svwoJ2l6JmYcXEzTh3HIgjTtqqo0MONUfVNcCYGerpVZsZKLM2rGSfdiH4IDso92uFLFjpy1GkXvnEXBYOxd1FhmpHbm44R17n51ntRLHhfRT4EYcu7eoCYbCwJ73jWRNMtEFvV70os4/s320/mae%2060.png" /></a></div><div style="text-align: center;"><a href="https://repositorio.ul.pt/bitstream/10451/11496/2/ULFBA_PER_ARTE%20TEORIA_N6_2005_LUISA%20ALEXANDRA.pdf"><i>Rita</i> </a>(1995)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdVjunLvR1pteEBvlqLgpLfSC_xfkyts_t0q8CyRohH3gmdsju5bNMgk7x9hHROw2eJlkQAGA29UocDT7m_1t9k2nsOsdWwJlTwMqfAWej4XVj0MbHqA_7IOgRXySKq_49E5oSttVuWA/s2048/IMG_20210821_153235.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdVjunLvR1pteEBvlqLgpLfSC_xfkyts_t0q8CyRohH3gmdsju5bNMgk7x9hHROw2eJlkQAGA29UocDT7m_1t9k2nsOsdWwJlTwMqfAWej4XVj0MbHqA_7IOgRXySKq_49E5oSttVuWA/s320/IMG_20210821_153235.jpg" /></a></div><div style="text-align: center;"><i>Turra-turra-turra</i> (2001, Núcleo de Arte Contemporânea Laranjeira Santos, Figueira da Foz)</div><div style="text-align: center;">-</div><div style="text-align: justify;">Laranjeira Santos nasceu em Lisboa, em 24 de Setembro de 1930. Depois de ter estudado na Escola António Arroio, ingressou, em 1951, na Escola Superior de Belas Artes de Lisboa, concluindo a licenciatura em Escultura em 1955, tendo sido discípulo de Leopoldo de Almeida. Entre 1952 e 1953, passou pelo atelier de António Duarte, acompanhado por João Cutileiro, de quem era amigo. Em 1955, recebeu uma bolsa para uma missão estética na Figueira da Foz, onde teve como guia o Professor António Victor Guerra (director do Museu e da Biblioteca), com cuja filha, Maria José Guerra, viria a casar em 1959. Em 1956, viajou por Inglaterra e França, onde contactou com a obra de Henry Moore, Butler, Picasso e Brancusi. Em 1961, com uma bolsa de estudo da Fundação Calouste Gulbenkian, foi para Itália onde permaneceu até 1963, concluindo outra licenciatura em Escultura na Accademia di Belle Arti di Roma, tendo sido aluno de Marino Marini e Manzu. De regresso a Portugal, retomou a atividade de Professor (iniciada em 1956). Em 1971 integrou a Escola Luís de Camões, onde permaneceu cerca de 20 anos. Paralelamente, deu seguimento à sua produção artística, trabalhando entre o seu atelier dos Coruchéus e o atelier de Sintra. No ano de 1986 foi seleccionado, com mais dois escultores, num concurso público da Câmara Municipal de Lisboa para a realização do Monumento a Fernando Pessoa, posteriormente interrompido. Participou em várias exposições em Portugal e no estrangeiro. Ao longo da sua carreira artística foi galardoado com diversas destinções das quais se destaca, em 2002, o Prémio de Aquisição – Academia Nacional de Belas Artes. A sua obra escultórica iniciou por uma linha figurativa com elevada simplificação das formas, adoptando volumes mais arredondados na década de 60. Nos anos 70 deu-se uma maior estilização e, no final da década de 80, passou a utilizar o poliuretano, entre outros materiais. As suas esculturas tenderam a apresentar cores saturadas, em formas imaginárias, por vezes lúdicas.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Laranjeira Santos was born in Lisbon, on September 24, 1930. After studying at the António Arroio School, he entered the Lisbon Superior School of Fine Arts in 1951, completing a degree in Sculpture in 1955, having been a disciple of Leopoldo de Almeida. Between 1952 and 1953, he visited António Duarte's atelier, accompanied by João Cutileiro, with whom he was a friend. In 1955, he received a scholarship for an aesthetic mission in Figueira da Foz, where he was guided by Professor António Victor Guerra (director of the Museum and Library), whose daughter, Maria José Guerra, he would marry in 1959. In 1956, traveled through England and France, where he came into contact with the work of Henry Moore, Butler, Picasso and Brancusi. In 1961, with a scholarship from the Calouste Gulbenkian Foundation, he went to Italy where he stayed until 1963, completing another degree in Sculpture at the Accademia di Belle Arti di Roma, having been a student of Marino Marini and Manzu. Back in Portugal, he resumed his activity as Professor (begun in 1956). In 1971 he joined the Luís de Camões School, where he remained for about 20 years. At the same time, he continued his artistic production, working between his atelier in Coruchéus and the atelier in Sintra. In 1986, he was selected, along with two other sculptors, in a public competition held by the Lisbon City Council to create the Monument to Fernando Pessoa, which was subsequently discontinued. He participated in several exhibitions in Portugal and abroad. Throughout his artistic career he was awarded with several distinctions, of which, in 2002, the Acquisition Prize – Academia Nacional de Belas Artes stands out. His sculptural work began with a more figurative with a high simplification of shapes, adopting more rounded volumes in the 60s. In the 1970s, greater styling took place and, at the end of the 1980s, polyurethane began to be used, among other materials.</span><span style="color: #666666;"> His sculptures tended to feature saturated colors in imaginary, sometimes playful, forms.</span></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Bibliografia:</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Luísa Alexandra, «Espaços de intimidade, espaços de construção de identidade : o escultor Laranjeira Santos : uma história de vida», in <i>Arte teoria</i>, Nº6 (2005), p. 198-215 [https://repositorio.ul.pt/bitstream/10451/11496/2/ULFBA_PER_ARTE%20TEORIA_N6_2005_LUISA%20ALEXANDRA.pdf]</div><div style="text-align: justify;">«Laranjeira Santos», in <i>Município da Figueira da Foz</i> [https://www.cm-figfoz.pt/pages/1297]</div><div style="text-align: justify;">«Laranjeira Santos», in <i>Centro Português de Serigrafia</i> [https://www.cps.pt/pt/artistas/laranjeira-santos]</div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-72198970138454122342023-07-02T19:06:00.001+01:002023-07-02T19:06:19.748+01:00Querubim Lapa (1925-2016)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1cU_rDVVa8A1MsfLATGo6Ja1YGQomasodb25dc9RvZtxLrSCzTfF4X-_wvTxLVRObN-3vpkaJIctxsKwYuVAT7uQUk9N9eTZQwJ6GwvNmgHkqIP-nsdbSwgoyhZOn_Lm1nPiV-YNO8bACbbqvv3FlAbwqpm-wtN7Cjsnnt3RFmKawKawASM-VMrG8U4/s565/Imagem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="440" data-original-width="565" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1cU_rDVVa8A1MsfLATGo6Ja1YGQomasodb25dc9RvZtxLrSCzTfF4X-_wvTxLVRObN-3vpkaJIctxsKwYuVAT7uQUk9N9eTZQwJ6GwvNmgHkqIP-nsdbSwgoyhZOn_Lm1nPiV-YNO8bACbbqvv3FlAbwqpm-wtN7Cjsnnt3RFmKawKawASM-VMrG8U4/s320/Imagem.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=2&REGPAG=50&CRITERIO=querubim&IDFOTO=88158">Feirantes </a></i>(1948, MNAC, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQd33Gm2pabBEX0GbWiZNZZU9Xy2iOrfd1pJakNyKFwB1M90RuZ7q_7my4Q3PQ3dXm3wvTAmcBjaOPOfskkuQ_Lsi14iJ2wAHWhr5AgLMmgMqqqvGT2wMHqR3U8W4hZi6jbBDqJvCeIjZf7iaGl4ZFSAnrHh5U8YUus46usH8Nh5RTGQLddfti1f3GvMU/s702/Screenshot%202023-07-02%20185201.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="477" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQd33Gm2pabBEX0GbWiZNZZU9Xy2iOrfd1pJakNyKFwB1M90RuZ7q_7my4Q3PQ3dXm3wvTAmcBjaOPOfskkuQ_Lsi14iJ2wAHWhr5AgLMmgMqqqvGT2wMHqR3U8W4hZi6jbBDqJvCeIjZf7iaGl4ZFSAnrHh5U8YUus46usH8Nh5RTGQLddfti1f3GvMU/s320/Screenshot%202023-07-02%20185201.png" width="217" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://gulbenkian.pt/cam/works_cam/stitulo-152480/">Sem Título</a> (1956, Centro de Arte Moderna - Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoY8uBw3JweNgEgI04nkxUvh8Uim0oYIdaHaa1gBk0ArIEt5dsImnNO6V2zji8qu9WMCeZJi2_cRytFjaNwad76QAmENnAct_qM84NYONw5f2CH4KWeZJOMAaOF-Moyw_Nmdah8LJKkTbumMlw87FjSk2fCcVls8sApLKQQLDabBY6HZqBDqGENx1bKgo/s565/Imagem%20(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="565" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoY8uBw3JweNgEgI04nkxUvh8Uim0oYIdaHaa1gBk0ArIEt5dsImnNO6V2zji8qu9WMCeZJi2_cRytFjaNwad76QAmENnAct_qM84NYONw5f2CH4KWeZJOMAaOF-Moyw_Nmdah8LJKkTbumMlw87FjSk2fCcVls8sApLKQQLDabBY6HZqBDqGENx1bKgo/s320/Imagem%20(2).jpg" width="320" /></a></div><div style="text-align: center;"><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=3&REGPAG=50&CRITERIO=querubim&IDFOTO=15323">Placa (<i>Cabeça de mulher-caracol</i>)</a> (1970, Museu Nacional do Azulejo, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGFWqUyuY6knYP8ai1LKTwJW_VjmdbuwuUX78F-ZnNSIa26A00b0FLrIFLRjwxDwa9JLv0fKpydtRSoTXCo2bJWUc-5fW49aNtC1btRkyn6FWaKOQcfQDQ8QkkNskFNGEdTPwaBgqyQ8oyx7_pBi7iDzGK97Q7b-axn5PyoinQIiQQHrwUYvSFF9V5kRs/s565/Imagem%20(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="556" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGFWqUyuY6knYP8ai1LKTwJW_VjmdbuwuUX78F-ZnNSIa26A00b0FLrIFLRjwxDwa9JLv0fKpydtRSoTXCo2bJWUc-5fW49aNtC1btRkyn6FWaKOQcfQDQ8QkkNskFNGEdTPwaBgqyQ8oyx7_pBi7iDzGK97Q7b-axn5PyoinQIiQQHrwUYvSFF9V5kRs/s320/Imagem%20(3).jpg" width="315" /></a></div><div class="separator" style="clear: both;"><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=3&REGPAG=50&CRITERIO=querubim&IDFOTO=15342">Placa / Baixo Relevo</a> (1994, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both;">-</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVqM7usIZwAMUq-gGF4gsuXeQETz4BWm-q9H_1Y4gDqOTi6kPPThDWXkJRkSoraqQ_2_hq3f8LzzlcY42SYwLFu_9HlMQH4zG6E8kD0m7EF_XmYE-4yJGbo7JYWFb0IWYGf89FMZy4gteHjhjQxeTZ9vxDW8WgTDo8f6B31RLDavPnYemOmGCvhFtO6P4/s1198/Querubim_Lapa_Painel_azulejos_Avenida_24_de_Julho_Lisboa_img_8232.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="1198" height="89" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVqM7usIZwAMUq-gGF4gsuXeQETz4BWm-q9H_1Y4gDqOTi6kPPThDWXkJRkSoraqQ_2_hq3f8LzzlcY42SYwLFu_9HlMQH4zG6E8kD0m7EF_XmYE-4yJGbo7JYWFb0IWYGf89FMZy4gteHjhjQxeTZ9vxDW8WgTDo8f6B31RLDavPnYemOmGCvhFtO6P4/s320/Querubim_Lapa_Painel_azulejos_Avenida_24_de_Julho_Lisboa_img_8232.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://pt.wikipedia.org/wiki/Ficheiro:Querubim_Lapa_Painel_azulejos_Avenida_24_de_Julho_Lisboa_img_8232.jpg">Terraço </a></i>(1994, Avenida 24 de Julho, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Querubim Lapa nasceu em Portimão, em 1925, tendo falecido em Lisboa em 2 de Maio de 2016. Artista plástico multifacetado, foi pintor, desenhador, gravador, fez trabalhos de tapeçaria, ficando sobretudo conhecido como ceramista. Começou por ser aluno do pintor Trindade Chagas, e, entre 1942 e 1946, fez o curso da Escola de Artes Decorativas António Arroio, onde foi aluno de Lino António. Entre 1947 e 1950, frequentou o curso de escultura da Escola Superior de Belas-Artes de Lisboa (ESBAL), onde foi aluno de Leopoldo de Almeida. Passou depois pela Escola do Porto (ESBAP) (onde foi aluno de Barata Feio), terminando o curso em Lisboa, em 1953. Em 1978 concluiu, na ESBAL, o curso de pintura. Iniciou a actividade de ceramista na Fábrica da Viúva Lamego, em 1953, onde desenvolveu painéis que foram integrados em obras de arquitetura de Raúl Chorão Ramalho (Centro Comercial do Restelo) e Francisco da Conceição Silva (Armazéns do Minho, Moçamedes, Angola). Em 1955 iniciou a docência na Escola António Arroio. Esteve envolvido no projeto da Gravura – Sociedade Cooperativa de Gravadores Portugueses, onde realizou, em 1960, a sua primeira exposição individual. Em 1978 e 1991, paricipou em exposições coletivas promovidas pelo Museu Nacional do Azulejo; em 1981 e 1982, em exposições coletivas promovidas pela Fundação Calouste Gulbenkian. No Museu Nacional do Azulejo fez um a exposição retrospectiva, em 1994. Esteticamente, a sua obra começou por se ligar ao Neorrealismo, passando depois para a Abstracção e Surrealismo. Entre os seas muitos trabalhos, destacamos, por exemplo: a decoração da Loja das Meias (Lisboa); a intervenção no Hotel Ritz; os painéis de cerâmica para a Pastelaria Mexicana (1961); o painel de azulejos <i>A Cultura</i>, para a Reitoria da Universidade de Lisboa (1961); o revestimento exterior e interior da Casa da Sorte, em Lisboa (1963); o relevo cerâmico do Casino do Estoril (1967); o painel <i>Terraço</i>, na Avenida 24 de Julho, Lisboa (1994); e o revestimento da Estação Bela Vista, no Metropolitano de Lisboa (1998).</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibliografia: Wikipédia: https://pt.wikipedia.org/wiki/Querubim_Lapa</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><div>Querubim Lapa was born in Portimão, in 1925, and died in Lisbon on May 2, 2016. A multifaceted plastic artist, he was a painter, draftsman, engraver, made tapestry work, becoming known above all as a ceramist. He began by being a student of the painter Trindade Chagas, and, between 1942 and 1946, he took a course at the António Arroio School of Decorative Arts, where he was a student of Lino António. Between 1947 and 1950, he attended the sculpture course at the Lisbon Superior School of Fine Arts (ESBAL), where he was a student of Leopoldo de Almeida. He later went to the Porto School (ESBAP) (where he was a student of Barata Feio), finishing the course in Lisbon, in 1953. In 1978, he completed a painting course at ESBAL. He began his activity as a ceramist at the Viúva Lamego Factory, in 1953, where he developed panels that were integrated into architectural works by Raúl Chorão Ramalho (Centro Comercial do Restelo) and Francisco da Conceição Silva (Armazéns do Minho, Moçamedes, Angola). In 1955 he started teaching at the António Arroio School. He was involved in the <i>Gravura </i>(Engraving) project – <i>Sociedade Cooperativa de Gravadores Portugueses</i>, where, in 1960, he held his first individual exhibition. In 1978 and 1991, he participated in group exhibitions promoted by the Museu Nacional do Azulejo; in 1981 and 1982, in group exhibitions promoted by the Calouste Gulbenkian Foundation. At the Museu Nacional do Azulejo, he held a retrospective exhibition in 1994. Aesthetically, his work was initially linked to Neorealism, later moving on to Abstraction and Surrealism. Among his many works, we highlight, for example: the decoration of Loja das Meias (Lisbon); the intervention at the Hotel Ritz; the ceramic panels for Pastelaria Mexicana (1961); the tile panel <i>A Cultura</i>, for the Rectory of the University of Lisbon (1961); the exterior and interior cladding of <i>Casa da Sorte</i>, in Lisbon (1963); the ceramic relief of the Estoril Casino (1967); the <i>Terraço </i>panel, on Avenida 24 de Julho, Lisbon (1994); and the cladding of Bela Vista Station, in the Metropolitano de Lisboa (Lisbon subway) (1998).</div></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-24977536946437767632023-06-04T18:47:00.000+01:002023-06-04T18:47:13.301+01:00André Gonçalves (1685-1762)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBoevwO-CzqaOWuFXK39V7zOTXYBpDQYKD6aE2KvlB7RhqCffKPjAOGa-nXnO_obcIt4_UUxQjqBAILdw-3AyfDWYbKhWXy3SOt69fWScq9k448WQuX9oRBpFZjAknLG-gQnbrjlBQrnqAp0y2-GzmysVnNbhzxT-s4FBnUb5ZSx0ZMN3Fj1ZTGzy4/s900/Andr%C3%A9_gon%C3%A7alves,_annunciazione,_1750_ca.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="516" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBoevwO-CzqaOWuFXK39V7zOTXYBpDQYKD6aE2KvlB7RhqCffKPjAOGa-nXnO_obcIt4_UUxQjqBAILdw-3AyfDWYbKhWXy3SOt69fWScq9k448WQuX9oRBpFZjAknLG-gQnbrjlBQrnqAp0y2-GzmysVnNbhzxT-s4FBnUb5ZSx0ZMN3Fj1ZTGzy4/s320/Andr%C3%A9_gon%C3%A7alves,_annunciazione,_1750_ca.jpg" width="183" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Andr%C3%A9_gon%C3%A7alves,_annunciazione,_1750_ca.jpg">Anunciação</a> </i>(c. 1750, Museu Nacional de Arte Antiga, Lisboa)</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8acq6qOnWMwB0zcLUd2L_MfbyZQuAkHH2AAoAxWT7KUBZ9y8S8YoNeQV9n8XoJfpfcqic96otWHtQ_O_1IeIo8jWZ9U0pJXOttp8-e5Dz6xRnzegcNOSzFblePFTR__stPatzHey1z2PkPSP4mb7nmU-pnbvck0K0nHvw6hSyzVpRvvHfeDszBreK/s899/Nossa_Senhora_da_Consola%C3%A7%C3%A3o_com_Santa_Catarina_de_Alexandria,_S%C3%A3o_Tom%C3%A1s_de_Aquino,_S%C3%A3o_Goldrofe_e_S%C3%A3o_Carlos_Borromeu_(1757)_-_Andr%C3%A9_Gon%C3%A7alves_(Miseric%C3%B3rdia_de_Coimbra).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="498" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8acq6qOnWMwB0zcLUd2L_MfbyZQuAkHH2AAoAxWT7KUBZ9y8S8YoNeQV9n8XoJfpfcqic96otWHtQ_O_1IeIo8jWZ9U0pJXOttp8-e5Dz6xRnzegcNOSzFblePFTR__stPatzHey1z2PkPSP4mb7nmU-pnbvck0K0nHvw6hSyzVpRvvHfeDszBreK/s320/Nossa_Senhora_da_Consola%C3%A7%C3%A3o_com_Santa_Catarina_de_Alexandria,_S%C3%A3o_Tom%C3%A1s_de_Aquino,_S%C3%A3o_Goldrofe_e_S%C3%A3o_Carlos_Borromeu_(1757)_-_Andr%C3%A9_Gon%C3%A7alves_(Miseric%C3%B3rdia_de_Coimbra).png" width="177" /></a></div><div><i><a href="https://commons.wikimedia.org/wiki/File:Nossa_Senhora_da_Consola%C3%A7%C3%A3o_com_Santa_Catarina_de_Alexandria,_S%C3%A3o_Tom%C3%A1s_de_Aquino,_S%C3%A3o_Goldrofe_e_S%C3%A3o_Carlos_Borromeu_(1757)_-_Andr%C3%A9_Gon%C3%A7alves_(Miseric%C3%B3rdia_de_Coimbra).png">Nossa Senhora da Consolação com Santa Catarina de Alexandria, São Tomás de Aquino, São Goldrofe e São Carlos Borromeu</a> </i>(1757, Santa Casa da Misericórdia de Coimbra)</div></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3IZv53_1t0UDDQqub0BgCeBapIopRsx7YEnAeXN_d-JNx3JwYRHOELx2Bzru_oIY74Xg93zmtMQPo8jhPXdyxUWemzSCoA4YHTDbZ0qCoCcQJ9u3rXQ_ANeJCeF88_Wu_Ru2DC97V-kAYvwrMvW1PaImawqxGk6rJVpTNU5yCRPklBJpghd1P5Fy/s664/Andr%C3%A9_Gon%C3%A7alves_-_goncalves_adoracao-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="664" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3IZv53_1t0UDDQqub0BgCeBapIopRsx7YEnAeXN_d-JNx3JwYRHOELx2Bzru_oIY74Xg93zmtMQPo8jhPXdyxUWemzSCoA4YHTDbZ0qCoCcQJ9u3rXQ_ANeJCeF88_Wu_Ru2DC97V-kAYvwrMvW1PaImawqxGk6rJVpTNU5yCRPklBJpghd1P5Fy/s320/Andr%C3%A9_Gon%C3%A7alves_-_goncalves_adoracao-1.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://pt.wikipedia.org/wiki/Ficheiro:Andr%C3%A9_Gon%C3%A7alves_-_goncalves_adoracao-1.jpg">Adoração dos Reis Magos</a> </i>(Museu Nacional Machado de Castro, Coimbra)</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6tWr-H5L7yDn_kXhBKxaNEKKly-X-HkW60MO1qRMI7cL5-AO9CZcGyrsEXzilDpZVFwyNslHIrobNXYCdakT6jzyAsiT9ExJ_y5ZP83kMX8rinmNvIu3IqKS7NpOJKl_s5tGGOGM3vAGV2vIHitEsFxjqvmqrbW6z0E5aMA-cNJ4OLSsBpr4AYn9/s898/S%C3%A3o_Jo%C3%A3o_Baptista_(c._1750-60)_-_Andr%C3%A9_Gon%C3%A7alves_(Museu_de_S%C3%A3o_Roque).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="435" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6tWr-H5L7yDn_kXhBKxaNEKKly-X-HkW60MO1qRMI7cL5-AO9CZcGyrsEXzilDpZVFwyNslHIrobNXYCdakT6jzyAsiT9ExJ_y5ZP83kMX8rinmNvIu3IqKS7NpOJKl_s5tGGOGM3vAGV2vIHitEsFxjqvmqrbW6z0E5aMA-cNJ4OLSsBpr4AYn9/s320/S%C3%A3o_Jo%C3%A3o_Baptista_(c._1750-60)_-_Andr%C3%A9_Gon%C3%A7alves_(Museu_de_S%C3%A3o_Roque).png" width="155" /></a></div><div><i><a href="https://commons.wikimedia.org/wiki/File:S%C3%A3o_Jo%C3%A3o_Baptista_(c._1750-60)_-_Andr%C3%A9_Gon%C3%A7alves_(Museu_de_S%C3%A3o_Roque).png">São João Baptista</a> </i>(Museu de São Roque, Lisboa)</div></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv-VRBl9Wm94sgqJu8rmBPVFX5t80Sy8LGI-CmbS3Kk6E2bUrmWvCoOJJSQS3jeNXQ9jrt2eGVdxVJcIMf8QgORvs1BE3ggTS9bMD-pSS8m-QhUgtgsjLd4Gi4OS7oJmOu9xYez_VvhL459K8n3K7M1wtVDwnxnixob1PjGzWoKkg9rOA319laV9e5/s450/D._Jos%C3%A9_I.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="227" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv-VRBl9Wm94sgqJu8rmBPVFX5t80Sy8LGI-CmbS3Kk6E2bUrmWvCoOJJSQS3jeNXQ9jrt2eGVdxVJcIMf8QgORvs1BE3ggTS9bMD-pSS8m-QhUgtgsjLd4Gi4OS7oJmOu9xYez_VvhL459K8n3K7M1wtVDwnxnixob1PjGzWoKkg9rOA319laV9e5/s320/D._Jos%C3%A9_I.jpg" width="161" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/Category:Portrait_of_Joseph_I_of_Portugal_by_Andr%C3%A9_Gon%C3%A7alves">Retrato de D. José I</a> </i>(Museu Nacional dos Coches, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">André Gonçalves foi discípulo na oficina do pintor António de Oliveira Bernardes, entre os anos de 1701 e 1704, integrando depois a oficina do pintor genovês D. Julio Cesare Temine, onde aprofundou a formação inicial. Entrou para a Irmandade de São Lucas em 1711 e trabalhou muitas vezes em parceria com outros pintores, nomeadamente Francisco Vieira Lusitano e Inácio de Oliveira Bernardes, filho do seu primeiro mestre. Executou trabalhos para Camarate (1714), Mafra (c. 1730) e Brasil (1730); para os Paulistas (1731), Menino Deus (1730‑1740), Madre de Deus (1746‑1750 e 1759), Hospital de Todos‑os‑Santos (c. 1750), Misericórdia (1761), tudo em Lisboa; Palácio de Queluz (1752); Convento de Castelo Viegas, Colégio de Santo Agostinho e Misericórdia em Coimbra (c. 1750- ‑60); e capela do Palácio dos Condes de Oeiras (c. 1760‑61).</div><div style="text-align: justify;">-</div><div style="text-align: justify;">José Alberto Machado, <i><a href="http://www.rdpc.uevora.pt/handle/10174/11014">André Gonçalves: Um pintor do barroco português</a></i>, Universidade de Évora, 1992 (Tese de Doutoramento); Susana Flor e Pedro Flor, <i><a href="https://run.unl.pt/handle/10362/21308">Pintores de Lisboa, Séculos XVII-XVIII</a>, A Irmandade de S. Lucas</i>, Lisboa, Scribe 2016, pp. 128-129.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">André Gonçalves was a disciple in the workshop of the painter António de Oliveira Bernardes, between 1701 and 1704, later joining the workshop of the Genoese painter D. Julio Cesare Temine, where he deepened his initial training. He joined the Brotherhood of São Lucas in 1711 and often worked in partnership with other painters, namely Francisco Vieira Lusitano and Inácio de Oliveira Bernardes, son of his first master. He executed works for Camarate (1714), Mafra (c. 1730) and Brasil (1730); for the Paulistas (1731), Menino Deus (1730‑1740), Madre de Deus (1746‑1750 and 1759), Hospital de Todos‑os‑Santos (c. 1750), Misericórdia (1761), all in Lisbon; Palace of Queluz (1752); Convent of Castelo Viegas, Colégio de Santo Agostinho e Misericórdia in Coimbra (c. 1750-‑60); and chapel of the Palace of the Counts of Oeiras (c. 1760-61).</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-71677629339435302352023-05-07T19:23:00.002+01:002023-05-07T19:24:08.358+01:00António Manuel da Fonseca (1796-1890)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigVf3L-uTnGZ_43sjsiANyixGrcNo3F1sMEH1m_mjhtCJT5891mhYDehgO3dueyA0uR2AieNkuUs2mfCnOfvTvOYzWSLAXBK_4MRgVdJ5l_9xamHoi55-qsbH5sxJ_tSNUoOfepTjwRf6MUE5QelmseMFIXaVapsPHmrZYA0PPN3oxXGqgzpFndeh5/s450/ThumbnailDownloader.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="351" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigVf3L-uTnGZ_43sjsiANyixGrcNo3F1sMEH1m_mjhtCJT5891mhYDehgO3dueyA0uR2AieNkuUs2mfCnOfvTvOYzWSLAXBK_4MRgVdJ5l_9xamHoi55-qsbH5sxJ_tSNUoOfepTjwRf6MUE5QelmseMFIXaVapsPHmrZYA0PPN3oxXGqgzpFndeh5/s320/ThumbnailDownloader.jpg" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=208622">O Génio das Artes - Erato</a> </i>(Séc. XIX, Museu Grão Vasco, Viseu)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfHX7UQmlb4_dL0lUmOb7FQp6HmfOhLZVF_E9SIVur0SMDtx8yXWFp1LDJ_PrAfpUnKK_LF_hYjGxX_aaWOUe-gJPnoPw9DsP1OEmDpn44Tlq_YdQ47THliQaMeM862hrxwadWmwSx-evtNMWlLOCPLzotRVoRTsDyxwW_Ox4NvhkcQyV96ixi7pQa/s450/ThumbnailDownloader%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="376" data-original-width="450" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfHX7UQmlb4_dL0lUmOb7FQp6HmfOhLZVF_E9SIVur0SMDtx8yXWFp1LDJ_PrAfpUnKK_LF_hYjGxX_aaWOUe-gJPnoPw9DsP1OEmDpn44Tlq_YdQ47THliQaMeM862hrxwadWmwSx-evtNMWlLOCPLzotRVoRTsDyxwW_Ox4NvhkcQyV96ixi7pQa/s320/ThumbnailDownloader%20(2).jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=209457">Cristo entre os Doutores</a> </i>(Séc. XIX, Museu Grão Vasco, Viseu)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGJRp-pS8s2_2gBOAiZMnZY-GJ7Uj1SFDyY1eBl5i2Re4EmBdayVZqEbYiF1-PcTeV09SfCwaTs_N74Y1G9Y5DOzPP97rnIj7EcLimLBfLhGh-ZPPapE9unafri7EBsBcVKES82hL86IKzg4i1abTqhjJrvhzQ10Yji7zQPALehRrdZXf9Q7mlv82L/s899/Eneias_salva_Anquises_de_Manuel_Antonio_Fonseca.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGJRp-pS8s2_2gBOAiZMnZY-GJ7Uj1SFDyY1eBl5i2Re4EmBdayVZqEbYiF1-PcTeV09SfCwaTs_N74Y1G9Y5DOzPP97rnIj7EcLimLBfLhGh-ZPPapE9unafri7EBsBcVKES82hL86IKzg4i1abTqhjJrvhzQ10Yji7zQPALehRrdZXf9Q7mlv82L/s320/Eneias_salva_Anquises_de_Manuel_Antonio_Fonseca.JPG" width="244" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: justify;"><i><a href="https://commons.wikimedia.org/wiki/File:Eneias_salva_Anquises_de_Manuel_Antonio_Fonseca.JPG">Eneias salvando o seu pai Anquises do incêndio de Tróia</a> </i>(1855, Palácio Nacional de Mafra)</span></div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4RXJfESwxUKxhtAl_DuXNt2YFBX8RBIQFiqDJPElE4V39YXlxK5rhmQ9rAj2saKf2eOHkJHp4D5CPhmo8J_z5wttGYE_7QPI4ZnpkJJGPAM4uF55ECWZ2Hxhi-kjhJtyd2J1gdn688z9WRuCYvprAPXZ4gFoD38cNsPgIlPIdwUDPrwrhT1wKfPKZ/s600/antonio-manuel-da-fonseca---adonis-fit-466x600-6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="465" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4RXJfESwxUKxhtAl_DuXNt2YFBX8RBIQFiqDJPElE4V39YXlxK5rhmQ9rAj2saKf2eOHkJHp4D5CPhmo8J_z5wttGYE_7QPI4ZnpkJJGPAM4uF55ECWZ2Hxhi-kjhJtyd2J1gdn688z9WRuCYvprAPXZ4gFoD38cNsPgIlPIdwUDPrwrhT1wKfPKZ/s320/antonio-manuel-da-fonseca---adonis-fit-466x600-6.jpg" width="248" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.museuartecontemporanea.gov.pt/pt/pecas/ver/413/artist">Adónis lutando com o Javali</a> </i>(1862, Museu Nacional de Arte Contemporânea do Chiado, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8NQfirIeAqRu62ny7Zll9eUL6bKSHSZigQtGb_inNjQgameSXTTC7M7sa3hYLz5g5KGi9kXLAez84zjBoNbINmDR-jj07Coh7Ove7sk0qw5NVKiYcpi-ENrAYSD1wjCfIPttL2HHe7mL907G-6lPzOXVhEtg0hH70qd10I_w8QmbdoJD7KH8RVtBv/s450/ThumbnailDownloader%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="367" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8NQfirIeAqRu62ny7Zll9eUL6bKSHSZigQtGb_inNjQgameSXTTC7M7sa3hYLz5g5KGi9kXLAez84zjBoNbINmDR-jj07Coh7Ove7sk0qw5NVKiYcpi-ENrAYSD1wjCfIPttL2HHe7mL907G-6lPzOXVhEtg0hH70qd10I_w8QmbdoJD7KH8RVtBv/s320/ThumbnailDownloader%20(1).jpg" width="261" /></a></div><div style="text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=985988">Ratificação do Casamento do Rei D. Luis e D. Maria Pia</a> </i>(1864, Palácio Nacional da Ajuda, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Nascido em 1796, foi discípulo de seu pai João Tomás da Fonseca, mas também de Joaquim Manuel da Rocha, na Aula de Desenho de Figura de História. A sua primeira obra conhecida foi um painel com o retrato de D. João VI e de D. Carlota Joaquina, executado em 1820, para uma festa no Palácio das Laranjeiras, organizada por Joaquim Pedro Quintela, futuro Conde do Farrobo. Para este mecenas pintou, em 1822, os frescos do Palácio Quintela, na Rua do Alecrim, entre os quais se conta <i>O Rapto das Sabinas. </i>Entre 1826 e 1834, subsidiado pelo Estado e por Quintela, partiu para Roma, onde foi discípulo de Camuccini e de Andrea Pozzi. Em 1836, foi nomeado professor de Pintura de História da Academia de Belas-Artes, criada nesse mesmo ano. Trabalhou em escultura e pintura, incluindo pintura decorativa, inserindo a sua obra no neoclassicismo, expondo regularmente na Academia. De acordo com Maria de Aires Silveira: «Da sua produção, destacam-se equilibradas obras de cenas religiosas e uma conhecida pintura histórica <i>Eneias salvando o seu pai Anquises do incêndio de Tróia</i>, muito elogiada no seu dramatismo de um neoclassicismo erudito, exposta em 1843, e alterada durante décadas».</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Fernando de Pamplona, <i>Dicionário de Pintores e Escultores Portugueses</i>, Vol. II, Bsarcelos, Livraria Civilização Editora, 1987, pp. 317-323; Maria Aires Silveira, «<a href="http://www.museuartecontemporanea.gov.pt/pt/artistas/ver/154/artists">António Manuel da Fonseca</a>», <span style="text-align: center;">Museu Nacional de Arte Contemporânea do Chiado.</span></div><div style="text-align: justify;"><span style="text-align: center;">-</span></div><div style="text-align: justify;"><span style="text-align: center;"><span style="color: #666666;">Born in 1796, he was a disciple of his father João Tomás da Fonseca, but also of Joaquim Manuel da Rocha, in the History Figure Drawing Class. His first known work was a panel with the portrait of D. João VI and D. Carlota Joaquina, executed in 1820, for a party at the Laranjeiras Palace, organized by Joaquim Pedro Quintela, future Count of Farrobo. For this patron he painted, in 1822, the frescoes of the Quintela Palace, on Rua do Alecrim, among which is <i>The Abduction of the Sabines</i>. Between 1826 and 1834, subsidized by the State and Quintela, he left for Rome, where he was a disciple of Camuccini and Andrea Pozzi. In 1836, he was appointed Professor of History Painting at the Academy of Fine Arts, created that same year. He worked in sculpture and painting, including decorative painting, inserting his work in neoclassicism, exhibiting regularly at the Academy. According to Maria de Aires Silveira: «His output includes balanced works of religious scenes and a well-known historical painting A<i>eneas saving his father Anchises from the fire of Troy</i>, highly praised for its dramatism of erudite neoclassicism, exhibited in 1843 , and perfected for decades».</span></span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-20625637146011535792023-02-12T19:41:00.003+00:002023-02-12T19:45:43.721+00:00António Augusto da Costa Mota Tio (1862-1930)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrbNjGm6ySXu4aHIBRM209I5XZT2zmtfwSvYXYqfOhv_hz1GJvEWIEr2s2JAyEV-DsCrJXiXMjeuW_yt_mJT2nZbqD2cz3slkM5EXx_XJZauhYoM4gL2gOTcJ8gsIjJvfgq1XLFwbhoz9iI7eCKhtsFO_szPLZLuzeMySWXSz2e2NRzK-i4RDHkn0b/s899/Bust_in_Miradouro_S%C3%A3o_Pedro_de_Alc%C3%A2ntara,_Lisbon.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="597" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrbNjGm6ySXu4aHIBRM209I5XZT2zmtfwSvYXYqfOhv_hz1GJvEWIEr2s2JAyEV-DsCrJXiXMjeuW_yt_mJT2nZbqD2cz3slkM5EXx_XJZauhYoM4gL2gOTcJ8gsIjJvfgq1XLFwbhoz9iI7eCKhtsFO_szPLZLuzeMySWXSz2e2NRzK-i4RDHkn0b/s320/Bust_in_Miradouro_S%C3%A3o_Pedro_de_Alc%C3%A2ntara,_Lisbon.JPG" width="213" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/Category:Monumento_a_Eduardo_Coelho">Monumento a Eduardo Coelho</a> </i>(1904, Jardim de São Pedro de Alcântara, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSfR1a4fFOukqaSf4ZEj_AXdUzpZBuo6CfJSnXkiDJDcidMUlfQYwFrHI9UYiK1OfWwiy4OUsn3zgxfwBOY3P6wcssd22B-Vt7Xw4B4pyfqMoS-ksftLwE7xBKTUSTNV62yooyb6YNmnQOCn4ureN1gp5inA5BvpzkR0Xn4NDYTWMJkVEG0MYqi156/s565/Imagem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="320" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSfR1a4fFOukqaSf4ZEj_AXdUzpZBuo6CfJSnXkiDJDcidMUlfQYwFrHI9UYiK1OfWwiy4OUsn3zgxfwBOY3P6wcssd22B-Vt7Xw4B4pyfqMoS-ksftLwE7xBKTUSTNV62yooyb6YNmnQOCn4ureN1gp5inA5BvpzkR0Xn4NDYTWMJkVEG0MYqi156/s320/Imagem.jpg" width="181" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=5&REGPAG=50&CRITERIO=ribeiro&IDFOTO=16670">Bernardim Ribeiro</a> </i>(1907, Museu Nacional de Arte Contemporânea - Museu do Chiado, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSePvCYwHtE7dSw4WmFZsguMj4oDlBnGlOtjWvY1vagnDid7N0PwVtWPtcm214x5rc4pAnW5wori5-tSV8W-r2FJqYW602P4oieq2Yjz0R8Trq4LZGSwjpaP256l7JczdruMMfg4JmGaCPD6Wc451pu2NFDwzDxf5HVn9DbLtFPR2Xt3Xku5ywzBj/s1200/Cavador.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSePvCYwHtE7dSw4WmFZsguMj4oDlBnGlOtjWvY1vagnDid7N0PwVtWPtcm214x5rc4pAnW5wori5-tSV8W-r2FJqYW602P4oieq2Yjz0R8Trq4LZGSwjpaP256l7JczdruMMfg4JmGaCPD6Wc451pu2NFDwzDxf5HVn9DbLtFPR2Xt3Xku5ywzBj/s320/Cavador.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://pt.wikipedia.org/wiki/Ficheiro:Cavador.jpg">O Cavador</a> </i>(1911, Jardim da Estrela, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-y6iewaW1dk-EDnG_1ehVlIq0Xrk7zCEK2tHpyVYKzv8qzogtrf__jSBrk3HFw7jfWHQ-P2jr8QGxy14WyXhvvoziWAjj3_j3gWHSyFxXbM57C9fL2eZNOGxvrVwbTlIoXcCe62sI1OblboChanKNKQ-H-lvYVOVG36-EdhEgkZV6c6df0o9nSPnu/s565/Imagem%20(1).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="377" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-y6iewaW1dk-EDnG_1ehVlIq0Xrk7zCEK2tHpyVYKzv8qzogtrf__jSBrk3HFw7jfWHQ-P2jr8QGxy14WyXhvvoziWAjj3_j3gWHSyFxXbM57C9fL2eZNOGxvrVwbTlIoXcCe62sI1OblboChanKNKQ-H-lvYVOVG36-EdhEgkZV6c6df0o9nSPnu/s320/Imagem%20(1).jpg" width="214" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=1&REGPAG=50&CRITERIO=motta&IDFOTO=18915">Busto de Rapariga</a> </i>(1918, Museu Nacional de Arte Contemporânea - Museu do Chiado, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1NSeojZO8ix9RlB-MV3UpF8kjiTecZSDjHip2aN0gpJIDCOkWkrKgtKcFVYT0pGVZqQzn_mz57dO6Y-uwDrb2jxYvM8IjIPbjZlYWMvy0P8dvTiEXP6uFK5HnDJpYKRSejRqrla9smgRL1mGjNvoVdhDHGvhvHj903J4ZQmd5AE4o2OhnldVuKZfs/s899/Ant%C3%B3nio_Ribeiro_Chiado_(1521_-1591)_(1925)_-_Ant%C3%B3nio_Augusto_da_Costa_Motta_(Tio)_(1862-1930)_(33429644114).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="734" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1NSeojZO8ix9RlB-MV3UpF8kjiTecZSDjHip2aN0gpJIDCOkWkrKgtKcFVYT0pGVZqQzn_mz57dO6Y-uwDrb2jxYvM8IjIPbjZlYWMvy0P8dvTiEXP6uFK5HnDJpYKRSejRqrla9smgRL1mGjNvoVdhDHGvhvHj903J4ZQmd5AE4o2OhnldVuKZfs/s320/Ant%C3%B3nio_Ribeiro_Chiado_(1521_-1591)_(1925)_-_Ant%C3%B3nio_Augusto_da_Costa_Motta_(Tio)_(1862-1930)_(33429644114).jpg" width="261" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://commons.wikimedia.org/wiki/File:Ant%C3%B3nio_Ribeiro_Chiado_%281521%3F-1591%29_%281925%29_-_Ant%C3%B3nio_Augusto_da_Costa_Motta_%28Tio%29_%281862-1930%29_%2833429644114%29.jpg">O Poeta Chiado</a> </i>(1925, Largo do Chiado, Lisboa)</div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: justify;">-</span></div><div style="text-align: justify;">António Augusto da Costa Mota nasceu em 12 de Fevereiro de 1862, em Coimbra, cidade onde iniciou os seus estudos artísticos, na Associação de Artistas e na Escola Livre de Artes do Desenho, conhecendo António Augusto Gonçalves. Com o apoio do Conde do Ameal, João Maria Aires de Campos, foi viver para Lisboa para ingressar na Academia de Belas-Artes, em 1883. Nessa escola foi aluno de Silva Porto, Víctor Bastos e Simões de Almeida Júnior. Terminou o curso em 1891, expondo nesse ano no Grémio Artístico. Expôs também, posteriormente, na Sociedade Nacional de Belas-Artes, onde leccionou Desenho em 1908, tendo presidido à associação em 1912, 1915 e 1917. Expôs também no Rio de Janeiro, em 1908 e 1922. Entre 1922 e 1923 viveu no Brasil, onde presidiu a secção artística do Comissariado da Exposição Internacional do Rio de Janeiro. Em 1929, expôs em Sevilha, recebendo uma medalha de ouro. Faleceu em 20 de Março de 1930, tendo vivido «essencialmente da sua arte». Foi autor de numerosas obras escultóricas, que se caracterizam pelo forte pendor naturalista. Entre os seus trabalhos, pode-se nomear <i>Uma Velha</i> (1891), <i>O Remorso</i>, <i>Bernardim Ribeiro</i>, monumento a Afonso de Albuquerque (1902), <i>O Cavador</i> (1911) e o <i>Poeta Chiado</i> (1925).</div>-<br />Cf. Elsa Belo, «António Augusto da Costa Mota Tio», in <i>Arte teoria</i>, Nº4, 2003, pp. 151-164 [https://repositorio.ul.pt/handle/10451/11421].<p></p><div>-</div><span style="color: #666666;"><div style="text-align: justify;">António Augusto da Costa Mota was born on February 12, 1862, in Coimbra, the city where he began his artistic studies, at the Association of Artists and at the Free School of Drawing Arts, meeting António Augusto Gonçalves. With the support of the Count of Ameal, João Maria Aires de Campos, he went to live in Lisbon to join the Academy of Fine Arts in 1883. There he studied with Silva Porto, Víctor Bastos and Simões de Almeida Júnior. He finished the course in 1891, exhibiting that year at the Grémio Artístico. He also exhibited later at the Sociedade Nacional de Belas-Artes, where he taught Drawing in 1908, having chaired the association in 1912, 1915 and 1917. He also exhibited in Rio de Janeiro, in 1908 and 1922. Between 1922 and 1923 he lived in Brazil, where he chaired the artistic section of the Commissariat of the International Exhibition of Rio de Janeiro. In 1929 he exhibited in Seville, receiving a gold medal. He died on March 20, 1930, having lived «essentially from his art». He was the author of numerous sculptural works, which are characterized by a strong naturalistic bent. Among his works, one can name <i>Uma Velha</i> (1891), <i>O Remorso</i>, <i>Bernardim Ribeiro </i>(1907), monument to Afonso de Albuquerque (1902), <i>O Cavador</i> (1911) and <i>Poeta Chiado</i> (1925).</div></span>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-2884975717554372532023-01-22T16:58:00.001+00:002023-01-22T16:59:14.169+00:00João Antunes (1643-1712)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXr5-zEeTd2sEGL3zhG1jERSMtvz4koPTKenPnwOBLNN52vX5EsLCgrffDAh6KD1sXfmbvkfSECtzEl5pi0dsJB87s2EspipeYobW7dTIoLnCqtPfEx7zIifLb0CH_2U3oq9WE1HSivaCYjG5GN4-UATSIXkwIwA6lSYnvvbAYsG0PD9mm-6VuHIVa/s600/450px-Igr_s_engracia_2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXr5-zEeTd2sEGL3zhG1jERSMtvz4koPTKenPnwOBLNN52vX5EsLCgrffDAh6KD1sXfmbvkfSECtzEl5pi0dsJB87s2EspipeYobW7dTIoLnCqtPfEx7zIifLb0CH_2U3oq9WE1HSivaCYjG5GN4-UATSIXkwIwA6lSYnvvbAYsG0PD9mm-6VuHIVa/s320/450px-Igr_s_engracia_2.jpg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://pt.wikipedia.org/wiki/Ficheiro:Igr_s_engracia_2.jpg">Igreja de Santa Engrácia, Lisboa</a> (1682-1966)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWzN_vZs-DM-FFGF1whWX5Aj5cJqHUrjMThY2HYIIJF1vNG6Ct1tl_4FUOHamZeqoYYUIqPF8piJps6VXjlB-yvwY7mzMbY-jK4UYrm82e4M1tpK0r7CqsvQ7z3kY8TS41Y_hfn6aG1b-aJ1wkcaRPeOJRdulLu9o1OF9c0b6mJCexfJmPjAXyIZK/s720/93425f4cf33c6ca2659f65ea71e26cd6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWzN_vZs-DM-FFGF1whWX5Aj5cJqHUrjMThY2HYIIJF1vNG6Ct1tl_4FUOHamZeqoYYUIqPF8piJps6VXjlB-yvwY7mzMbY-jK4UYrm82e4M1tpK0r7CqsvQ7z3kY8TS41Y_hfn6aG1b-aJ1wkcaRPeOJRdulLu9o1OF9c0b6mJCexfJmPjAXyIZK/s320/93425f4cf33c6ca2659f65ea71e26cd6.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://i.pinimg.com/originals/93/42/5f/93425f4cf33c6ca2659f65ea71e26cd6.jpg">Coro do Mosteiro de Jesus, Aveiro</a> (1699)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh487rPm6s5dVaxKv29FC1H8rcLO2ftqeDfAC7xIR_7cjGV7t_R3bBJk8AEkDZddIUgIRIHuG6pS7kIgyQmg8oD4ySBsD1z7mZ84Ox0VkVciqFmaXqpkOu0tZdy0xjKOZNhrwBXgMoWk6H_ItxCfzgkHueg9Qo2IZRU25CRpDGGs3QCeCC1QLwJ6G7/s800/Igreja_do_Senhor_da_Cruz_Barcelos_(9590196288).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh487rPm6s5dVaxKv29FC1H8rcLO2ftqeDfAC7xIR_7cjGV7t_R3bBJk8AEkDZddIUgIRIHuG6pS7kIgyQmg8oD4ySBsD1z7mZ84Ox0VkVciqFmaXqpkOu0tZdy0xjKOZNhrwBXgMoWk6H_ItxCfzgkHueg9Qo2IZRU25CRpDGGs3QCeCC1QLwJ6G7/s320/Igreja_do_Senhor_da_Cruz_Barcelos_(9590196288).jpg" /></a></div><div style="text-align: center;"><a href="https://pt.wikipedia.org/wiki/Ficheiro:Igreja_do_Senhor_da_Cruz_Barcelos_(9590196288).jpg">Igreja do Senhor da Cruz, Barcelos</a> (1701-1705)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizZH0R0xaO1qe70naph9-irAAvOtITemnDvfPhFabar5TqcyKYnz7N_pmWMAOz2BeazPiCRcLwvS_yHTTQ5eOs64AhmwYPBdH4hdv2-uOFsfmhMONTFdUKMObJD48cIefjkx7R6eqn0coMHaa55XzxyfhwXmAFjieRMMu7My2L7FrED25sP6MsfT4J/s800/800px-Church_Menino_Deus_-_Lisbon_Portugal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizZH0R0xaO1qe70naph9-irAAvOtITemnDvfPhFabar5TqcyKYnz7N_pmWMAOz2BeazPiCRcLwvS_yHTTQ5eOs64AhmwYPBdH4hdv2-uOFsfmhMONTFdUKMObJD48cIefjkx7R6eqn0coMHaa55XzxyfhwXmAFjieRMMu7My2L7FrED25sP6MsfT4J/s320/800px-Church_Menino_Deus_-_Lisbon_Portugal.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://commons.wikimedia.org/wiki/File:Church_Menino_Deus_-_Lisbon_Portugal.jpg">Igreja do Menino Deus (interior), Lisboa </a>(1711-1736)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1aXqZEuUelxIoJ4DZkVvDPpauqBirOGUzJ5AQEfsjmXGtXJX8Ow5KsEJN9OIMMmfv4ezRwvb7_d-iw4U7tS6jRRuxn84-uNt0VgtUzxqZTOlCMXi63gU9g02WPRJ065sajwyqbDcwpZfeehT3UURHi_92dFn_JZsIQ4PQSEkaJHimpcoBXSzVl2FI/s750/SIPAImage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="525" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1aXqZEuUelxIoJ4DZkVvDPpauqBirOGUzJ5AQEfsjmXGtXJX8Ow5KsEJN9OIMMmfv4ezRwvb7_d-iw4U7tS6jRRuxn84-uNt0VgtUzxqZTOlCMXi63gU9g02WPRJ065sajwyqbDcwpZfeehT3UURHi_92dFn_JZsIQ4PQSEkaJHimpcoBXSzVl2FI/s320/SIPAImage.jpg" width="224" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.monumentos.gov.pt/site/app_pagesuser/sipa.aspx?id=2443">Palácio da Bemposta, Lisboa</a> (1701, in SIPA)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">João Antunes nasceu em Lisboa, a 30 de Setembro de 1643, tendo falecido na mesma cidade a 25 de Novembro de 1712. Trabalhou no Convento do Grilo em 1667 e desenhou o retábulo da Ermida de S. Francisco da Quinta do Calhariz de Sesimbra (1681). Foi discípulo do padre Francisco Tinoco da Silva e frequentou, em 1683, a escola dos Paços da Ribeira de Filipe Terzi. Foi arquitecto das Ordens Militares (1697) e arquitecto régio (1699). Ligado ao estilo Barroco, trabalhou como autor em algumas das principais obras do seu tempo, entre elas: Sacristia da Sé de Braga (1698), coro do Mosteiro de Jesus em Aveiro (1699), Igreja do Convento do Louriçal (1690) e Ermida de Nossa Senhora da Saúde em Lisboa (1705). Das obras em que esteve envolvido, destacam-se ainda a Igreja de Santa Engrácia, de que foi autor do projecto (1682); a Igreja de Bom Jesus da Cruz em Barcelos e a do Menino Deus em Lisboa (1.º pedra lançada em 1711). Além destes trabalhos, teve a seu cargo o projecto do Palácio da Bemposta (1701), a mando de D. Catarina de Bragança.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl.:</div>Maria João Fontes Pereira Coutinho, <i>A produção portuguesa de obras de embutidos de pedraria policroma (1670-1720),</i> Faculdade de Letras de Lisboa, Dissertação de Doutoramento, 2010.<div style="text-align: justify;">Sílvia Ferreira, «A Talha de Estilo Nacional e a Escola de Lisboa no Tempo e nas Obras de João Antunes», comunicação ao colóquio <i><a href="https://www.academia.edu/23974261/A_Talha_de_Estilo_Nacional_e_a_Escola_de_Lisboa_no_Tempo_e_nas_Obras_de_Jo%C3%A3o_Antunes_Comunica%C3%A7%C3%A3o_ao_col%C3%B3quio_Jo%C3%A3o_Antunes_e_a_Arte_do_seu_Tempo_2012">João Antunes e a Arte do seu Tempo</a></i>, 2012.</div><div style="text-align: justify;">José Fernandes Pereira, «O barroco do século XVII: transição e mudança» e «O barroco do século XVIII», in Paulo Pereira (dir.), <i>História da Arte Portuguesa</i>, <i>Do Barroco à Contemporaneidade</i>, Vol. III, Temas & Debates, 1995, pp. 41 e 53.</div>s.a., «João Antunes», in <a href="https://www.infopedia.pt/apoio/artigos/$joao-antunes"><i>Infopédia</i></a>, Porto, Porto Editora.<div>s.a., «João Antunes (1643-1712), in <i><a href="http://www.acasasenhorial.org/acs/index.php/pt/artistas/261-joao-antunes-1643-1712">A Casa Senhoria</a>l</i>.</div><div>-</div><div style="text-align: justify;"><span style="color: #999999;">João Antunes was born in Lisbon, on September 30, 1643, and died in the same city on November 25, 1712. He worked at the Convent of Grilo in 1667 and designed the altarpiece for the Hermitage of S. Francisco of the "Quinta do Calhariz" in Sesimbra (1681) ). He was a disciple of Father Francisco Tinoco da Silva and, in 1683, attended the school of the "Paços da Ribeira" of Filipe Terzi. He was architect of the Military Orders (1697) and regal architect (1699). Linked to the Baroque style, worked as an author on some of the main works of his time, including: Sacristy of the Cathedral of Braga (1698), choir of the Monastery of Jesus in Aveiro (1699), Church of the Convent of Louriçal (1690) and Hermitage of Nossa Senhora da Saúde in Lisbon (1705). Of the works in which he was involved, should be mentioned the Church of Santa Engrácia, in which he was the author of the project (1682); the Church of Bom Jesus da Cruz in Barcelos and the Church of Menino Deus in Lisbon (1st stone laid in 1711). In addition to these works, in 1701, he was in charge of the Bemposta Palace, at the behest of the Queen Catarina de Bragança.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-67966135074967696442022-12-11T17:20:00.007+00:002022-12-11T17:21:10.364+00:00D. Maria Pia (1847-1911)<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv0VcwThp9w_96D1n4ckFeh0uzD-Xmy3dgOisgqh0MO9Omjbx2KqYORSPHTIh3RJXYamBJ-D6OM8qLhZOlBo6TPAvXAa1rJ8ycvOpE3CjVDoOGQnOfxGrZ2mCdd0uBfBdApdjwJ96qWur0l10u0fkuPI7pZCLVimki4BYwIK2FqADx4Qzvhi67gPg0/s450/ThumbnailDownloader%20(4).jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="365" data-original-width="450" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv0VcwThp9w_96D1n4ckFeh0uzD-Xmy3dgOisgqh0MO9Omjbx2KqYORSPHTIh3RJXYamBJ-D6OM8qLhZOlBo6TPAvXAa1rJ8ycvOpE3CjVDoOGQnOfxGrZ2mCdd0uBfBdApdjwJ96qWur0l10u0fkuPI7pZCLVimki4BYwIK2FqADx4Qzvhi67gPg0/s320/ThumbnailDownloader%20(4).jpg" width="320" /></a></p><div class="separator" style="clear: both; text-align: center;">Fábrica de Louça de Sacavém, <a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1023288">Prato</a><i> </i>(1874, Palácio Nacional da Pena, Sintra)</div><div class="separator" style="clear: both; text-align: center;">-</div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB0wlMvvmemtUe4YzfqnEPil3WsddBWEG-d_KOrTLxqTnIx-Z0knIaNuODn9Xbcjwe0e6Uu_HRsdWnMnE0Z59HeWaIACx51JYDn8lkzDT4mrU4n4cgqkbvCMskmFFa4Sc4dIqbJritzHkJ_qfKmohIE-VFzUwIwTDSRT1LdsfnMY67ESZflXQhiR_a/s394/ThumbnailDownloader.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="394" data-original-width="280" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB0wlMvvmemtUe4YzfqnEPil3WsddBWEG-d_KOrTLxqTnIx-Z0knIaNuODn9Xbcjwe0e6Uu_HRsdWnMnE0Z59HeWaIACx51JYDn8lkzDT4mrU4n4cgqkbvCMskmFFa4Sc4dIqbJritzHkJ_qfKmohIE-VFzUwIwTDSRT1LdsfnMY67ESZflXQhiR_a/s320/ThumbnailDownloader.jpg" width="227" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=989942">Paisagem à Beira-Rio</a> </i>(1885, Palácio Nacional da Ajuda, Lisboa)</div><div class="separator" style="clear: both;">-</div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKc5urmLgl-b9cV21GXjfrAtt3R2YjyzpCPqysqmKIE08DAyn5cwYqPaZGVSvH9jEwnfFztDJlW0a0WzxxQb_wJmwhtLJZCqZkkKgBK15ALh7sR-mHwPmUGQ691-RrAXaegj9sNjMnTfCcmJA7RDLYFEUdo71hXreZlsz4X0TqibttDHnkInlY36iR/s371/ThumbnailDownloader%20(3).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="371" data-original-width="206" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKc5urmLgl-b9cV21GXjfrAtt3R2YjyzpCPqysqmKIE08DAyn5cwYqPaZGVSvH9jEwnfFztDJlW0a0WzxxQb_wJmwhtLJZCqZkkKgBK15ALh7sR-mHwPmUGQ691-RrAXaegj9sNjMnTfCcmJA7RDLYFEUdo71hXreZlsz4X0TqibttDHnkInlY36iR/s320/ThumbnailDownloader%20(3).jpg" width="178" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1107977">Cigana </a></i>(Palácio Nacional da Ajuda, Lisboa)</div><div class="separator" style="clear: both;">-</div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDlurtAJ4Pl-bXqL2pXpYZHhITzQMm9oppMdWGfM3sF_bce-boWdXFXCFyd_wjA41r71uS5giyhKDHoG9VoMr6WJ5aZ3xrVTChzBQv3QJLrDniovwIM7uJ3PZWb2h4HuRvPfF36YUD2DRlD0j_3gK09hLV9k56P4ZAeQ3aFSvABjfK8ZSYoanCVXhz/s349/ThumbnailDownloader%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="243" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDlurtAJ4Pl-bXqL2pXpYZHhITzQMm9oppMdWGfM3sF_bce-boWdXFXCFyd_wjA41r71uS5giyhKDHoG9VoMr6WJ5aZ3xrVTChzBQv3QJLrDniovwIM7uJ3PZWb2h4HuRvPfF36YUD2DRlD0j_3gK09hLV9k56P4ZAeQ3aFSvABjfK8ZSYoanCVXhz/s320/ThumbnailDownloader%20(1).jpg" width="223" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1107857">Gôndola em Veneza</a> </i>(1894, Palácio Nacional da Ajuda, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYcRZ-_SGVpPWM2OxkvTW_45ERyZK2E6w6Al-pp0310NmBPbExdqoveO11H37pMzUnVkBzJPxo5M9bOFoq8UPT0HgdmeGNOZwoctvjgvPw5Ek84KEu_rrQV9TXPoShX5FNDUzX6E8whOAZtv03if-PLeJr_vHVxf33xU5-3D0CIqHelAJKBwi-L5T/s398/Imagem%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="292" data-original-width="398" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgYcRZ-_SGVpPWM2OxkvTW_45ERyZK2E6w6Al-pp0310NmBPbExdqoveO11H37pMzUnVkBzJPxo5M9bOFoq8UPT0HgdmeGNOZwoctvjgvPw5Ek84KEu_rrQV9TXPoShX5FNDUzX6E8whOAZtv03if-PLeJr_vHVxf33xU5-3D0CIqHelAJKBwi-L5T/s320/Imagem%20(1).jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=9&REGPAG=50&CRITERIO=pia&IDFOTO=111924">Sintra, Castelo dos Mouros</a> </i>(1893, Palácio Nacional da Ajuda, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">D. Maria Pia de Sabóia nasceu em Turim, em 1847, filha do rei Vítor Emanuel II da Sardenha e da arquiduquesa austríaca Adelaide da Áustria. Foi rainha de Portugal, tendo casado com o rei D. Luís I em 1862. Ficou sobretudo conhecida como benemérita, tendo fundado estabelecimentos de solidariedade social, de que é exemplo a Creche Victor Manuel, na Tapada da Ajuda. Após a implantação da República, em 1910, partiu para o Palazzina di caccia di Stupinigi, no Piemonte , onde viria a falecer em 1911. </div><div style="text-align: justify;">Segundo o site do Palácio Nacional da Ajuda: «Tendo apreendido, enquanto jovem princesa, os rudimentos do desenho e da aguarela, foi em Portugal, já rainha, que aprimorou a técnica e desenvolveu o sentido estético e artístico, que estendeu mais tarde à fotografia. A feminilidade transmitida em algumas temáticas caminhou, no tempo, a par de uma sensibilidade para a vida que a rodeava e que ela passou à arte, sem perder os ecos das evoluções, dos movimentos inovadores que se sucediam no país e no estrangeiro. Rendida a um naturalismo muito português, não deixou de incorrer por vezes num bucolismo romantizado que a sua vontade determinou. Foi uma rainha artista, amadora e intimista, que desenhou, pintou e fotografou para si e para os que de mais perto com ela conviveram».</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Wikipédia: https://pt.wikipedia.org/wiki/Maria_Pia_de_Saboia; DGPC: https://www.patrimoniocultural.gov.pt/pt/agenda/exhibitions/um-olhar-real-obra-artistica-da-rainha-d-maria-pia-desenho-aguarela-e-fotografia/</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><div>D. Maria Pia de Savoy was born in Turin in 1847, the daughter of King Victor Emmanuel II of Sardinia and the Austrian Archduchess Adelaide of Austria. She was queen of Portugal, having married King D. Luís I in 1862. She was mainly known as a benefactor, having founded social solidarity establishments, such as the Creche Victor Manuel, in Tapada da Ajuda. After the establishment of the Republic, in 1910, she left for the Palazzina di caccia di Stupinigi, in Piedmont, where she would die in 1911.</div><div>According to the Palácio Nacional da Ajuda website: «Having learned, as a young princess, the rudiments of drawing and watercolor, it was in Portugal, as a queen, that she improved the technique and developed an aesthetic and artistic sense, which she later extended to photography. The femininity conveyed in some themes walked, over time, along with a sensitivity to the life that surrounded her and which she passed on to art, without losing the echoes of the evolutions, of the innovative movements that followed in the country and abroad. Surrendered to a very Portuguese naturalism, she did not fail to incur at times a romanticized bucolismo that her will determined. She was an artist queen, amateur and intimate, who drew, painted and photographed for herself and for those closest to her».</div></div><p></p>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-84997022480151381182022-10-30T18:55:00.003+00:002022-10-30T18:58:19.323+00:00Lourdes Castro (1930-2022)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NXlYBwy_M6izZ10wlf88lPw0BkYSSbb5pqK2YSvL9nmlVmgGWywzoHWQ6e6tI01YOIPKZbXMFluJ7PSKTVNueDzAyjk_BlwwaUfIEFNOS6VQNbKmGV7nCku4894trM-VBQvGs6IJeFE395_NMBz8FSEK0eFIP7ku_9B3GxJ3NSHxtodtjxZClZlH/s500/Lourdes_Castro,_Sombras_projetadas,_de_Lourdes_Castro_e_Ren%C3%A9_Bertholo,_1964.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NXlYBwy_M6izZ10wlf88lPw0BkYSSbb5pqK2YSvL9nmlVmgGWywzoHWQ6e6tI01YOIPKZbXMFluJ7PSKTVNueDzAyjk_BlwwaUfIEFNOS6VQNbKmGV7nCku4894trM-VBQvGs6IJeFE395_NMBz8FSEK0eFIP7ku_9B3GxJ3NSHxtodtjxZClZlH/s320/Lourdes_Castro,_Sombras_projetadas,_de_Lourdes_Castro_e_Ren%C3%A9_Bertholo,_1964.jpg" /></a></div><div style="text-align: center;"><span style="text-align: justify;"><i><a href="https://pt.wikipedia.org/wiki/Ficheiro:Lourdes_Castro,_Sombras_projetadas,_de_Lourdes_Castro_e_Ren%C3%A9_Bertholo,_1964.jpg">Sombras projetadas, de Lourdes Castro e René Bertholo</a> </i>(1964)</span></div><div style="text-align: center;"><span style="text-align: justify;">-</span></div><div style="text-align: center;"><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ruSI_XyToeui3DQRP8WUSn3WRT_Kd-jLfRJuSg4lS0yGbVjXMr1261TaPKgIiCSfT7uIxQBpLbMVYTyuIvymPdwE_bHfADxjTxwWTP4Gul3TWqEJi85EMkMnKJklZoK63FrkPAzcHUH_j-C2NaoJtswlwZc9o9YOKxlcsdSjZVL33Dlux08JdG7o/s346/Capturar.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ruSI_XyToeui3DQRP8WUSn3WRT_Kd-jLfRJuSg4lS0yGbVjXMr1261TaPKgIiCSfT7uIxQBpLbMVYTyuIvymPdwE_bHfADxjTxwWTP4Gul3TWqEJi85EMkMnKJklZoK63FrkPAzcHUH_j-C2NaoJtswlwZc9o9YOKxlcsdSjZVL33Dlux08JdG7o/s320/Capturar.JPG" /></a></div><div><span style="text-align: justify;"><i><a href="https://gulbenkian.pt/cam/works_cam/sombra-projectada-de-rene-bertholo-156602/">Sombra Projectada de René Bertholo</a> </i>(</span><span style="text-align: justify;">1965, Centro de Arte Moderna Gulbenkian, Lisboa)</span></div></div><div style="text-align: center;"><span style="text-align: justify;">-</span></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVPNsAacoMt_MfkgeoyCggSI50JaKOn2Zr_U2zuNG_0MCCEa2T8bIE1vTTutxbAoOEqc-l2n0zxxsapCXCLfV81ErUJ369wTWzFoO5uoZXIGGPdRLLKiFkEAL_MlOQejNJG0ongDpN7IrD_nknob1rqoSRk6XupdTfZJ66WkK4c9zp0USQ7sAmUrP0/s340/657%20(1).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVPNsAacoMt_MfkgeoyCggSI50JaKOn2Zr_U2zuNG_0MCCEa2T8bIE1vTTutxbAoOEqc-l2n0zxxsapCXCLfV81ErUJ369wTWzFoO5uoZXIGGPdRLLKiFkEAL_MlOQejNJG0ongDpN7IrD_nknob1rqoSRk6XupdTfZJ66WkK4c9zp0USQ7sAmUrP0/s320/657%20(1).jpg" /></a></div><div style="text-align: center;"><span style="text-align: justify;"><i><a href="https://pt.museuberardo.pt/colecao/obras/198">Sombra Projectada de Micheline Presle</a></i> (1965, Museu Coleção Berardo, Lisboa)</span></div><div style="text-align: center;"><span style="text-align: justify;">-</span></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM5t1B4gn9sXY165WPiZ-NkSjPZ8yfQP8Y2wBPe9ei-3QLbOqfOFf2ZWUqFn92HJaqMc1nB-rub3uZ90ym-Ou6NAusO-i3ula0Vl-DE95ZXMtKwuh_s-pFzM2b3miyRMfnK_O_IIDFG1UP7K7WhpVEzz9ItnJ6WzWPRIUvmOAg0lD8jgAhKqtn4Jke/s386/Capturar.JPG" style="text-align: justify;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM5t1B4gn9sXY165WPiZ-NkSjPZ8yfQP8Y2wBPe9ei-3QLbOqfOFf2ZWUqFn92HJaqMc1nB-rub3uZ90ym-Ou6NAusO-i3ula0Vl-DE95ZXMtKwuh_s-pFzM2b3miyRMfnK_O_IIDFG1UP7K7WhpVEzz9ItnJ6WzWPRIUvmOAg0lD8jgAhKqtn4Jke/s320/Capturar.JPG" /></a></div><div style="text-align: center;"><span style="text-align: justify;"><i><a href="https://gulbenkian.pt/cam/works_cam/sombra-de-dalia-153810/">Sombra de Dália </a></i>(1970, </span><span style="text-align: justify;">Centro de Arte Moderna Gulbenkian, Lisboa)</span></div><div style="text-align: center;"><span style="text-align: justify;">-</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUHFbDvLnEG5tJFxnnF5KzhTykBN_-36LGHQWC2B9G8EdO515Y_H1QFHulv_Xix7RViWqORzKm9M2U9H3E5g9wtIwL6Kpa5xdn-C_i9PZkgELQ4WAxelnokWOBSXSEVY8bm5woNz40sSrqEvNBK8k-zN1OzxF607UHiFXBckd_NZJbS87vmIv3DqI/s150/ThumbnailDownloader.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUHFbDvLnEG5tJFxnnF5KzhTykBN_-36LGHQWC2B9G8EdO515Y_H1QFHulv_Xix7RViWqORzKm9M2U9H3E5g9wtIwL6Kpa5xdn-C_i9PZkgELQ4WAxelnokWOBSXSEVY8bm5woNz40sSrqEvNBK8k-zN1OzxF607UHiFXBckd_NZJbS87vmIv3DqI/s1600/ThumbnailDownloader.jpg" /></a></div><div style="text-align: center;"><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=229850">Sem Título (produzido na Fábrica Sant'Anna) </a>(1989 Museu Nacional do Azulejo, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: justify;">Nascida no Funchal (Ilha da Madeira), formou-se na Escola de Belas-Artes de Lisboa (1950-1956), realizando a sua primeira exposição individual, no Funchal, em 1955. Entretanto casou-se com o artista René Bertholo (1935-2005), com quem fez uma exposição na Galeria Diário de Notícias (Lisboa, 1957). O casal foi depois viver para Munique, tornando-se amigo de Jan Voss. Com uma bolsa da Fundação Calouste Gulbenkian, Lourdes Castro estabeleceu-se em Paris, onde criou, com Bertholo, a revista <i>KWY </i>(1958-1963), que reunia também Christo, Voss, António Costa Pinheiro, José Escada, João Vieira e Gonçalo Duarte. O grupo organizou exposições em Saarbrücken, Lisboa, Paris e Bolonha. Iniciando no Fauvismo e passando pela abstração lírica, desde 1961 que Lourdes Castro se ligou ao movimento dos Nouveaux Réalistes. Em 1962, começou a trabalhar sobre sombras, realizando uma série de retratos. Em colaboração com Manuel Zimbro, apresentou, a partir de 1973, diversos espetáculos de teatro de sombras. Desde 1972, dedicou-se ao trabalho com sombras de plantas (<i>Grande Herbário de Sombras</i>) e acumulações de pétalas (<i>Montanha de Flores</i>, 1988), ou explorando os problemas da memória (<i>Álbum de Família</i>). Na década de 1980, aderiu ao Mail Art. Ao longo da carreira expôs em São Paulo e em diversas cidades europeias, incluindo: Paris, Londres, Munique, Amesterdão e Milão, entre outras.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. AC, «Lourdes Castro», in Museu Coleção Berardo [https://pt.museuberardo.pt/colecao/artistas/100].</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Born in Funchal (Madeira Island), she graduated from the Lisbon School of Fine Arts (1950-1956), having her first solo exhibition in Funchal in 1955. She married the artist René Bertholo (1935). -2005), with whom she made an exhibition at the Diário de Notícias Gallery (Lisbon, 1957). The couple later moved to Munich, becoming friends with Jan Voss. With a grant from the Calouste Gulbenkian Foundation, Lourdes Castro settled in Paris, where, with Bertholo, she created the magazine <i>KWY </i>(1958-1963), which also brought together Christo, Voss, António Costa Pinheiro, José Escada, João Vieira and Gonçalo Duarte. The group organized exhibitions in Saarbrücken, Lisbon, Paris and Bologna. Beginning with Fauvism and going through lyrical abstraction, in 1961 Lourdes Castro work was linked to the Nouveaux Réalistes movement. In 1962, she began working on shadows, creating a series of portraits. In collaboration with Manuel Zimbro, she presented, from 1973 onwards, several shadow theater shows. Since 1972, she dedicated herself to working with plant shadows (<i>Grande Herbarium of Shadows</i>) and petal accumulations (<i>Montanha de Flores</i>, 1988), or exploring the problems of memory (<i>Family Album</i>). In the 1980s, she joined Mail Art. Throughout her career, she exhibited in São Paulo and in several European cities, including, Paris, London, Munich, Amsterdam and Milan, among others.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-73288421549626309902022-09-25T14:48:00.003+01:002022-09-25T14:50:23.132+01:00João Cutileiro (1937-2021)<div style="text-align: center;"><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxXOESercwqfI_bVVDrBjMoT70zaXSJ0fj73fMm-YDtEisKUSSdI2kMKHsgtT_yrP1IHJXrxXQl_vFzIypl28ADz0gFrw0jJ4lFkuQCjuZu7SFXItFi8BOkJ02lHX-jGGZ0IgUZzWE6TUqEdte4hrKakDPyKutwdhkXX6wCzYJqLFzMf1vrfTRMJJ/s1080/J_Cutileiro_D_Sebasti%C3%A3o_Lagos_2_img_9357-720x1080.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimxXOESercwqfI_bVVDrBjMoT70zaXSJ0fj73fMm-YDtEisKUSSdI2kMKHsgtT_yrP1IHJXrxXQl_vFzIypl28ADz0gFrw0jJ4lFkuQCjuZu7SFXItFi8BOkJ02lHX-jGGZ0IgUZzWE6TUqEdte4hrKakDPyKutwdhkXX6wCzYJqLFzMf1vrfTRMJJ/s320/J_Cutileiro_D_Sebasti%C3%A3o_Lagos_2_img_9357-720x1080.jpg" /></a></div><div><i><a href="https://visao.sapo.pt/atualidade/sociedade/2021-01-05-as-obras-mais-emblematicas-de-joao-cutileiro-1937-2021/#&gid=0&pid=14">D. Sebastião</a></i> (1970, Lagos)</div><div>-</div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDRQJOrBxXAN-ZL7tks5JQ7fAZ_R3I-sIjA2GL53je-m-bsnR5w_wbsJds6Hf92M5LM6EGbbBnXFJ-RcN7ZYjSbj42vD8Amt3Kll4nDTtRXzKH0cxBqRfJ3OOiWI5kIuW9rRG49LBVg-Ty6NVFnD3lJARDCm2usFcQD_7Dw73z2IxFCgAlrm_IAMo4/s434/Sem%20t%C3%ADtulo.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDRQJOrBxXAN-ZL7tks5JQ7fAZ_R3I-sIjA2GL53je-m-bsnR5w_wbsJds6Hf92M5LM6EGbbBnXFJ-RcN7ZYjSbj42vD8Amt3Kll4nDTtRXzKH0cxBqRfJ3OOiWI5kIuW9rRG49LBVg-Ty6NVFnD3lJARDCm2usFcQD_7Dw73z2IxFCgAlrm_IAMo4/s320/Sem%20t%C3%ADtulo.png" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/maquete-de-estatua-equestre-156520/">Maquete de Estátua Equestre</a></i> (1978, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6QbKxtTawT5R9xlP2xvN9K8k0fZVrKJeVB-rgDRLXgn0Bz8I4Oy3IuKOzb5JK7jIe7rrLQ9e7uw1q8ZwxWiTk_xDwqfcwDzV2N_4-Ev8Tzna9YR7gcDbB9zdMjtxBy69Z7QYaJudzIw8TGKd2w5WKpeQ3sbE9DzMOUGGhqnR2915whSIsA0BLkUEg/s799/799px-Est%C3%A1tua_de_D._Sancho_I_frente_ao_Castelo_de_Torres_Novas.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6QbKxtTawT5R9xlP2xvN9K8k0fZVrKJeVB-rgDRLXgn0Bz8I4Oy3IuKOzb5JK7jIe7rrLQ9e7uw1q8ZwxWiTk_xDwqfcwDzV2N_4-Ev8Tzna9YR7gcDbB9zdMjtxBy69Z7QYaJudzIw8TGKd2w5WKpeQ3sbE9DzMOUGGhqnR2915whSIsA0BLkUEg/s320/799px-Est%C3%A1tua_de_D._Sancho_I_frente_ao_Castelo_de_Torres_Novas.jpg" /></a></div><div style="text-align: center;"><a href="https://pt.wikipedia.org/wiki/Ficheiro:Est%C3%A1tua_de_D._Sancho_I_frente_ao_Castelo_de_Torres_Novas.JPG"><i>Busto de D. Sancho I</i> </a>(Torres Novas)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnw91RKlMuSBm8wvjCmXQOHzHJSDa5R09yaXydJjv3alCEtOrPslnxX0DBHehGwPteSqlH9mWjUZPFv6ZGSKleWbNbQuHXQvKqICrnTEESThP98puqbsXPvfcBKSlBIFDFFAPH5vgvpe-q02FnnInPx8GxnKGE-IUCXvVJSZsBNeyu82nowHGpdnkg/s1024/_aze8624_hdr_1_1024_2500.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnw91RKlMuSBm8wvjCmXQOHzHJSDa5R09yaXydJjv3alCEtOrPslnxX0DBHehGwPteSqlH9mWjUZPFv6ZGSKleWbNbQuHXQvKqICrnTEESThP98puqbsXPvfcBKSlBIFDFFAPH5vgvpe-q02FnnInPx8GxnKGE-IUCXvVJSZsBNeyu82nowHGpdnkg/s320/_aze8624_hdr_1_1024_2500.png" /></a></div><div style="text-align: center;"><i><a href="https://www.jf-parquedasnacoes.pt/p/arte_urbana_joao_cutileiro">Lago das Tágides</a></i> (1998, Parque das Nações, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcQBm8_xVqUcGIH6fFuwFpXx6Q1CUe8satB7_bD8j-rbhDtFjFbjPzj1s1K-QKfBkmXrTHOc--JQS-I9FVDmqaYaPemlq9O_38V3r8rGw9T_ANpgqdBHPf8BEg4WCVtBlVmfZtWSdP_s0h-qtNwB7QVqrttZpVApA_-Vl7N4eTnTaflc0uYIhOh_Q/s1080/Busto_de_Nat%C3%A1lia_Correia_-_Claustro_do_Pal%C3%A1cio_de_S%C3%A3o_Bento-1-e1609847283657-608x1080.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCcQBm8_xVqUcGIH6fFuwFpXx6Q1CUe8satB7_bD8j-rbhDtFjFbjPzj1s1K-QKfBkmXrTHOc--JQS-I9FVDmqaYaPemlq9O_38V3r8rGw9T_ANpgqdBHPf8BEg4WCVtBlVmfZtWSdP_s0h-qtNwB7QVqrttZpVApA_-Vl7N4eTnTaflc0uYIhOh_Q/s320/Busto_de_Nat%C3%A1lia_Correia_-_Claustro_do_Pal%C3%A1cio_de_S%C3%A3o_Bento-1-e1609847283657-608x1080.jpg" /></a></div><div style="text-align: center;"><i><a href="https://visao.sapo.pt/atualidade/sociedade/2021-01-05-as-obras-mais-emblematicas-de-joao-cutileiro-1937-2021/#&gid=0&pid=16">Busto de Natália Correia</a></i> (Palácio de São Bento, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: justify;">João Cutileiro nasceu em Lisboa, em 26 de Junho de 1937. A família Cutileiro vivia na Av. Elias Garcia, numa casa frequentada por importantes personalidades da cultura portuguesa, entre eles o pintor e poeta surrealista António Pedro, que levou João Cutileiro a desenhar no seu atelier, em 1946. Entre 1949 e 1951, frequentou o estúdio do escultor Jorge Barradas, mudando-se depois para o atelier de António Duarte, onde foi assistente de canteiro. Em 1951, apresentou a sua primeira exposição individual em Reguengos de Monsaraz. Frequentou o curso de escultura da Escola Superior de Belas Artes de Lisboa (ESBAL), onde foi aluno de Leopoldo de Almeida, nos anos de 1953 e 1954. Contudo, decidiu abandonar a via académica, seguindo para Londres, onde, por influência de Paula Rego, conheceu a Slade School of Art, que frequentou entre 1955 e 1959, com uma bolsa da Fundação Calouste Gulbenkian, sendo aluno de Reg Butler. Nessa altura, principiou a utilizar máquinas elétricas para executar o seu trabalho, dedicando-se ao mármore. Em 1970, regressou a Portugal e instalou-se em Lagos, executando o <i>D. Sebastião</i>, erigido nessa mesma cidade. Entretanto, expôs as suas obras em Lisboa, Wuppertal e Dortmund (Alemanha), Washington (E.U.A.) e Évora. Em 1985, mudou-se para Évora, continuando a expor em diversos locais. Em 1990, elaborou uma exposição que se apresentou como a retrospetiva da sua arte, na Fundação Calouste Gulbenkian. Morreu no dia 5 de janeiro de 2021, em de Lisboa.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl.: <a href="https://pt.wikipedia.org/wiki/Jo%C3%A3o_Cutileiro">Wikipédia</a>.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">João Cutileiro was born in Lisbon in June 26, 1937. The Cutileiro family lived on Av. Elias Garcia, in a house frequented by important personalities of Portuguese culture, among them the surrealist painter and poet António Pedro, who led João Cutileiro to draw in his studio in 1946. Between 1949 and 1951, he frequented the studio of the sculptor Jorge Barradas. He then moved to António Duarte's atelier. In 1951, he presented his first solo exhibition in Reguengos de Monsaraz. He attended the sculpture course at the Escola Superior de Belas Artes de Lisboa (ESBAL), where he was a student of Leopoldo de Almeida, in the years 1953 and 1954. However, he decided to abandon the academic path, going to London, where, under the influence of Paula Rego, was introduced to the Slade School of Art, which he attended between 1955 and 1959, with a scholarship from the Calouste Gulbenkian Foundation, being a student of Reg Butler. At that time, he began to use electric machines to carry out his work, dedicating himself to marble. In 1970, he returned to Portugal and settled in Lagos, executing D. Sebastião, erected in that same city. In the meantime, he has exhibited his works in Lisbon, Wuppertal and Dortmund (Germany), Washington (USA) and Évora. In 1985, he moved to Évora, continuing to exhibit in different locations. In 1990, he made an exhibition that was presented as a retrospective of his art, at the Calouste Gulbenkian Foundation. He died on January 5, 2021, in Lisbon.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com2tag:blogger.com,1999:blog-16622035523240091.post-67036906002361622412022-07-10T15:07:00.003+01:002022-07-10T15:09:17.970+01:00Nadir Afonso (1920-2013)<p></p><div style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMFOo4Kt3iAWvRu7e2pw9uSG7b-ncs7ta1bZBk_wacXJaDmGMKJJvbiUKDFffCfyAh5glRpLuwldjJv5EkvWPw3pASr2_NgATXcw3jIKfkV-KikbkwcnGEGf_Ym4RMAsTTaZdPGgjmayvklKMzjkwVbVoqi4ViB4gJr3my13H3c_Huv1NoLfOksrul/s565/Imagem%20(1).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMFOo4Kt3iAWvRu7e2pw9uSG7b-ncs7ta1bZBk_wacXJaDmGMKJJvbiUKDFffCfyAh5glRpLuwldjJv5EkvWPw3pASr2_NgATXcw3jIKfkV-KikbkwcnGEGf_Ym4RMAsTTaZdPGgjmayvklKMzjkwVbVoqi4ViB4gJr3my13H3c_Huv1NoLfOksrul/s320/Imagem%20(1).jpg" /></a></div><div style="text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=1&REGPAG=50&CRITERIO=nadir&IDFOTO=13167">Cais do Porto</a> </i>(1942, MNAC, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilIEixGj8JQuN3eIC9qASQses4nHf2_qpodBprTpmuJ51Zn1eQdoDL22qGoSCubCMbO7XRgZTWNYT72HV7jYl_NhmvaMtXQU4AYrryeLG1LN8PBvazcIs981Jx8qCKTDw7HyMnHVr5LSFkt1IZSq0BNOnTOI15oEvh5nbmUEdGseTJbO9tAT90qO1f/s565/Imagem%20(2).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilIEixGj8JQuN3eIC9qASQses4nHf2_qpodBprTpmuJ51Zn1eQdoDL22qGoSCubCMbO7XRgZTWNYT72HV7jYl_NhmvaMtXQU4AYrryeLG1LN8PBvazcIs981Jx8qCKTDw7HyMnHVr5LSFkt1IZSq0BNOnTOI15oEvh5nbmUEdGseTJbO9tAT90qO1f/s320/Imagem%20(2).jpg" /></a></div><div style="text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=203083">Espacilimité </a></i>(1957, MNAC, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRSAKVkhEg6D0X5rXkH4uINtZv1ZqN7fNos-AgnW9vQP4e4k_MCDWF2EwNFp8IMOrolB4pWKjL-JbOQn5NFyr8WaeUh1bhsb3HTErInqDDqgiK2rjYKBfHKV0yoAC7cttSKV1hLejS_zoJvnnDQOwY7vV7IAQbkk5kVOUfZVgaarIG7H7N_DpMZhBy/s450/ThumbnailDownloader%20(2).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRSAKVkhEg6D0X5rXkH4uINtZv1ZqN7fNos-AgnW9vQP4e4k_MCDWF2EwNFp8IMOrolB4pWKjL-JbOQn5NFyr8WaeUh1bhsb3HTErInqDDqgiK2rjYKBfHKV0yoAC7cttSKV1hLejS_zoJvnnDQOwY7vV7IAQbkk5kVOUfZVgaarIG7H7N_DpMZhBy/s320/ThumbnailDownloader%20(2).jpg" /></a></div><div style="text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=202961">Babilónia </a></i>(1968, MNAC, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq0jVlIuRcOlmHVBlrU7xWle0uNWRB5Aq8PGc1iF-sfnaNcp-VWJIysGUZ86JIM5tIJos8BCYSC444I5aLgc7jhJ1A2lwDREimaai7--N5zxDNICmpr29WzJSw14lIf79V3k6arbw-GHEfIEpiXBEh_fb1IEuaWwRrFbIWS8OQHLgGCLud9jEyEqxf/s576/19318-576x407.jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq0jVlIuRcOlmHVBlrU7xWle0uNWRB5Aq8PGc1iF-sfnaNcp-VWJIysGUZ86JIM5tIJos8BCYSC444I5aLgc7jhJ1A2lwDREimaai7--N5zxDNICmpr29WzJSw14lIf79V3k6arbw-GHEfIEpiXBEh_fb1IEuaWwRrFbIWS8OQHLgGCLud9jEyEqxf/s320/19318-576x407.jpg" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/os-portugueses-139572/">Os Portugueses</a></i> (1970, Centro de Arte Moderna - FCG, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJZfv-iFf8LOCtHAAwdyDVeKgGW8ARBPTC898-W5kROFohBBuDCuDVHRX3it7YCJBBKTuxr6Aw-ZVXGgwMzPg8DrtIKn9MX_jh10O82HTGRGvJ2noFkTpXtIjXOvfNf1LNWEmVQjDP-T7ln99ryrKXG2aJvGSMizG7YblezD9ioHtHLpDolktBvEsu/s450/ThumbnailDownloader%20(1).jpg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJZfv-iFf8LOCtHAAwdyDVeKgGW8ARBPTC898-W5kROFohBBuDCuDVHRX3it7YCJBBKTuxr6Aw-ZVXGgwMzPg8DrtIKn9MX_jh10O82HTGRGvJ2noFkTpXtIjXOvfNf1LNWEmVQjDP-T7ln99ryrKXG2aJvGSMizG7YblezD9ioHtHLpDolktBvEsu/s320/ThumbnailDownloader%20(1).jpg" /></a></div><div style="text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=1027294">"Composição período barroco"</a></i> (Séc. XXI, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"><div class="separator" style="clear: both; font-family: Calibri, sans-serif; text-align: center;">-</div><div style="text-align: justify;">Nadir Afonso Rodrigues nasceu a 4 de dezembro de 1920, em Chaves, Vila Real. Em 1938 ingressou no curso de Arquitetura na Escola Superior de Belas-Artes do Porto. Partiu depois para Paris, em 1946, onde se inscreveu na École des Beaux-Arts para estudar Pintura, e obteve, por intermédio de Portinari, uma bolsa de estudo do governo francês. Colaborou, de 1946 até 1948 e novamente em 1951, com Le Corbusier. No final de 1951 foi para o Brasil, onde trabalhou com Oscar Niemeyer. Em finais de 1954 estava de regresso a Paris, tendo participado no movimento da arte cinética, expondo em coletivas com Victor Vasarely, entre outros Neste âmbito efetuou a série <i>Espacillimité</i>. Em Chaves projectou a <i>Panificadora</i>, uma obra de referência da arquitectura portuguesa do século XX. Representou Portugal na Bienal de São Paulo, no Brasil, em 1961 e em 1969. Publicou diversos livros, entre eles <i>Les Mécanismes de la Création Artistique</i> (1970). Na sua obra, defendeu uma estética que pressupõe a relação das leis geométricas e universais que existem na Natureza. As suas obras iniciais ligam-se ao expressionismo, em que pintou a cidade do Porto, evoluindo em diversos períodos que desembocam no período fractal, no século XXI. Morreu a 11 de dezembro de 2013, no hospital de Cascais, onde se encontrava internado.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. Wikipédia [https://pt.wikipedia.org/wiki/Nadir_Afonso].</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #999999;">Nadir Afonso Rodrigues was born on December 4, 1920, in Chaves, Vila Real. In 1938 he enrolled in the Architecture course at the Escola Superior de Belas-Artes do Porto. He then left for Paris, in 1946, where he enrolled at the École des Beaux-Arts to study painting, and obtained, through Portinari, a scholarship from the French government. He collaborated, from 1946 until 1948 and again in 1951, with Le Corbusier. At the end of 1951 he went to Brazil, where he worked with Oscar Niemeyer. At the end of 1954 he was back in Paris, having participated in the kinetic art movement, exhibiting in collective exhibitions with Victor Vasarely, among others. In this context, he produced the series <i>Espacillimité</i>. In Chaves he designed the <i>Panificadora</i>, a landmark work of 20th century Portuguese architecture. He represented Portugal at the Bienal de São Paulo, in Brazil, in 1961 and 1969. He published several books, including <i>Les Mécanismes de la Création Artistique</i> (1970). In his work, he defended an aesthetic that presupposes the relationship of geometric and universal laws that exist in Nature. His early works are linked to expressionism, in which he painted the city of Porto, evolving in different periods that lead to the fractal period, in the 21st century. He died on December 11, 2013, in Cascais hospital, where he was hospitalized.</span></div></div></div><p></p>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-35321276498738469192022-05-29T19:09:00.005+01:002022-05-29T19:20:09.293+01:00Maluda (1934-1999)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNs0otbCVYqc_uzAuSW8HjQFqSy2_-_pMWhvrmuheg-UYI7Y08Yu43vzZH3vnRHhrvd6BzJffTAXrMP5nv5FjV8pjPwzUKSILXV8cQvE35N8IS3TXxdtbAVjvwSFRY7UD0lQ1nc97d0HNd37oKNOHlv2U6DLm4FtBa1RMCpzlEkI2nw7w9Z9zO5io/s378/10916363_L4lY4.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNs0otbCVYqc_uzAuSW8HjQFqSy2_-_pMWhvrmuheg-UYI7Y08Yu43vzZH3vnRHhrvd6BzJffTAXrMP5nv5FjV8pjPwzUKSILXV8cQvE35N8IS3TXxdtbAVjvwSFRY7UD0lQ1nc97d0HNd37oKNOHlv2U6DLm4FtBa1RMCpzlEkI2nw7w9Z9zO5io/s320/10916363_L4lY4.jpeg" /></a></div><div style="text-align: center;"><i><a href="https://pegada.blogs.sapo.pt/1572081.html">Autorretrato</a></i></div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiavukLVmeMdES2Uav7y3JfJe_V72U1pqJevC0KcZ8uHFpBMxEcw83bW_M-aazAHbSfcS5GRxEHiCYz5b5LmyWzj-0TeT1dQUmFBTsu6ZPYBZXSmHKC4fy9AQfT3987O6aKdIZVzE8ipASA2lBlBeSymMRCYDbOhZBUFJAJiNEk75SlOi4WhfYNCZFf/s433/Capturar1.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiavukLVmeMdES2Uav7y3JfJe_V72U1pqJevC0KcZ8uHFpBMxEcw83bW_M-aazAHbSfcS5GRxEHiCYz5b5LmyWzj-0TeT1dQUmFBTsu6ZPYBZXSmHKC4fy9AQfT3987O6aKdIZVzE8ipASA2lBlBeSymMRCYDbOhZBUFJAJiNEk75SlOi4WhfYNCZFf/s320/Capturar1.JPG" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/janela-vii-algarve-146080/">Janela VII - Algarve</a></i> (1980, Centro de Arte Moderna - Fundação Calouste Gulbenkian, Lisboa)</div><div style="text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzOotpqShtVZ41uoJ-Fb-VDEVa9_qBxOsflBmJEN86CFf4q8XniKVB5P5pTWPAH5MiATJwWeVrL5D7hA-pj4J8gmGfZIEagRg05AFH7U5daq1xBKp16gN6NXPLSW7KlXg2xqD1Hf20PC1d4gwqaWHqEedNhsb6pppgAxCULaH6f4d2voM3RGjm6wSr/s400/portel-1986.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="330" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzOotpqShtVZ41uoJ-Fb-VDEVa9_qBxOsflBmJEN86CFf4q8XniKVB5P5pTWPAH5MiATJwWeVrL5D7hA-pj4J8gmGfZIEagRg05AFH7U5daq1xBKp16gN6NXPLSW7KlXg2xqD1Hf20PC1d4gwqaWHqEedNhsb6pppgAxCULaH6f4d2voM3RGjm6wSr/s320/portel-1986.jpg" width="264" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://pegada.blogs.sapo.pt/1582964.html">Portel</a> </i>(1986)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUwVsAY53Ltpvzxy75j4bvkEjEg_Sd-V2pxRhQNGIZFTSgSL_kiUfctefp87cRpmtPpbRL3iFzJQR0rnIVijjfsSkRTgONPbN5eHOEFN-65bzHwWNnySxlJcS0w9Wz-TLMR7JsOuwIafNqEpB-hRsUN-eF4zqOsSyGkq0kyeAOFgHk3ojSyh-B-j6V/s480/big_3246.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="480" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUwVsAY53Ltpvzxy75j4bvkEjEg_Sd-V2pxRhQNGIZFTSgSL_kiUfctefp87cRpmtPpbRL3iFzJQR0rnIVijjfsSkRTgONPbN5eHOEFN-65bzHwWNnySxlJcS0w9Wz-TLMR7JsOuwIafNqEpB-hRsUN-eF4zqOsSyGkq0kyeAOFgHk3ojSyh-B-j6V/s320/big_3246.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://www.saomamede.com/artista.php?ver=obr&id_artista=11">Lisboa Cais II</a> </i>(1990, Galeria São Mamede, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi91tedkx0_0RXw9_oItobgtlePg-iHrutIxHOcfv696m64HDNhhMLQah5AoYZUQ-rtPH6Pt-GhvFidku7yj5HuINV6OFLhOeR0iWoCIASGXEiliD_WZrh5F3FHHvrFvOGGtQeMOXOdR67mMtWE5y8nU1acHAq6_mq9kSFEfkVN8yVxKjv5rjZHFsaM/s350/10731838_GmZni.jpeg"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi91tedkx0_0RXw9_oItobgtlePg-iHrutIxHOcfv696m64HDNhhMLQah5AoYZUQ-rtPH6Pt-GhvFidku7yj5HuINV6OFLhOeR0iWoCIASGXEiliD_WZrh5F3FHHvrFvOGGtQeMOXOdR67mMtWE5y8nU1acHAq6_mq9kSFEfkVN8yVxKjv5rjZHFsaM/s320/10731838_GmZni.jpeg" /></a></div><div style="text-align: center;"><a href="https://pegada.blogs.sapo.pt/1560281.html"><i>Romã </i>(Série <i>Frutos</i>)</a></div><div style="text-align: center;">-</div><div style="text-align: justify;">Maria de Lourdes Ribeiro, conhecida por Maluda, nasceu em 1934, na cidade de Pangim, no estado de Goa, no então Estado Português da Índia. Começou por trabalhar como retratista autodidata ainda em Lourenço Marques (Maputo), onde viveu a partir de 1948. Foi lá que formou, com Garizo do Carmo, João Paulo e João Aires o grupo de pintura "Os Independentes", que expôs coletivamente em 1961, 1962 e 1963. No ano de 1963, obteve uma bolsa de estudos da Fundação Calouste Gulbenkian e viajou para Portugal, onde trabalhou com o mestre Roberto de Araújo. Entre 1964 e 1967, viveu em Paris, como bolseira da Gulbenkian, tendo trabalhado na Academie de la Grande Chaumière. Durante a sua estada em Paris, conviveu com outros artistas, entre eles os pintores Maria Helena Vieira da Silva e Árpád Seznes. Foi nessa altura que se interessou pelo retrato e por composições que fazem a síntese da paisagem urbana. Pintou os retratos de Amália Rodrigues e Mário Soares, entre outros. Em 1969, realizou a sua primeira exposição individual na galeria do <i>Diário de Notícias</i>, em Lisboa; realizando em 1973 uma grande exposição individual na Fundação Gulbenkian. Entre os anos de 1976 e 1978, foi novamente bolseira da Gulbenkian, estudando em Londres e na Suíça. A partir de 1978 dedicou-se também à temática das janelas. No ano de 1979, realizou uma exposição na Fundação Gulbenkian em Paris. O seu livro “Maluda” com prefácio de Maria Helena Vieira da Silva foi publicado em 1981. A partir de 1985, fez várias séries de selos para os Correios (CTT). No âmbito da "Lisboa Capital da Cultura", realizou uma exposição individual no Centro Cultural de Belém, em Lisboa. Em 1998, realizou a sua última exposição individual, "Os selos de Maluda", patrocinada pelos CTT. Morreu em Lisboa em 1999. Em 2001, o crítico e historiador de arte português, José-Augusto França elegeu seu quadro <i>Portel </i>(de 1986) como um dos "100 Quadros Portugueses do Século XX".</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl. - <a href="https://pt.wikipedia.org/wiki/Maluda">Wikipédia</a>.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">Maria de Lourdes Ribeiro, known as Maluda, was born in 1934, in the city of Panjim, in the state of Goa. She began working as a self-taught portraitist while still in Lourenço Marques (Maputo), where she lived from 1948 onwards. It was there that she formed, with Garizo do Carmo, João Paulo and João Aires, the painting group "The Independents", which collectively exhibited in 1961 , 1962 and 1963. In 1963, she obtained a scholarship from the Calouste Gulbenkian Foundation and traveled to Portugal, where she worked with master Roberto de Araújo. Between 1964 and 1967 she lived in Paris, with a Gulbenkian scholarship, having worked at the Academy of the Grande Chaumière. During her stay in Paris, she interacted with other artists, including the painters Maria Helena Vieira da Silva and Árpád Seznes. It was at that time that she became interested in portraiture and compositions that synthesize the urban landscape. She painted portraits of the fado singer Amália Rodrigues and the polititian Mário Soares, among others. In 1969 she held her first solo exhibition at the <i>Diário de Notícias</i> gallery in Lisbon; followed, in 1973, by a large solo exhibition at the Gulbenkian Foundation. Between 1976 and 1978, received another scholarship from the Gulbenkian Foundation, studying in London and Switzerland. From 1978 onwards she also dedicated herself to the theme of windows. In the year of 1979, she held an exhibition at the Gulbenkian Foundation in Paris. Her book “Maluda” with a preface by Maria Helena Vieira da Silva was published in 1981. As of 1985, she was invited to make several series of stamps for CTT. As part of the "Lisbon Capital of Culture", she held a solo exhibition at the Centro Cultural de Belém in Lisbon. In 1998, she held her last solo exhibition, "The Stamps of Maluda", sponsored by CTT. She died in Lisbon in 1999. In 2001, the Portuguese art historian and critic, José-Augusto França elected her painting <i>Portel </i>(from 1986) as one of the "100 Portuguese Paintings of the 20th Century".</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-13342482244727957892022-05-08T12:33:00.005+01:002022-05-08T15:05:35.273+01:00Jorge Colaço (1868-1942)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbMeOYeK9rhgPsxhSaPOKntjGzfADDL94Skzzlc3Pv0SQ2eqSwqsobIvmdIYOtPsjuG4cEH3FW6CftAYG6hfNaIiuN0ONmre0ViesJ5FmuhUpRgPCz1AzTTxhKjmHaTXid0Fz80Rg9RFnUDozDIL6z25-oCLNpQxlxEjfRebwQGbqEJfEvkzPV43ax/s450/ThumbnailDownloader%20(4).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="418" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbMeOYeK9rhgPsxhSaPOKntjGzfADDL94Skzzlc3Pv0SQ2eqSwqsobIvmdIYOtPsjuG4cEH3FW6CftAYG6hfNaIiuN0ONmre0ViesJ5FmuhUpRgPCz1AzTTxhKjmHaTXid0Fz80Rg9RFnUDozDIL6z25-oCLNpQxlxEjfRebwQGbqEJfEvkzPV43ax/s320/ThumbnailDownloader%20(4).jpg" width="297" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=236451">Projecto para azulejos (Fábrica de Pão Aliança)</a> </i>(1901-1942, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD_2k5uWrIflMOFFe-8uHF4ytXPSipw4zUArBWJP13Y1DeMcuboxadb3B-5rNtDuES0z3LcWStbu_SpTbrdkxNxh1SD91-exT_2oiTAkM9dGyIFfA088rsYkwKpe1Dpx3ii-hrDgGBYnOkksYFz61Ofdxrr6lSnpuJ4-N6fj1oAai1y74eepnWaNdb/s450/ThumbnailDownloader%20(3).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="450" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD_2k5uWrIflMOFFe-8uHF4ytXPSipw4zUArBWJP13Y1DeMcuboxadb3B-5rNtDuES0z3LcWStbu_SpTbrdkxNxh1SD91-exT_2oiTAkM9dGyIFfA088rsYkwKpe1Dpx3ii-hrDgGBYnOkksYFz61Ofdxrr6lSnpuJ4-N6fj1oAai1y74eepnWaNdb/s320/ThumbnailDownloader%20(3).jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=236149">Projecto para peças de mobiliário</a> </i>(1901-1942, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwtTcqFz_1p_aPjJMuRAvbgMu5yDH4frTqHYyEUO9xYOqToWQR1CQB2Gso0-vFr31q-ejh_TGrSHYT66F3SfqfVxekbkN7TbD0Wdjq-h9noOUUUB9gpePdQlxmbFbl6mGCRm1sIUs9hmzUHebIrqtR5r0oMMGTWDmtKio0XzxeYx-hXIJwDK7UYsJR/s450/ThumbnailDownloader%20(1).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="321" data-original-width="450" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwtTcqFz_1p_aPjJMuRAvbgMu5yDH4frTqHYyEUO9xYOqToWQR1CQB2Gso0-vFr31q-ejh_TGrSHYT66F3SfqfVxekbkN7TbD0Wdjq-h9noOUUUB9gpePdQlxmbFbl6mGCRm1sIUs9hmzUHebIrqtR5r0oMMGTWDmtKio0XzxeYx-hXIJwDK7UYsJR/s320/ThumbnailDownloader%20(1).jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=235984">Projecto para azulejos</a> </i>(1904-1942, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9_rTk5ZZWhzrX8J4rOGYR_2JYjMwU-x5yawydwWlEWAz45KgL17RNu9dAfY3iTv772YZsJKecTfs5af5EPVUvPEjn8B2ml-JcIPntTqWljrZMZK6TP7RluUw9KknmBV6tbUicLwGQurrXwpNnBQ9ZcaXo_6F9IgSfqMq1HVRh9wDU4UelT6d-OBaC/s450/ThumbnailDownloader%20(2).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="450" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9_rTk5ZZWhzrX8J4rOGYR_2JYjMwU-x5yawydwWlEWAz45KgL17RNu9dAfY3iTv772YZsJKecTfs5af5EPVUvPEjn8B2ml-JcIPntTqWljrZMZK6TP7RluUw9KknmBV6tbUicLwGQurrXwpNnBQ9ZcaXo_6F9IgSfqMq1HVRh9wDU4UelT6d-OBaC/s320/ThumbnailDownloader%20(2).jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=236007">São Francisco de Assis e o lobo</a> </i>(1904-1942, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzL4qF5VBV70CSVjf50PHI5CY1SlI4tvLGQNMBg0_z-LuwdhZpyR6MAxaHzFxqQJa9gaF8ULPyrciETHlR5qm_6xLZhJ3Pj1fMrVhJT_MVIGGAKSNWaamKFhP7P0vzc-XLiTzUgmoh2SI7MJ-75WVXeJFuucWyJhI-DmmsOY_KKnBgiBKtM-jFCb4I/s450/ThumbnailDownloader.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="450" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzL4qF5VBV70CSVjf50PHI5CY1SlI4tvLGQNMBg0_z-LuwdhZpyR6MAxaHzFxqQJa9gaF8ULPyrciETHlR5qm_6xLZhJ3Pj1fMrVhJT_MVIGGAKSNWaamKFhP7P0vzc-XLiTzUgmoh2SI7MJ-75WVXeJFuucWyJhI-DmmsOY_KKnBgiBKtM-jFCb4I/s320/ThumbnailDownloader.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=229813">Vindima </a></i>(1924-1940, Museu Nacional do Azulejo, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Jorge Rey Colaço (1868-1942) foi pintor e ceramista. Nasceu no Consulado de Portugal em Tânger (Marrocos), filho do escritor e diplomata José Daniel Colaço, 1.º barão de Colaço e Macnamara. Estudou em Lisboa, Madrid e Paris, cidade onde também trabalhou como caricaturista para o jornal <i>Le Figaro</i>. Foi admitido no Salon de Paris em 1893 e, anos mais tarde, em Lisboa, foi Presidente da Sociedade Nacional de Belas Artes (1906-1910). Colaborou no periódico <i>Branco e Negro </i>e na revista <i>Illustração portugueza</i>, tendo sido proprietário e diretor artístico da revista <i>O Thalassa</i> (1913-1916)<i>. </i>Em 1936, foi agraciado com o grau de Grande-Oficial da Ordem Militar de Sant'Iago da Espada. Trabalhou na Fábrica de Louça de Sacavém de 1904 até 1924 e depois na Fábrica de Cerâmica Lusitânia de Lisboa e Coimbra, destacando-se sobretudo no azulejo. Os seus trabalhos em azulejo cabem estilisticamente ao Naturalismo, tendo trabalhado temáticas ligadas à história de Portugal e temas etnográficos. Destacam-se, por exemplo, os painéis para o Hotel Palácio do Buçaco, da Estação de São Bento (Porto) e no Pavilhão do Parque Eduardo VII (Lisboa).</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. <a href="https://pt.wikipedia.org/wiki/Jorge_Cola%C3%A7o">Wikipédia</a>. Sobre este artista, ler: Cláudia Emanuel Franco dos Santos,<i> A obra azulejar de Jorge Rey Colaço (1862-1942)</i> <i>em Portugal</i>, Universidade Católica Portuguesa, 2020 (Tese de Doutoramento).</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Jorge Rey Colaço (1868-1942) was a painter and ceramist. He was born at the Portuguese Consulate in Tangier (Morocco), the son of the writer and diplomat José Daniel Colaço, 1st Baron of Colaço and Macnamara. He studied in Lisbon, Madrid and Paris, where he also worked as a caricaturist for the newspaper <i>Le Figaro</i>. He was admitted to the Paris' Salon in 1893 and, later, in Lisbon, was President of the National Society of Fine Arts (1906-1910). He collaborated in the periodical <i>Branco e Negro</i> and in the magazine <i>Illustração Portugueza, </i>being the owner and artistic director of the magazine <i>O Thalassa</i> (1913-1916). In 1936, he was awarded the rank of Grand Officer of the Military Order of Sant'Iago da Espada. He worked at the Fábrica de Louça de Sacavém from 1904 to 1924 and then at the Fábrica de Cerâmica Lusitânia in Lisbon and Coimbra, especially in tile. His tile works belong to the naturalist period, having worked on themes linked to the history of Portugal and ethnographic subjects. Of note, for example, are the panels for the Palace Hotel of Buçaco, for the São Bento Station (Porto) and in the Eduardo VII Park Pavilion (Lisbon).</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. <a href="https://en.wikipedia.org/wiki/Jorge_Cola%C3%A7o">Wikipedia</a>.</div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-89739967441125918782022-03-13T17:23:00.001+00:002022-03-13T17:23:12.881+00:00Guilherme Filipe (1897-1971)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjNtjzfVlMptJHRWcv72yoRnDTJkbEtNVPfW3HRTClVUqtrOTqsv0CcTbqhv9DbdUhUorYCJ2CxXpvdkuaSP9TVebZzCSrXvZzBrp9me7WFSh6-1aNzXURHdPGp--jtp1UphfghxloQztgazFxbtIvk7X4h5gN9msnfgIuW7iNyyzN7piFl-XiRP6-R=s221" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="221" data-original-width="161" height="221" src="https://blogger.googleusercontent.com/img/a/AVvXsEjNtjzfVlMptJHRWcv72yoRnDTJkbEtNVPfW3HRTClVUqtrOTqsv0CcTbqhv9DbdUhUorYCJ2CxXpvdkuaSP9TVebZzCSrXvZzBrp9me7WFSh6-1aNzXURHdPGp--jtp1UphfghxloQztgazFxbtIvk7X4h5gN9msnfgIuW7iNyyzN7piFl-XiRP6-R" width="161" /></a></div><div style="text-align: center;"><i><a href="http://josequeiroga.blogspot.com/p/pintor.html">Retrato de Miguel Torga</a></i> (Casa Museu Miguel Torga, Coimbra)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhnZo9y5nSlzwJQJD6F-FN70_r4Inkf73_plkBRKuf_moUIsywepfEF43c-5mGnvZD-4taNr0JsPV4kxdvHvTyt_mgwNgkYcPvhvPK55IqsWp48-SQgweZlzHexh9-XWyU20-W39POWyR77qglPMNGe1dP8BxCWujQlhIog1h2kSzoOTGwWPkLWf01r=s480" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="380" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhnZo9y5nSlzwJQJD6F-FN70_r4Inkf73_plkBRKuf_moUIsywepfEF43c-5mGnvZD-4taNr0JsPV4kxdvHvTyt_mgwNgkYcPvhvPK55IqsWp48-SQgweZlzHexh9-XWyU20-W39POWyR77qglPMNGe1dP8BxCWujQlhIog1h2kSzoOTGwWPkLWf01r=s320" width="253" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://josequeiroga.blogspot.com/p/pintor.html">Sem Título</a> (1950, CAM-FCG, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEin0OlRW0Nzg5E4bF2lTLsIJo3OoykBCiNwTdBVzkAkoMDk_nLP8XfQXgML5ReH6lrXkysTu1k88GK-LTzRzLBmdDv4QN_75Mjv10wCHbJYVaXAeFfzWCguXzIAPFjeeto4TsB7Y1qwZDbEWG_MqRz8aDwhgipAFmsY2A4NSZiB9t7nU5HdX0gMJypm=s450" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="275" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEin0OlRW0Nzg5E4bF2lTLsIJo3OoykBCiNwTdBVzkAkoMDk_nLP8XfQXgML5ReH6lrXkysTu1k88GK-LTzRzLBmdDv4QN_75Mjv10wCHbJYVaXAeFfzWCguXzIAPFjeeto4TsB7Y1qwZDbEWG_MqRz8aDwhgipAFmsY2A4NSZiB9t7nU5HdX0gMJypm=s320" width="196" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://mdjm-nazare-objectodomes.blogspot.com/2014/01/guilherme-filipe-mulher-da-nazare.html">Mulher da Nazaré</a> </i>(1940, MDJM, Nazaré)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjXhm1hQ7pREayyvNTcWBvAum-OgL73EzQOl0UYNwHx52sd8-5PkcrS5FXU8vwXIbQJG9DiLAUjfr-rq5ykfA8Es7ZZKsVVE4VDTBqEG-4mLvYf8o-Osfg10W8oy-56dbsrgDZmOQjySun9WivbPmNAEKx5Yp-f5Mg5-U4dzsNCaCodjSN9DX1d9YTT=s574" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="574" height="253" src="https://blogger.googleusercontent.com/img/a/AVvXsEjXhm1hQ7pREayyvNTcWBvAum-OgL73EzQOl0UYNwHx52sd8-5PkcrS5FXU8vwXIbQJG9DiLAUjfr-rq5ykfA8Es7ZZKsVVE4VDTBqEG-4mLvYf8o-Osfg10W8oy-56dbsrgDZmOQjySun9WivbPmNAEKx5Yp-f5Mg5-U4dzsNCaCodjSN9DX1d9YTT=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/paisagem-da-nazare-138792/">Paisagem da Nazaré</a> </i>(1954, CAM-FCG, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiafPiqNpOxS931YmRrc0SUcUwX7g6_xP95-oEyqnHn8fTbtJrKV185wYOAqFJvQSkK4lUxUfDHlCyun5xeOzxdNXcjbCRKt2cbOrZnOhEU4jQS7dghA2M1vl0vD7U4itW_0vLg2gt1nT4eyk3lPgVeXVrfOtNjZmY8QWz3u3J_h7vaeZpbA7Vfo4xu=s300" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="210" height="300" src="https://blogger.googleusercontent.com/img/a/AVvXsEiafPiqNpOxS931YmRrc0SUcUwX7g6_xP95-oEyqnHn8fTbtJrKV185wYOAqFJvQSkK4lUxUfDHlCyun5xeOzxdNXcjbCRKt2cbOrZnOhEU4jQS7dghA2M1vl0vD7U4itW_0vLg2gt1nT4eyk3lPgVeXVrfOtNjZmY8QWz3u3J_h7vaeZpbA7Vfo4xu" width="210" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://pessoasenmadrid.blogspot.com/2015/06/guilherme-filipe-y-ii.html">Natureza Morta com Jarra e Flores</a></i></div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Guilherme Filipe Teixeira nasceu em Pampilhosa da Serra (Fajão), em 1897, falecendo em 1971. Desde muito novo que manifestou vocação para a pintura, tendo estudado nas escolas de Belas-Artes de Lisboa e de Madrid, com o apoio de Cândido Sotto Mayor. Em Lisboa, frequentou os ateliers de José Malhoa e António Tomás da Conceição Silva. Em Madrid, foi aluno de Joaquín Sorolla na Real Academia de Belas-Artes de São Fernando. Nessa cidade, montou um atelier com os escultores José Planes e José Clara, e fez parte de várias tertúlias artísticas e literárias, nomeadamente no café <i>El Pombo. </i>A sua estreia nas exposições madrilenas deu-se numa exposição coletiva no Palácio das Artes (1918), com um quadro de gigantescas proporções intitulado <i>Salomé</i>, que, por não caber na porta, foi pendurado numa árvore no exterior do edifício, suscitando o interesse da imprensa espanhola e do próprio rei de Espanha. Guilherme Filipe passou também por Toledo, onde conviveu com o caricaturista Luis Bagaria. Regressando a Portugal, instalou-se em Coimbra, onde o poeta Eugénio de Castro lhe proporcionou um atelier na Faculdade de Letras, produzindo aí algumas composições, como <i>O Retrato do Poeta</i> (Miguel Torga de quem era amigo pessoal). Em 1923, realizou nesta cidade a primeira exposição individual. Dirigiu-se depois para Paris e de novo para Madrid, só regressando definitivamente a Portugal em 1932. No ano seguinte, fundou no Estoril uma Escola de Acção Artística, em colaboração com Augusto Pina, que pouco tempo durou, por falta de recursos financeiros. Fundou também o Jardim Universitário de Belas-Artes em Lisboa, que promoveu, entre outras actividades, a criação de uma orquestra sinfónica; debates sobre arte e filosofia na Sociedade Nacional de Belas Artes; e sessões de cinema, as "matinés das terças-feiras" no cinema Tivoli, com exibição de filmes comentados (tendo sido um dos comentadores); etc. Em meados da década de 30, viveu na Nazaré onde se dedicou a pintar temas relacionados com a pesca e os pescadores. Aí organizou a <i>Primeira Festa do Mar</i> (Setembro de 1939), na qual colaboraram Afonso Lopes Vieira, Joaquim Manso, Hipólito Raposo e Almada Negreiros. Foi também um elemento da ativo da fundação de um Museu da Nazaré. Em 1958 participou na campanha de apoio a Humberto Delgado à presidência da República. Esse «facto e a sua permanente crítica em relação ao estado da arte no país, apontando
a falta de colecionadores e de críticos e a deficiente formação do público, confinam-no a um período
de algum isolamento, dedicando-se à pintura de painéis religiosos para a ermida da sua terra natal» (cf. Santos, 2020, 132). Em Lisboa, dava aulas de pintura, na sua casa-atelier, sita na Rua Castilho 67, n.º 5. As suas obras versam sobretudo sobre retratos, naturezas mortas e figurações da Nazaré, dentro de uma estilística de aproximação ao modernismo.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl.:</div><div style="text-align: justify;">Antonio Iraizoz García, «El Pintor Guilherme Filipe y Madrid», 23/7/2021, <i>Embajada de Portugal en España</i> ⟦https://madrid.embaixadaportugal.mne.gov.pt/es/la-embajada/noticias/sabia-que-27⟭; Dóris Santos, «Memória e representação do mar. Guilherme Filipe e Lino António, os “pintores das paisagens e gentes da Nazaré”», in <i>Imaginários do Mar, Uma Antologia Crítica</i>, Vol. II, 2020, pp. 115-152 ⟦https://run.unl.pt/bitstream/10362/133083/1/imaginarios_do_mar_ii_ebook_1_115_151.pdf⟭; «Guilherme Filipe» ⟦https://pt.wikipedia.org/wiki/Guilherme_Filipe⟭; «Homenagem ao Pintor Guilherme Filipe», <i>José Queiroga </i>⟦http://josequeiroga.blogspot.com/p/pintor.html⟭.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Guilherme Filipe Teixeira was born in Pampilhosa da Serra (Fajão), in 1897, and died in 1971. From an early age he showed a vocation for painting, having studied at the Fine Arts Schools of Lisbon and Madrid, with the support of Cândido Sotto Mayor. In Lisbon, he attended the workshops of José Malhoa and António Tomás da Conceição Silva. In Madrid, he was a student of Joaquín Sorolla at the Royal Academy of Fine Arts of San Fernando. In that city, he set up a studio with the sculptors José Planes and José Clara, and took part in several artistic and literary gatherings, namely at the <i>El Pombo</i> café. His debut in Madrid exhibitions took place in a group exhibition at the Palácio das Artes (1918), with a painting of gigantic proportions entitled <i>Salomé</i>, which, as it did not fit in the door, was hung on a tree outside the building, arousing the interest of the Spanish press and the King of Spain himself. Guilherme Filipe also lived in Toledo, where he met the caricaturist Luis Bagaria. Returning to Portugal, he settled in Coimbra, where the poet Eugénio de Castro arrange him a studio at the Faculty of Arts, producing some compositions there, such as <i>O Retrato do Poeta</i> (Miguel Torga, with whom he was a personal friend). In 1923, he held his first solo exhibition in this city. He then went to Paris and again to Madrid, only returning definitively to Portugal in 1932. The following year, he founded a School of Artistic Action in Estoril, in collaboration with Augusto Pina, which lasted a short time, due to lack of financial resources. He also founded the Jardim Universitário de Belas-Artes in Lisbon, which promoted, among other activities, the creation of a symphony orchestra; debates on art and philosophy at the National Society of Fine Arts; and cinema sessions, the "Tuesday matinees" at the Tivoli cinema, with the exhibition of commented films (he was one of the commentators); etc. In the mid-1930s, he lived in Nazaré where he dedicated himself to painting themes related to fishing and fishermen. There he organized the Primeira Festa do Mar (September 1939), in which Afonso Lopes Vieira, Joaquim Manso, Hipólito Raposo and Almada Negreiros collaborated. He was also an active element in the foundation of a Museum of Nazaré. In 1958 he participated in the campaign to support Humberto Delgado for the presidency of the Republic. This «fact and his permanent criticism of the state of the art in the country, pointing out the lack of collectors and critics and the deficient training of the public, confined him to a period of some isolation, dedicating himself to the painting of religious panels to the hermitage of his birthplace” (cf. Santos, 2020, 132). In Lisbon, he taught painting classes at his house-atelier, located at Rua Castilho 67, no. 5. His works mainly deal with portraits, still lifes and figurations of Nazaré, within a stylistic approach to modernism.</div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-48240337991798073662022-01-23T16:33:00.003+00:002022-01-23T16:33:28.262+00:00José de Guimarães (n. 1939)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDlGQLDdJf3yURrwTtdgFnEz_dpwculMiXyP5O6mfYjE0UCFCOw7Q0gNHUTZqQHq8LLqW_E9OQGIuMgMR6nUn2qAKxtSXlR1qFWTO-uNt2PXLk5Fv2sbUyOuTS3lKP5QLWjHwB50nWqH5vaA9tB6-8NaJp3cuAj5htqzF_Gact-oz6iLc7uVnut94g=s384"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDlGQLDdJf3yURrwTtdgFnEz_dpwculMiXyP5O6mfYjE0UCFCOw7Q0gNHUTZqQHq8LLqW_E9OQGIuMgMR6nUn2qAKxtSXlR1qFWTO-uNt2PXLk5Fv2sbUyOuTS3lKP5QLWjHwB50nWqH5vaA9tB6-8NaJp3cuAj5htqzF_Gact-oz6iLc7uVnut94g=s320" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/os-espioes/">Os Espiões </a></i>(1965)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhoPHQEWdgeoj7GXMNKHO-dCmVTvk0iG3Yi4GN3gayhIfj2REWNkekEh2I-48HrCo85fQd65CbLDNtU5ma_1j0oFuNv0KSEsclbNOK-2m8eR9VFtogBYRpmVFs5HYBudqg43orzb9M6_L0Cce3SNQY7ZdrVnNd0gABMfFqkd_VjT5e8NV6yA6XnbL5s=s450"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEhoPHQEWdgeoj7GXMNKHO-dCmVTvk0iG3Yi4GN3gayhIfj2REWNkekEh2I-48HrCo85fQd65CbLDNtU5ma_1j0oFuNv0KSEsclbNOK-2m8eR9VFtogBYRpmVFs5HYBudqg43orzb9M6_L0Cce3SNQY7ZdrVnNd0gABMfFqkd_VjT5e8NV6yA6XnbL5s=s320" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/le-centre-georges-pompidou-anamorphose-no1-152206/">Le Centre Georges Pompidou – Anamorphose nº1</a> </i>(1978)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjiOcUiH2fpxT3E-pZBh8fxso-IXqhskGdjwe6KN9Eef_u-IhC_jyYNdwZhS1UKJX3DCztcTWxE1Uy98_aiXERJmVeFOXmKPnH0Efj0TTr8YaORBxfqtEwqyvx2tIfNrmZazNiN9bGnzbj_4iwxJc9wKt6NI7w5BfkiNvXdKF5cIW9Y-aXxkI9nKn_4=s600"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEjiOcUiH2fpxT3E-pZBh8fxso-IXqhskGdjwe6KN9Eef_u-IhC_jyYNdwZhS1UKJX3DCztcTWxE1Uy98_aiXERJmVeFOXmKPnH0Efj0TTr8YaORBxfqtEwqyvx2tIfNrmZazNiN9bGnzbj_4iwxJc9wKt6NI7w5BfkiNvXdKF5cIW9Y-aXxkI9nKn_4=s320" /></a></div><div style="text-align: center;"><i><a href="https://www.wikiart.org/en/jose-de-guimaraes/retrato-de-cam-es-1981">Retrato de Camões </a></i>(1981)</div><div style="text-align: center;">-</div><div style="text-align: center;"><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhI7HQp7SKeudyfvZ1PPzNjKo1le-vwOVWoavUUy9dkQie0GRcZ8nXKHBh_bKTuoxe75gGgK0qr2u9Fjj8F6WrfPJsGZyZsWrDb6ZVPao_uyNNu9zIGElR35m0ad4SdVxvdK-yXiI4tKz8o8erYlG91mA_PQyTdE2bBwyvu1C-yf69XL4BuqI8mZLO4=s490"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEhI7HQp7SKeudyfvZ1PPzNjKo1le-vwOVWoavUUy9dkQie0GRcZ8nXKHBh_bKTuoxe75gGgK0qr2u9Fjj8F6WrfPJsGZyZsWrDb6ZVPao_uyNNu9zIGElR35m0ad4SdVxvdK-yXiI4tKz8o8erYlG91mA_PQyTdE2bBwyvu1C-yf69XL4BuqI8mZLO4=s320" /></a></div><div><i><a href="https://gulbenkian.pt/cam/works_cam/flores-para-ti-152332/">Flores para ti</a> </i>(1982)</div><div>-</div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjLwBS3anxJ1khNGEGSQj1vVxZtDELxeRNGAyEBvIT6Ts7Kv9N0fPqV8oKVlVT2O9ACQfnNexbwdjmNwEcdkaHaUPcx3xBlus6zoq-uAujWK720pRViD6dhC9R2qDKyACiMn2cu69TQZnI9HJGOaceuN1jNDmXREnOam-IkQ0HmpGd3C66L3Mq3v8S2=s331"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEjLwBS3anxJ1khNGEGSQj1vVxZtDELxeRNGAyEBvIT6Ts7Kv9N0fPqV8oKVlVT2O9ACQfnNexbwdjmNwEcdkaHaUPcx3xBlus6zoq-uAujWK720pRViD6dhC9R2qDKyACiMn2cu69TQZnI9HJGOaceuN1jNDmXREnOam-IkQ0HmpGd3C66L3Mq3v8S2=s320" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/os-saltimbancos-da-serie-o-circo-154464/">Os Saltimbancos – da série: O Circo</a> </i>(1983)</div><div style="text-align: center;">-</div><div style="text-align: justify;">José Maria Fernandes Marques, conhecido sob o pseudónimo de José de Guimarães, nasceu em 25 de Novembro de 1939, em Guimarães. Formado em engenharia civil, pelo Instituto Superior Técnico (Lisboa), teve formação artística com Teresa de Sousa e Gil Teixeira Lopes, tendo estudado gravura na Sociedade Cooperativa de Gravadores Portugueses. Entre 1961 e 1966, viajou pela Europa; entre 1967 e 1974, viveu em Angola, por razões de serviço militar. Expôs desde 1960, com participação em exposições individuais e coletivas, em Portugal e no estrangeiro (Espanha, França, Bélgica e Itália).</div><div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl. - <a href="https://pt.wikipedia.org/wiki/Jos%C3%A9_de_Guimar%C3%A3es">Wikipédia</a>, <a href="https://www.infopedia.pt/$jose-de-guimaraes">Infopédia</a> e <a href="http://cvc.instituto-camoes.pt/biografias/jose-guimaraes.html#.Ye2CBOrP3IU">Instituto Camões</a>.</div><div style="text-align: justify;">-</div></div><div style="text-align: justify;"><span style="color: #666666;">José Maria Fernandes Marques, known under the pseudonym of José de Guimarães, was born on November 25, 1939, in Guimarães. Graduated in civil engineering at Instituto Superior Técnico (Lisbon), he had artistic training with Teresa de Sousa and Gil Teixeira Lopes, having studied engraving at Sociedade Cooperativa of Portuguese Engravers. Between 1961 and 1966 he toured Europe; between 1967 and 1974 he lived in Angola for reasons of military service. He has exhibited since 1960, participating in individual and group exhibitions, both in Portugal and abroad (Spain, France, Belgium and Italy).</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-50927876168949567472022-01-02T19:21:00.003+00:002022-01-02T19:26:06.213+00:00Fernando Lanhas (1923-2012)<div style="text-align: center;"><div><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj5UmkiZbaDW4oVcZVDQa2x3WQ-MggzgzTZVR5LmPp7KJnZTODsHXy7QbDhSSEem6ByofVW7E-cU5uYz0TgtMAmUPrHML9DYLWlsegRowblBSsYh8CNFbRVWFXQSjHEIDeh3Obh6n1gJUyQEUUUYwu3IskkoAFlpUgMwURNt-6kHcR1z86_xvnbV963=s400"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEj5UmkiZbaDW4oVcZVDQa2x3WQ-MggzgzTZVR5LmPp7KJnZTODsHXy7QbDhSSEem6ByofVW7E-cU5uYz0TgtMAmUPrHML9DYLWlsegRowblBSsYh8CNFbRVWFXQSjHEIDeh3Obh6n1gJUyQEUUUYwu3IskkoAFlpUgMwURNt-6kHcR1z86_xvnbV963=s320" /></a></div><div><i><a href="https://www.wikiart.org/en/fernando-lanhas/tambores">Tambores</a></i></div><div>-</div></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1kwjenXW1ZZsKHwKt45ssZpP8M4ME80609yY6S0n_ImfHY3ig88QfkzbPhQ8Uwo-847J2dTC_I9NRLx90jdQRUeQmrKV_CMTjuwbuC-VNI-8a2Jd76vUDHADCDqP9qP9SpbvD31mguOsr7bdacAxf4QWtcsFrgmZjEJhAvXjJcFb62_vfX5yQRjh6=s490"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1kwjenXW1ZZsKHwKt45ssZpP8M4ME80609yY6S0n_ImfHY3ig88QfkzbPhQ8Uwo-847J2dTC_I9NRLx90jdQRUeQmrKV_CMTjuwbuC-VNI-8a2Jd76vUDHADCDqP9qP9SpbvD31mguOsr7bdacAxf4QWtcsFrgmZjEJhAvXjJcFb62_vfX5yQRjh6=s320" /></a></div><div style="text-align: center;"><i><a href="https://pt.wikipedia.org/wiki/Ficheiro:Fernando_Lanhas_O-2-44_(1944).jpg">O2-44 </a></i>(1943-1944, MNAC)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj3rf5hvIPdcAgkRaqO-mYZLv63x3Bg2DrQOeP4ONh47G75cAeipzDCCZr0Ap0hqZwmSqVeYZZebFNH-C3rStym2mue7aFJlhPus5ZB-21c7NaZ_jbRPHUIpIK-JWA6frqlNP6rZc28pLofZIwJrzpbJF36qq3H3Mb8m8WFqRfx9xmZ--sMMgKcbUaO=s600"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEj3rf5hvIPdcAgkRaqO-mYZLv63x3Bg2DrQOeP4ONh47G75cAeipzDCCZr0Ap0hqZwmSqVeYZZebFNH-C3rStym2mue7aFJlhPus5ZB-21c7NaZ_jbRPHUIpIK-JWA6frqlNP6rZc28pLofZIwJrzpbJF36qq3H3Mb8m8WFqRfx9xmZ--sMMgKcbUaO=s320" /></a></div><div style="text-align: center;"><i><a href="http://www.museuartecontemporanea.gov.pt/pt/pecas/ver/118/artist">Cais 44</a> </i>(1943-1944, MNAC)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi2XWSYW1wgVTXhj7qdM8dw7BvdjQAuOYdgxLbF8JZFWqU5jyw6NZ-7VndyF06fAUlR4CsSnlGZU1c94rwF114aig9IiM37zlCRqykUfsWjuxkuoIXK79TDcAQcKB4pAjfazVp1-ygAWtvDK8bXdEHrYbxHN8iVCkEPTZkgeDN9nn8rBwfJQSWUr6xJ=s590"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEi2XWSYW1wgVTXhj7qdM8dw7BvdjQAuOYdgxLbF8JZFWqU5jyw6NZ-7VndyF06fAUlR4CsSnlGZU1c94rwF114aig9IiM37zlCRqykUfsWjuxkuoIXK79TDcAQcKB4pAjfazVp1-ygAWtvDK8bXdEHrYbxHN8iVCkEPTZkgeDN9nn8rBwfJQSWUr6xJ=s320" /></a></div><div style="text-align: center;"><i><a href="http://www.museuartecontemporanea.gov.pt/pt/pecas/ver/309/artist">P3–49</a> </i>(1949, MNAC)</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi4R-uzsBwIGmzGueud9Q5P3AGyYR3FuMcusD71jK6CK0UniqKdAxq9oEvXZiBjSERTZp2FPTzvUFg2OwHMSFoCIJS-k26t8l_Djdwnlx0RFho_IFuR9kXPg-2cN-nrjEixgjGDgTHibnOe2ONsKwWrve2OWpC7Kb0c9Ml55RI601PJvABzYe9l2ZtY=s555"><img border="0" src="https://blogger.googleusercontent.com/img/a/AVvXsEi4R-uzsBwIGmzGueud9Q5P3AGyYR3FuMcusD71jK6CK0UniqKdAxq9oEvXZiBjSERTZp2FPTzvUFg2OwHMSFoCIJS-k26t8l_Djdwnlx0RFho_IFuR9kXPg-2cN-nrjEixgjGDgTHibnOe2ONsKwWrve2OWpC7Kb0c9Ml55RI601PJvABzYe9l2ZtY=s320" /></a></div><div style="text-align: center;"><i><a href="http://www.museuartecontemporanea.gov.pt/pt/pecas/ver/311/artist">O10–50</a> </i>(1950, MNAC)</div><div style="text-align: center;">-</div><div style="text-align: justify;">Formado em Arquitectura pela Escola Superior de Belas-Artes da Universidade do Porto em 1947, é principalmente reconhecido pela sua actividade como pintor. Embora tenha iniciado as suas pesquisas pictóricas com temas figurativos, desenvolveu uma linguagem abstrata, tendo participado na organização das Exposições Independentes que foram apresentadas no Porto e noutras cidades do país entre 1943 e 1950. Participou depois em diversos certames artísticos nacionais e internacionais, com destaque para as Bienais de São Paulo (1953 e 1955) e para a Bienal de Veneza (1960). «A sua obra pictórica é concebida através da evocação de uma metodologia científica e técnica» (Joana Baião). Além da pintura, Lanhas desenvolveu outras actividades. «Como arquitecto, a sua obra insere-se numa linha racionalista, como se pode observar nas remodelações dos museus de Paços de Ferreira, Paredes, Figueira da Foz e museu militar do Porto». Na década de 1960 dedicou-se à inventariação de locais de interesse arqueológico, sobretudo do Norte de Portugal. Foi director do Museu Etnográfico e Histórico do Porto, entre 1973 e 1993. </div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. Joana Baião, <a href="http://www.museuartecontemporanea.gov.pt/pt/artistas/ver/52/artists">http://www.museuartecontemporanea.gov.pt/pt/artistas/ver/52/artists</a></div><div style="text-align: justify;"><span style="color: #666666;">-</span></div><div style="text-align: justify;"><span style="color: #666666;">Graduated in Architecture from the Superior School of Fine Arts of the University of Porto in 1947, he is mainly recognized for his activity as a painter. Although he started his pictorial research with figurative themes, he developed an abstract language, having participated in the organization of Independent Exhibitions that were presented in Porto and other cities in the country between 1943 and 1950. He later participated in several national and international artistic events, with highlighting for the São Paulo Biennials (1953 and 1955) and the Venice Biennale (1960). «His pictorial work is conceived through the evocation of a scientific and technical methodology» (Joana Baião). In addition to painting, Lanhas developed other activities. «As an architect, his work is part of a rationalist line, as can be seen in the remodeling of the museums in Paços de Ferreira, Paredes, Figueira da Foz and the military museum in Porto». In the 1960s he dedicated himself to the inventory of sites of archaeological interest, especially in Northern Portugal. He was director of the Ethnographic and Historical Museum of Porto, between 1973 and 1993.</span></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-5722524756833225382021-12-05T17:57:00.005+00:002021-12-05T17:57:39.872+00:00Costa Mota Sobrinho (1877-1956)<div><div style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzt3KQUcikoVKsww0Fqe3yO79a5felQmPisuEIUEVm58Ab8WJXIdl5AKdxz3ayw5vhByfKPmOV8XjnMCfrdW6CmFluWSw1_KzrSjJg8-HxFyxeI6F4zz-Gz4Y8hZirLFO6YAEaqNE3bCM/s320/ThumbnailDownloader+%25281%2529.jpg" /></div><div style="text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=42049">Nossa Senhora do Carmo </a></i><span style="font-style: italic;">(1908, Museu de José Malhoa, Caldas da Rainha)</span></div></div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxsV33Ol7655qRxjdSgF2q6KZDy-pR88EBzjuUkkB_E23EVYPOgFj9GC6X0clEZWa6H-nglXJU30104H628-YfoUIitA0fyH18lSZgmwOW3qJfJv7giI1YpaRMpnjU6xoZX0aCrRp6Oqg/s565/Imagem+%25284%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="565" data-original-width="396" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxsV33Ol7655qRxjdSgF2q6KZDy-pR88EBzjuUkkB_E23EVYPOgFj9GC6X0clEZWa6H-nglXJU30104H628-YfoUIitA0fyH18lSZgmwOW3qJfJv7giI1YpaRMpnjU6xoZX0aCrRp6Oqg/s320/Imagem+%25284%2529.jpg" width="224" /></a></div><div style="text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=2&REGPAG=50&CRITERIO=motta&IDFOTO=13160">Busto Actor Taborda </a></i>(1909, Museu de Cerâmica, Caldas da Rainha)</div><div style="text-align: center;">-</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9nRH3rYDjWD5X5GJCeNErwsEhvlKk5imcyYQ8U059e_xIX49ZgHsa0EvbdWETJanxZbKL4Qa8TZdG3zrAgd_UaL23H9h4O9tDGMMfnNIllOd9JVI7mC0AtJrMoE4EpEhyW6QntREzDM/s565/Imagem+%25285%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="406" data-original-width="565" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9nRH3rYDjWD5X5GJCeNErwsEhvlKk5imcyYQ8U059e_xIX49ZgHsa0EvbdWETJanxZbKL4Qa8TZdG3zrAgd_UaL23H9h4O9tDGMMfnNIllOd9JVI7mC0AtJrMoE4EpEhyW6QntREzDM/s320/Imagem+%25285%2529.jpg" width="320" /></a></div><div style="text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=2&REGPAG=50&CRITERIO=motta&IDFOTO=12323">Pote com Feijão Verde</a> </i>(1910, Museu de José Malhoa, Caldas da Rainha)</div><div style="text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfJyL4dNEhH302F6JU9MutOq3M1EUQb_FWDpU-uPXL9ZdPNudKDahGRFxURHA2f2tyUvbpCejf3ZBHCpUHWxjzfUuVdTL0g8wuzF6EaUlobfEiqe9x_UDzMLJhQZBRobtE1nxS3SFjDyQ/s565/Imagem+%25286%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="356" data-original-width="565" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfJyL4dNEhH302F6JU9MutOq3M1EUQb_FWDpU-uPXL9ZdPNudKDahGRFxURHA2f2tyUvbpCejf3ZBHCpUHWxjzfUuVdTL0g8wuzF6EaUlobfEiqe9x_UDzMLJhQZBRobtE1nxS3SFjDyQ/s320/Imagem+%25286%2529.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matrizpix.dgpc.pt/MatrizPix/Fotografias/FotografiasConsultar.aspx?TIPOPESQ=2&NUMPAG=1&REGPAG=50&CRITERIO=motta&IDFOTO=13174">Leiteira e Bule</a> </i>(1908-1916, Museu de Cerâmica, Caldas da Rainha)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq3dUccklirfwSqkDNhcHX6aRkt4rvo0Fe49_bTqoNNuvvRTWZtKPnUWC7NlG4ixkGzIB-Z2JaZpWfho53Q6LcRwBtLNnJv0kLs9ZJ9yIAVkGgr7oxzYDsp3GX-tUgcEiaqBeSkCqSoH0/s400/GetMultimediaImage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="287" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq3dUccklirfwSqkDNhcHX6aRkt4rvo0Fe49_bTqoNNuvvRTWZtKPnUWC7NlG4ixkGzIB-Z2JaZpWfho53Q6LcRwBtLNnJv0kLs9ZJ9yIAVkGgr7oxzYDsp3GX-tUgcEiaqBeSkCqSoH0/s320/GetMultimediaImage.jpg" width="230" /></a></div><div style="text-align: center;"><i><a href="https://museu.parlamento.pt/DetalhesObra?id=2542&tipo=OBJ">Justiça </a></i>(1921, Museu da Assembleia da República, Lisboa)</div><div><div style="text-align: center;">-</div><div><div style="text-align: justify;">António Augusto da Costa Motta (Sobrinho), nasceu em Coimbra em 1877. Em 1889, ingressou na Escola Industrial Brotero, onde teve por mestre António Augusto Gonçalves que o introduziu na arte da cerâmica. Em 1893, frequentou o Curso Geral de Desenho da Escola de Belas Artes de Lisboa, onde foi aluno e discípulo de Simões de Almeida Tio e de António Augusto Costa Motta, tio. Em 1897, ingressou no Curso de Escultura Estatuária. Em 1902, participou, com seu tio, no Monumento a Afonso de Albuquerque, inaugurado no mesmo ano, em Lisboa. Em 1903, casou com Carlota Cid Rodrigues, partindo no ano seguinte para Paris, onde trabalhou com o Mestre Jean-Antoine Injalbert. Nesta fase, participou no Salon de Paris, sendo premiado pela <i>Manhã de S. João</i>. Em 1906, já em Lisboa, expôs na Sociedade Nacional de Belas-Artes, recebendo a 1ª medalha. Por indicação de Brito Camacho, foi convidado para a direcção artística da Fábrica de Faianças das Caldas da Rainha. Em 1909, participou no 7º Salão da SNBA, com várias peças de cerâmica, onde recebeu novamente a 1ª medalha. Em 1914, regressou a Lisboa. Em 1913, a pedido de Júlio Dantas, modelou o busto de Fialho de Almeida para a Biblioteca Nacional. Em 1917, expôs na SNBA a <i>Sagrada Família</i> (bronze) e o busto do <i>Actor Carlos Santos</i>. Em 1921, executou para o Palácio de S. Bento, o gesso <i>A Justiça</i>. No ano de 1928, foi inaugurada a Escola de Cerâmica António Augusto Gonçalves (posteriormente denominada António Arroio), onde criou as decorações, recorrendo a composições florais geometrizadas e integrando o medalhão com o busto de António Augusto Gonçalves na fachada. No ano seguinte, assumiu a direcção da escola (que manteve até 1947). Em 1931, recebeu o diploma especial da Exposição Colonial Internacional de Paris, onde, com Raul Lino, colaborou na conceção do Pavilhão de Portugal. Em 1938, executou a encomenda do Conselho Nacional de Turismo para a realização dos 13 grupos escultóricos representando os Passos da Via Sacra para as Capelas do Buçaco. Morreu em 1956, em Lisboa.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. «Costa Mota, sobrinho (1877-1956)», in <a href="https://www.parlamento.pt/VisitaParlamento/Paginas/BiogCostaMotta.aspx">Assembleia da República</a>; <a href="http://www.matriznet.dgpc.pt/MatrizNet/Entidades/EntidadesConsultar.aspx?IdReg=40508">Matriznet</a>.</div><div style="text-align: justify;">-</div><div style="text-align: justify;"><span style="color: #666666;">António Augusto da Costa Motta (Nephew), was born in Coimbra in 1877. In 1889, he entered the Brotero Industrial School, where he had António Augusto Gonçalves as his master, who introduced him to the art of ceramics. In 1893, he attended the General Drawing Course at the Lisbon School of Fine Arts, where he was a student and disciple of Simões de Almeida Tio and his uncle António Augusto Costa Motta. In 1897, he entered the Statuary Sculpture Course. In 1902, he participated, with his uncle, in the Monument to Afonso de Albuquerque, inaugurated in the same year, in Lisbon. In 1903, he married Carlota Cid Rodrigues, leaving the following year for Paris, where he worked with Master Jean-Antoine Injalbert. At this stage, he participated in the Salon de Paris, receiving an award for the <i>Manhã de S. João</i>. In 1906, already in Lisbon, he exhibited at the National Society of Fine Arts, receiving the 1st medal. By recommendation of Brito Camacho, he was invited to the artistic direction of Fábrica de Faianças das Caldas da Rainha. In 1909, he participated in the 7th SNBA Salon, with several ceramic pieces, where he again received the 1st medal. In 1914 he returned to Lisbon. In 1913, at the request of Júlio Dantas, he modeled the bust of Fialho de Almeida for the National Library. In 1917, he exhibited at the SNBA the <i>Sagrada Familia</i> (bronze) and the bust of Actor Carlos Santos. In 1921, he executed the plaster <i>A Justiça</i> for the Palácio de S. Bento. In 1928, the António Augusto Gonçalves Ceramics School (later named António Arroio) was inaugurated, where he created the decorations, using geometric floral compositions and integrating the medallion with the bust of António Augusto Gonçalves on the façade. The following year he took over the direction of the school (which he maintained until 1947). In 1931, he received the special diploma from the International Colonial Exhibition in Paris, where, with Raul Lino, he collaborated in the design of the Pavilhão de Portugal. In 1938, he carried out a commission from the National Tourism Council for the realization of 13 sculptural groups representing the <i>Steps of the Via Sacra </i>for the Chapels of Buçaco. He died in 1956 in Lisbon.</span></div></div></div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-63792559592228632372021-09-26T16:31:00.000+01:002021-09-26T16:31:06.589+01:00Cipriano Dourado (1921-1981)<div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpaQ2bp1EDMdzm9X1qUjB8dfzr2V018rfjzTfBWOC39gkGS2UefcaeRW3TVY8QoOhduKZOqlLc5i9vsR6UJcCa3n6HXh4Fl2QIrlt3kDdz9DZ9eCnf4Qx3tO0sZxYpGlWkkdgsLMs8o00/s385/Sem+T%25C3%25ADtulo.png"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpaQ2bp1EDMdzm9X1qUjB8dfzr2V018rfjzTfBWOC39gkGS2UefcaeRW3TVY8QoOhduKZOqlLc5i9vsR6UJcCa3n6HXh4Fl2QIrlt3kDdz9DZ9eCnf4Qx3tO0sZxYpGlWkkdgsLMs8o00/s320/Sem+T%25C3%25ADtulo.png" /></a></div><div style="text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/penhasco-148612/">Penhasco </a></i>(Centro de Arte Moderna - Gulbenkian, Lisboa)</div><div style="text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6JhGbD42aHRk6iZZ_q7jHxhGromlPmAF2NJ-TeX4nINRho1ctZc0ViLATZNqKG5L3hayCxTEBe2OdHLZzKwCK4zq5oiBac40vtxWY5508eKSh-Fc-NzAJEwyiXfKHYadkOfzJ7UZ1KzI/s450/ThumbnailDownloader.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="450" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6JhGbD42aHRk6iZZ_q7jHxhGromlPmAF2NJ-TeX4nINRho1ctZc0ViLATZNqKG5L3hayCxTEBe2OdHLZzKwCK4zq5oiBac40vtxWY5508eKSh-Fc-NzAJEwyiXfKHYadkOfzJ7UZ1KzI/s320/ThumbnailDownloader.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.matriznet.dgpc.pt/MatrizNet/Objectos/ObjectosConsultar.aspx?IdReg=205398">Quatro Mulheres</a> </i>(1951, Museu do Chiado - MNAC, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEDTBfYRk22rA5YpLyORdrDniGqYVv1PuXpBqaq9ONo5DsgdazQKYwnai3v5WIgWTex8uy3SE4t91nfEcTmUfwJUMYlRLnkkY7UDYnQ9vk72_hTHXpMs3aJjK2j-0A94RVODKqk7QLGHo/s476/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="355" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEDTBfYRk22rA5YpLyORdrDniGqYVv1PuXpBqaq9ONo5DsgdazQKYwnai3v5WIgWTex8uy3SE4t91nfEcTmUfwJUMYlRLnkkY7UDYnQ9vk72_hTHXpMs3aJjK2j-0A94RVODKqk7QLGHo/s320/Sem+T%25C3%25ADtulo.png" width="239" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://gulbenkian.pt/cam/works_cam/sem-titulo-153302/">Sem Título</a> (1956, Centro de Arte Moderna - Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rdPScQNkEg9waYBwKzJcPARg-PNBklP6d7-yYZSIpCMZpVusk8fPpBZKBhw1rx02G3aQNXqdu70wBvG7DOJhB5Ua-YRTfcdVdEAR_RfG_htW7JMaSc-JxZfCWXBmYO4Di4cdv7IFXDw/s476/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="332" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rdPScQNkEg9waYBwKzJcPARg-PNBklP6d7-yYZSIpCMZpVusk8fPpBZKBhw1rx02G3aQNXqdu70wBvG7DOJhB5Ua-YRTfcdVdEAR_RfG_htW7JMaSc-JxZfCWXBmYO4Di4cdv7IFXDw/s320/Sem+T%25C3%25ADtulo.png" width="223" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/raparigas-153304/">Raparigas</a> </i>(1957, Centro de Arte Moderna - Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3dJjS885sI94NuCqH4bR8_KpOlVXk4PO9zwDCtOT5ikiR2EvQ5El_lJqwUYCY3ARGVeI29vrDnli1qiKIyE9yRq1Q-LRZNVpuJY21udikEC4pNcb28e2_6g0JTf3bsVORldynSgqo9dk/s478/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="373" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3dJjS885sI94NuCqH4bR8_KpOlVXk4PO9zwDCtOT5ikiR2EvQ5El_lJqwUYCY3ARGVeI29vrDnli1qiKIyE9yRq1Q-LRZNVpuJY21udikEC4pNcb28e2_6g0JTf3bsVORldynSgqo9dk/s320/Sem+T%25C3%25ADtulo.png" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/mondadeiras-153694/">Mondadeiras </a></i>(1959, Centro de Arte Moderna - Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div style="text-align: justify;">Cipriano Dourado nasceu em Mação, a 8 de Fevereiro de 1921. Foi um artista plástico ligado ao Neorrealismo, que desenvolveu actividade nas áreas da gravura, desenho, pintura e aguarela. Foi um dos pioneiros da Gravura Portuguesa Contemporânea, tendo iniciado a sua carreira profissional como desenhador-litógrafo. Frequentou um curso noturno na Sociedade Nacional de Belas Artes (Lisboa), e, em 1949, fez um estágio na Academia Livre Grande Chaumière (Paris). Foi membro fundador da Gravura – Sociedade Cooperativa de Gravadores Portugueses (1956) e lecionou na Escola de Artes Decorativas António Arroio (Lisboa). Os temas mais frequentes na sua obra são a mulher e a terra. Em 1953, levado pelo escritor Alves Redol, juntamente com Júlio Pomar e Rogério Ribeiro, formou uma equipa que, no Ribatejo, se dedicou a tratar o tema dos arrozais, constituindo o "Ciclo do Arroz". Expôs em Portugal (entre 1949 e 1974) e no estrangeiro, nomeadamente no Japão, na Suíça e na Suécia (1957 e 1958). Faleceu em Lisboa, a 17 de Janeiro de 1981.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cf. <a href="https://pt.wikipedia.org/wiki/Cipriano_Dourado#cite_ref-5">Wikipédia</a> e <a href="https://www.facebook.com/Dourado1921/">Facebook</a>.</div></div><div style="text-align: justify;">-</div><div style="text-align: justify;">Cipriano Dourado was born in Mação, on February 8, 1921. He was a plastic artist linked to Neorealism, who worked in the areas of engraving, drawing, painting and watercolor. He was one of the pioneers of Contemporary Portuguese Engraving, having started his professional career as a lithographer-drawer. He attended an course at the National Society of Fine Arts (Lisbon), and, in 1949, did an internship at the Free Academy Grande Chaumière (Paris). He was a founding member of Gravura – Portuguese Engravers Cooperative Society (1956) and taught at the António Arroio Decorative Arts School (Lisbon). The most frequent themes in his work are the woman and the land. In 1953, led by the writer Alves Redol, together with Júlio Pomar and Rogério Ribeiro, he formed a team that, in Ribatejo, was dedicated to dealing with the theme of rice fields, constituting the "Rice Cycle". He exhibited in Portugal (between 1949 and 1974) and abroad, namely in Japan, Switzerland and Sweden (1957 and 1958). He died in Lisbon on January 17, 1981.</div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0tag:blogger.com,1999:blog-16622035523240091.post-41625811916893585182021-06-27T18:21:00.002+01:002021-06-27T18:21:47.572+01:00António Pedro (1909-1966)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqli4TRYmOeC7zJ0si1lHYfel1tZI6amKVvsJT33CTNIa-CnZ7cLzrRkhcACsoe59iL8WrL2GwPTWLQ3hqhVR3ljwx0URDCVOCzTZg_yD3RWTIDvIpGv3S-K17qvW1PlGnvVhVy7000rA/s479/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="479" data-original-width="379" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqli4TRYmOeC7zJ0si1lHYfel1tZI6amKVvsJT33CTNIa-CnZ7cLzrRkhcACsoe59iL8WrL2GwPTWLQ3hqhVR3ljwx0URDCVOCzTZg_yD3RWTIDvIpGv3S-K17qvW1PlGnvVhVy7000rA/s320/Sem+T%25C3%25ADtulo.png" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://gulbenkian.pt/cam/works_cam/sem-titulo-149228/">Sem Título</a> (1935, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsfAuELcO0b_7kDefaTP1Hsd21gcQAKenmZCkbGaSsYiEGpEHmVnlxGq9QY_efDpVX76bYTVn94DrO9qiJFOwg17QLcCaufkufVyAC53BJEF68MV9ejKao6FrFMxsygLPwvOPD20K1SnA/s571/antonio-pedro---sabat-fit-555x571-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="555" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsfAuELcO0b_7kDefaTP1Hsd21gcQAKenmZCkbGaSsYiEGpEHmVnlxGq9QY_efDpVX76bYTVn94DrO9qiJFOwg17QLcCaufkufVyAC53BJEF68MV9ejKao6FrFMxsygLPwvOPD20K1SnA/s320/antonio-pedro---sabat-fit-555x571-6.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="http://www.museuartecontemporanea.gov.pt/ArtistPieces/view/132/artist">Sabat - Dança de Roda</a> </i>(1936, Museu do Chiado - Museu Nacional de Arte Contemporânea, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfFxpJau6kiYnOC_MtWfT-oIW5oJxVMTj2XRvJiYfCpDEhHFnWz348bb6Tduzr2Uf1nNo7woUQnbfK3013S4A8hD0vs546YJS3IcpCFNlB7RJmXunypS_85X6qwFtEgCjuBCuXLbeTPds/s386/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="382" data-original-width="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfFxpJau6kiYnOC_MtWfT-oIW5oJxVMTj2XRvJiYfCpDEhHFnWz348bb6Tduzr2Uf1nNo7woUQnbfK3013S4A8hD0vs546YJS3IcpCFNlB7RJmXunypS_85X6qwFtEgCjuBCuXLbeTPds/s320/Sem+T%25C3%25ADtulo.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/intervencao-romantica-156494/">Intervenção Romântica</a> </i>(1940, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgviMQppZJjOc7s_jiyuIkWp66ui0K3ohpFOgrVZd-bY0e3XH7moXa2y-ayZmGJUOezXisYa4BC7D_UNovBL8gzzhil6069sLNHrTgd-0l9F4T8WPYXYCx8Ut2WtNtnAOxHUxfMLZUxezs/s280/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgviMQppZJjOc7s_jiyuIkWp66ui0K3ohpFOgrVZd-bY0e3XH7moXa2y-ayZmGJUOezXisYa4BC7D_UNovBL8gzzhil6069sLNHrTgd-0l9F4T8WPYXYCx8Ut2WtNtnAOxHUxfMLZUxezs/s0/Sem+T%25C3%25ADtulo.png" /></a></div><div class="separator" style="clear: both; text-align: center;"><i><a href="https://gulbenkian.pt/cam/works_cam/rapto-na-paisagem-povoada-156490/">Rapto na Paisagem Povoada</a> </i>(1947, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisboa)</div><div class="separator" style="clear: both; text-align: center;">-</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4xoWOnYHYhJ0FudnvzKfHP7EtiCZ2ZsVDGkeAhz2jJrnTp_HRp7CBncT3Se9dVhbPWV6HHNLcTrfBhh16w_U5LKvEzJZ_E3z4BccmWRH6XNYUC9HHemHbGsdxSV_oIe3mi76iSssof8/s477/Sem+T%25C3%25ADtulo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="477" data-original-width="372" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4xoWOnYHYhJ0FudnvzKfHP7EtiCZ2ZsVDGkeAhz2jJrnTp_HRp7CBncT3Se9dVhbPWV6HHNLcTrfBhh16w_U5LKvEzJZ_E3z4BccmWRH6XNYUC9HHemHbGsdxSV_oIe3mi76iSssof8/s320/Sem+T%25C3%25ADtulo.png" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://gulbenkian.pt/cam/works_cam/escultura-i-154708/"><i>Escultura I</i></a> (1952, Centro de Arte Moderna, Fundação Calouste Gulbenkian, Lisboa)</div><div style="text-align: center;">-</div><div style="text-align: justify;">António Pedro da Costa nasceu em Cabo Verde, em 1909, e morreu em Moledo do Minho, em 1966. Começou por dedicar-se à poesia, tendo publicado desde 1926. A partir de 1948, trabalhou em teatro e foi director do Teatro Experimental do Porto (1954-1966). Em 1930, foi um dos organizadores do Salão dos Independentes. A sua obra pictórica desenvolveu-se entre 1934 e 1949, relacionando-se com a poesia. Entre os seus primeiros trabalhos conta-se o <i>Poème Dimensionnel </i>(1935). Em 1935, assinou o manifesto do «dimensionismo», também assinado por Duchamp, Kandinsky, Delaunay, etc. Para ele, o «dimensionismo» era: «Direcção especial de uma série de procuras caracterizadas pela ampliação das possibilidades formais de variadas artes, realizada pelo aumento de uma ou mais dimensões espaciais (...). A poesia precisa cada vez menos de palavras. A pintura precisa cada vez mais de poesia». Em 1936, os seus «poemas dimensionais» foram expostos na Galeria UP, que ele dirigia. O «dimensionismo» passou para a pintura, do que resultou a obra <i>Sabat, Dança de Roda</i> (1936). Desde então, a sua pintura aproximou-se do Expressionismo e do Surrealismo. Em 1940, com António Dacosta e Pamela Boden, realizou um exposição que se opunha à Exposição do Mundo Português, onde expôs <i>Intervenção Romântica</i> (1940). No ano seguinte (1941), expôs em São Paulo e no Rio de Janeiro. Em 1942, escreveu e ilustrou o texto semiautomático <i>Apenas uma Narrativa</i>. Data de 1947, o quadro <i>Rapto na Paisagem Povoada</i>, onde fez uma homenagem aos pintores que mais admirava: Hieronymus Bosch e Paul Rubens.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">Bibl. - Rui Mário Gonçalves, <i>Pintores Portugueses do Século XX</i>, Lisboa, Alfa, 1986, pp.70-73.</div><div style="text-align: justify;">-</div><div style="text-align: justify;">António Pedro da Costa was born in Cape Verde, in 1909, and died in Moledo do Minho, in 1966. He began is career as poet, having published since 1926. From 1948, he started to work in theater and became director of Teatro Experimental do Porto in 1954 (until 1966). In 1930, he was one of the organizers of the Salão dos Independentes. His pictorial work was developed between 1934 and 1949. Among his first works is the <i>Poème Dimensionnel</i> (1935). In the year 1935, he signed the manifesto of “dimensionism”, also signed by Duchamp, Kandinsky, Delaunay, etc. For him, “dimensionism” was: “Special direction of a series of demands characterized by the expansion of formal possibilities of various arts, realized by increasing one or more spatial dimensions (...). Poetry needs less and less words. Painting needs more and more poetry.” In 1936, his “dimensional poems” were exhibited at the UP Gallery of Art, that he directed. «Dimensionism» passed to painting, which resulted in the work <i>Sabat, Dança de Roda</i> (1936). Since then, his painting has approached Expressionism and Surrealism. In 1940, with António Dacosta and Pamela Boden, he held an exhibition where he exhibited <i>Intervenção Romântica</i>. The following year (1941), he exhibited in São Paulo and Rio de Janeiro. In the year 1942, he wrote and illustrated the semiautomatic text <i>Apenas uma Narrativa</i>. The painting <i>Rapto na Paisagem Povoada</i> (1947) is an important work in which he paid tribute to the painters he most admired: Hieronymus Bosch and Paul Rubens.</div>Margarida Eliashttp://www.blogger.com/profile/04571760382233074903noreply@blogger.com0