Showing posts with label Sculptors. Show all posts
Showing posts with label Sculptors. Show all posts

Monday, May 10, 2010

Twitter of the sculptor Manuel Pereira da Silva is the Portuguese most followed

According to the blog eMuseu, the Twitter of sculptor Manuel Pereira da Silva is the Portuguese that has more followers ... curious.

Sunday, January 03, 2010

Three sculptors with value

The publication of this literary work is biographical and critical and is related to three sculptors from Avintes, Portugal, named António de Sá Fernandes, Henrique Moreira and Manuel Pereira da Silva - three glories of our land.

Monday, May 04, 2009

Monument to José Maria dos Santos in Palmela

This monument, made by Manuel Pereira da Silva, was to honour José Maria dos Santos (1832-1913), by the Palmela City Council. He became the largest Portuguese wine producer at the time.

Tuesday, April 21, 2009

Arlindo Rocha, a pioneer of the abstract sculpture in Portugal

Arlindo Rocha and Manuel Pereira da Silva.

Arlindo Rocha, 1921 - 1999
Graduated in sculpture at the School of Fine Arts of Porto, in 1945.
In 1953 he obtained a scholarship from the Institute of High Culture, for Italy, and in 1959, a fellowship of BCG to Egypt and Greece and visits the major museums of Europe.
Was a member of the Oporto Group "Independents" (years 40).
Was awarded a silver medal at the Universal Exhibition in Brussels (1958).
Has works in public places - schools, palaces of justice, gardens, etc. Egg in Setúbal, Oporto and Viseu.

Oporto Bishop.

Arlindo Rocha is considered a pioneer of abstract sculpture in Portugal, among with Manuel Pereira da Silva, Jorge Vieira, and Fernando Fernandes in the emancipation movement of the sculpture from his vocation statuary. The pieces "Woman and Tree" in 1948 and "Science" of 1961, this one was radical abstract, are milestones in Portuguese sculpture of the last century.
His work tended to be geometric inevitably absolute. However, in recent years returned to a hard Figurative, with orders to local authorities.

Setúbal: The Poetry, The Sea and The Earth.

The abstraction, true the School of Paris, in two parts, sometimes more geometric and in other moments more lyrical. The most relevant national figures were: Maria Helena Vieira da Silva, exponent of the "Ecole de Paris", and here, in Portugal, Fernando Lanhas, Nadir Afonso, Manuel Pereira da Silva and Arlindo Rocha.

Monday, April 20, 2009

Bust of Fernando Fernandes made by Manuel Pereira da Silva

1946 Bust of Fernando Fernandes made by Manuel Pereira da Silva.

Born on 11 April 1924, in Braga. In 1949, concluded the Course of Sculpture in the Oporto Academy of Fine Arts.

In 1952, participated in the exhibition at Modern Art of the National Intelligence with the work Piet. The logic and syllogism, in 1953, the first abstract sculptures presented in a school, getting the classification of 19 values.

The logic and syllogism.

After finished the course, Fernando Fernandes attends the School of Fine Arts in Paris and the Slade School of Art in London. It had a fellowship of the Institute of High Culture and the Calouste Gulbenkian Foundation. Represented Portugal in the II and V Biennial of Modern Art of São Paulo in 1953 and 1959

Fernando Fernandes was colleague and fiend of Manuel Pereira da Silva in adventurous stay in Paris in 1946 and 1947, along with the Painter Júlio Resende and the Sculptor Eduardo Tavares who came to be user of the Manuel Pereira da Silva studio, which also occurred later, with the Sculptor Aureliano Lima and the Painter Reis Teixeira.

Friday, April 17, 2009

Henrique Moreira - Sculptor

In 1991 the sculptor Henrique Moreira was honoured by the land that he was borne, Avintes.
On the centenary of his birth, the Board Council of Avintes decided to erect this monument, the work was made by the sculptor Manuel Pereira da Silva.

Monument to the Sculptor Henrique Moreira in Avintes.

Henrique Araújo Moreira (Avintes, Vila Nova de Gaia, 1890 - 1979) was an important Portuguese sculptor.
He had study in the Oporto Academy of Fine Arts, where he was student of Master António Teixeira Lopes; Henrique Moreira left us a remarkable work, recognized in numerous awards, including those of gold medals that were awarded in exhibitions in Lisbon and Seville.
In his vast work, which perpetuates the legacy of naturalist Eight hundred, there is already an updated recipe for the emergence of Art Deco aesthetics, such as denouncing the decorative buttonhole, “The Boys” in the Allies Avenue, Oporto, it is obvious the convergence of a natural harmony of lines and volumes, this naturalist expression gives to the artworks an immense serenity.

The Boys, Allies Avenue in Oporto.

“The Lady Nude” Work of Henrique Moreira, was held in 1929 and is on Allies Avenue, Oporto. Represents a naked woman, seated, with arms supported on a plinth which four faces with masks throw water into a small tank.

The Lady Nude, Allies Avenue in Oporto.

“Tenderness” in the S. Lázaro Garden, Oporto.

In Carlos Alberto Square, a monument to the Portuguese killed in The Great War of 1914-18, Oporto.

The Unknown Soldier, Carlos Alberto Square in Oporto.

Priest Américo (1959/61 - Bronze) in the Republic Square, Oporto.

The Garden Antero de Figueiredo is a small garden located in front of the Foz Market, predominantly consisting of beds of flowers. At the centre there is the bust of the writer who gives name to the Garden.

Antero Figueiredo, Foz Market in Oporto.

Wednesday, April 15, 2009

Aureliano Lima - Sculptor and Poet

Aureliano Lima was born on 23 September 1916 in the Carregal do Sal, homeland he saw growing up to five years of his childhood, and in 1921, went live for a few years for the Lagares da Beira (Oliveira do Hospital) with his parents.

Sculptor, designer, poet and Portuguese medallist, self made man, comes to the arts in the mid-40s, after having exercised the most different professions (pharmacy assistant, a prison official ...). In 1939, it is in Coimbra. In the city of Mondego, writes, works in literary journals and, for the first time at the Exhibition of Coimbra Artists in 1948.

In the same year, was present in the III General Exhibition of Plastic Arts, organized in Lisbon by the National Society of Fine Arts. At the time, the first sculptural work - busts, as expressive of Teixeira de Pascoaes in adobe - remains bound by the precepts of figurative statuary that, later, abandoned in favour of a search not figurative, interested in exploring the poetic qualities of materials - the stone, wood or plaster and also the iron.

In 1958, goes to Oporto and shortly after to Vila Nova de Gaia, where he arrived to work in the studio of the sculptor Manuel Pereira da Silva. It was the final entry in to the artistic and cultural resources, an open door to new experiences, new creations and activities. "Still remember the first visits to the studio loaned Rua Afonso de Albuquerque, near the Torne School, which with Manuel Pereira da Silva, Aureliano Lima, shared that act almost starting to modern sculpture, outside the channels of official or academic, away from eyes of the critics that are rarely interested in sculpture in Portugal.”

In 1950, Manuel Pereira da Silva made this bust in plaster of Aureliano Lima.

In Serafim Ferreira - The Art in Portugal in the séc.XX: The Third Generation. Lisbon: Livraria Bertrand.

He worked in various newspapers and literary magazines, as Vértice, Seara Nova, Diário de Coimbra, The Commerce of Porto, Jornal de Notícias, Diário de Lisboa and Symposium / Lyrics.

In Lisbon, he participates in the II Exhibition of Plastic Arts of the Calouste Gulbenkian Foundation (1961). His sculptural work is, at the time, a major makeover. In further experiments not figurative perceives to be a dual voltage, reflected in the dialogue between form and form filled hollow between the line (the rods of iron, for example, the two works Untitled collection that belong to the CAMJAP, dated mid - 60) and the volumes relieved of its three-dimensional solid or in works of biomorphic feature or anthropomorphic.
Then left to work the masses compact. Prefers the emergence of expressive form in the vertical space, that the interaction with it, letting it penetrate the area, sometimes sublimated in colour, sometimes reinforced their presence in raw (through textures, contrasts, manufacturing marks ...). Later, the tension seems to hang the sculpture as an understanding of geometric shapes elementary game. And here also, since the 60s and 70s, the work of sculptural Aureliano is reflected in an innovative manner with which the artist works the contemporary language of painted iron and plastic.

The sculpture is then reduced to an abstract signal that interrupts the continuity of physical space (e.g. the number of polychrome sculptures of the 70 and 80). In these works, the contrast between full and empty, the reduction of the sculpture to a strict structure of plans, lines and circles painted in single colour, is close to a question about the value and visual identity of the sculpture, very rare in Portugal.

Between 1965 and 1967 was fellow of the Calouste Gulbenkian Foundation in Paris, where he attended as a sculptor of "Ateliers Szabo.
It has works of sculpture and paintings in various museums, public squares and private collections. Among them, focus on three sculptures: "Homage," a piece of bronze with 2.10 meters in height, within the Municipal Library of Vila Nova de Gaia, "The Cry," Monument in Nelas with 4.30 m, and the monument Fernando Pessoa, in Vila da Feira, with 5 meters high. He has made also several busts: Miguel Torga, Afonso Duarte, Paulo Quintela, Antero de Quental, Camilo Castelo Branco, Nietzsche, Beethoven, Edward Lawrence and Mario Braga.

The Cry, Monument in Nelas

In poetry is the author of several books: "Behind Rio" (Galaico Prize for poetry, 1961), Porto 1963, "The Circles and Signs", ed. Author's, Oporto 1974, "Inside-Out Time", ed. Author's, Oporto 1974, "The Gray Man or the Alchemy of Numbers", ed. Author's, Porto 1975, with foreword by Fernando Guimarães, "Song and Eucalyptus", Brasília Editora, Porto 1979, "Parallel Mirrors", Brasília Editora, Oporto 1983, "The bed and house," Brasília Editora, Porto 1986, "The Dr. De Vila Seca, Col. Blue Leopard, Oporto 1990.

As poet, Aureliano Lima was to publish a first collection of poetry in 1963 (Rio Underlying, "Galaico Prize") in the same year that held its first solo exhibition (Oporto, Alvarez Gallery). Over the following decades, participating in some major national exhibition of art (III Salão Nacional de Arte, Lisbon and Oporto, 1968; Exhibition of contemporary artists selected by AICA, 1972, III Vila Nova de Cerveira Biennale of Art de 1984 ...) and also runs some projects of medals.

In 1983, it opened in Vila da Feira a large monument dedicated to the poet Fernando Pessoa. The sculpture, a large (five meters high) in bronze, reflects how Aureliano Lima felt the plastic creation: energy and concentration, as a synthesis of form, reduction of a sequence of fragmented plans, an expressive grammar would take another monumental project, The Cry (Nelas, 1982-1983).

After his death in December 1984, the Municipal Museum has incorporated in its collection by Helena Maria Barata Lima, widow of that eminent sculptor, a set of sixteen pieces sculpture, whose donation in 1990, would be implemented as a gesture of affection and love for the mother land. In this collection we can see artistic productions in iron recovered and polychrome in a geometric and abstract trend language, that he was one of the precursors as well as sculptures in stone, plaster, bronze and wood that can be appreciate.

The iron sculptures in the years 50/60 mark the meeting of Aureliano with the steel construction of Julio Gonzalez and Picasso. The creation of Aureliano launched it in a game of three-dimensional metal rods welded on line, suggesting the presence of volume, lay in its transparency, a symbolic relationship between surface structure and abstract space where they operate. Result anchors plunged in thought of man, the artist, who seeks and finds.
Important for new paths explored, especially in the context of the Portuguese art of the 60s and 70s, his sculptural works remain relatively unknown. The difficulties in the assertion of a personal artistic career, the scarcity of resources, on the discretion of your creative journey, helped to hide the sense of a trial marked by creativity and irreverence plastic models to the traditional aesthetic. Self by circumstances of life was also, by temperament, an anti-academic for whom the sculpture could not confine itself to a program or illustrative apologetic because he was, above all, an independent presence in the world.

Aureliano, even in the 60s and 70s, working a series of sculptures in stone, marble and wood. In these works sit down to read the study, Constantin Brancusi, Henry Moore in which Aureliano explores the properties of natural materials which, assuming a simplified, stripped of roots become germline. Thus, nature appears to be polished coated pure abstraction of a value which is close to unveiling the contemplation of works of art.

Aureliano Lima's work is marked by constructivism abstract. His creative spirit expressed in the sculpture in various materials (plaster, bronze, wood, marble, stone, polychrome iron, iron recovered) as well as in his painting highly abstract and with a clear traces of contemporary minimalism.

Aureliano Lima deserves our attention and admiration for the novelty of his art that tore the apathy of the figurative art of his time.

Thursday, April 09, 2009

Independents, Oporto artist group

The abstract art is historically linked to the Portuguese Independents exhibitions, its main organizer and coordinator, Fernando Lanhas, coincidentally is the central figure of abstractionism.

After the I exhibition in April 1943, in the of Fine Arts School of Porto, with sculptures of Altino Maia, Mário Truta, Arlindo Rocha, Serafim Teixeira, Augusto Tavares and Manuel Pereira da Silva, the Independents exhibitions will be place outside the school and several times outside the Oporto, a first example of decentralization, does not avoid a certain marginalization of Oporto artists on events and initiatives for greater visibility and impact of the capital.

The II Independent Exhibition shows, in February 1944, at the Atheneum Commercial of Oporto, with sculptures of Altino Maia, Arlindo Rocha, Eduardo Tavares, Joaquim Meireles, Manuel Monteiro da Cunha, Maria Graciosa de Carvalho, Mário Truta, M. Félix de Brito, Manuel Pereira da Silva and Serafim Teixeira. It will be from there that the action of Fernando Lanhas will be felt in the consistent quality of the catalogue and exhibitions, as well as persistence in keeping alive the initiatives.

The III Independents Exhibition takes place in the same year, in the hall of the Coliseum of Oporto, with sculptures of Abel Salazar, Altino Maia, Antonio Azevedo, Arlindo Rocha, Eduardo Tavares, Henrique Moreira, Manuel Pereira da Silva, Mário Truta and Sousa Caldas. In the catalogue of the exhibition, that goes to Coimbra, Leiria and Lisbon, in 1945, states that the name of "Independents" is not a name at random, but involves the awareness that art is a heritage of humanity and hence the "Our presence varied, it being understood that this should enable it to build the future, can not be denied the right to remember the past (1).
For Fernando Lanhas the "Independents Exhibition" of Oporto is a significant historical moment in our painting and sculpture. First, because together painters and sculptors of different training (the reason for the word "Independents" has no affiliation of an "ism" particular), also engaged in a collective action and immersed in the same enthusiasm. Second, because there appears, without pre-concepts or complexes, this original and fruitful abstraction. And thirdly, because they escape to the centralized voracity of the capital.

Between 1946 and 1950, there are four more independent exhibitions in the Bookstore Gallery Portugála, in Oporto, on 46, 48 and 50, and one in Braga in the 49. From 1943 to 1950, exhibited in almost all expositions the painters Amândio Silva, Aníbal Alcino, António Lino, Chambers Carlos Ramos, Dordio Gomes, Fernando Lanhas, Júlio Pomar, Júlio Resende, Nadir Afonso, Rui Pimentel and Vitor Palla.

Wednesday, June 11, 2008

General Ulysses S. Grant, 18º President of the United States of America

Sculpture in Bronze of General Ulysses S. Grant, 18º President of the United States of America between 1868 and 1876. This monument was ordered by the Portuguese Government to Manuel Pereira da Silva for the capital of Guiné-Bissau. (1955)

Monday, November 27, 2006

Art Blog

Thank you for visiting our Blog! is a blog that intends to show the artworks of the Sculptor Manuel Pereira da Silva.

The workmanships displayed here are original, are dated, signed and belong to the collection of his son Pedro Nunes Pereira da Silva, responsible for the creation and maintenance of this space.

Pedro Nunes Pereira da Silva
R. General Humberto Delgado nº246
Phone: +351966779055


Manuel Pereira da Silva
Self-portrait, 1984
Oil on canvas 

Manuel Pereira da Silva(7 December 1920 - 2003) was a Portuguese sculptor. He was born in Oporto, Portugal.
The workmanship of Pereira da Silva has an abstract formal orientation inspired in the human figure, in particular the man and the woman.
In 2000, the Medal of Cultural Merit was attributed to Pereira da Silva for the City Council of Vila Nova de Gaia

In 1939, he entered the Oporto University College of Arts. In 1943, he finished his coursework with the final classification of 18 values. During his coursework he was distinguished with two awards, "Teixeira Lopes" and "Soares dos Reis".

In 1947 and 1948, he studied in Paris, France at the Paris College of Arts.

Manuel Pereira da Silva
Self-portrait, 1984
Graphite on bristol board 

Selected works

I Exposition of the Independents, in the Oporto University's College of Arts. (1943)

II Exposition of the Independents, in the Atheneum Commercial of Oporto. (1944)

III Exposition of the Independents, in the Coliseum of Oporto. (1945)

Low-relives in Stone in the Rivoli Theatre and in the Coliseum, in (1945)

Exposition of the Life and the Portuguese Art in Lourenço Marques, Mozambique (1946)

Exposition of Modern Art in the city of Caldas da Rainha (1954)

Sculpture in Bronze of General Ulysses S. Grant, 18 President of the United States of America between 1868 and 1876. This monument was ordered by the Portuguese Government to Pereira da Silva for the capital of Guiné-Bissau. (1955)

Manuel Pereira da Silva
Self-portrait, 1984
Graphite on bristol board 

Paintings in the Church Saint Luzia, in the city of Viana do Castelo. (1956)

Paintings of the "Snow White" in the Street of Saint Catarina, in Oporto(1957)

Sculpture in Bronze in the Square Marquis do Pombal, in Oporto(1958)

II Exposition of Modern Art in the city of Viana do Castelo. (1959)

Low-relief in Ceramics in the capital of Angola(1960)

Low-relief in Stone of "D. Pedro Pitões exhorting the Crusades" in the Courthouse, in Oporto (1961)

II Exposition of Plastic Arts of the Foundation Calouste Gulbenkian, in the city of Lisbon(1962)

Retrospective Exposition in Homage to the workmanship of Pereira da Silva by the Artists Association of Gaia. (1987)

Manuel Pereira da Silva
Self-portrait, 1984
Oil on wood