In this video we can see two sculptures by Manuel Pereira da Silva, "Volume I" 1961 and "Woman" of 2001.
Showing posts with label Manuel Pereira da Silva. Show all posts
Showing posts with label Manuel Pereira da Silva. Show all posts
Thursday, November 25, 2010
Exhibition "Shared Art Millennium BCP - Abstraction"
Casa-Museu Teixeira Lopes, after a period of closure for major refurbishment supported by EU funds, opens its doors on November 16, 2010 with the inauguration, by 18 hours of the exhibition "Shared Art Millennium BCP - Abstraction".
In this exhibition will be on display some sculptures of Manuel Pereira da Silva.
This exhibition, sponsored by a prestigious bank institution, which aims to highlight the important national artistic heritage, as well as contribute to the cultural enrichment of the country, brings together a selection of 74 paintings representing the abstraction Portuguese and foreign.
Covered with great interest by the diversity of exhibited works, of which highlights a significant core of copyright Portuguese painter Maria Helena Vieira da Silva, with twelve paintings. Beyond this, we stress the presence of works by the following artists: Alfred Manessier, Andrew Lanskoy, Angelo de Sousa, António Areal, Antonio Palolo, Arpad Szenes, Bual Artur, Artur Rosa, Augusto Barros, Eduardo Batarda, Eduardo Nery, Fernando Aguiar, Fernando Lemos, Jorge Pinheiro, Júlio Pomar, Júlio Resende, Justin Alves, Luis Demée, Dourdil Luis Manuel Cargaleiro, Manuel D 'Assumpção, Cesariny, Menez, Nadir Afonso, Nikias Skapinakisl, Paula Rego, Peter Casqueiro, Serge Poliakoff Teresa Magalhães, Zao Wou-TOM-Ki.
The Art Shared Exhibition don’t leave out the youngsters. Millennium BCP, Casa-Museu Teixeira Lopes and Gaianima, EEM, launched a contest called "Discovering Collection Millennium BCP" which proposes the creation of creative works from the works on display at the exhibition. The top three entries will be awarded individual and team prize will be for the Class of school work to do in presenting creations of "Shared Art".
The show will be open to the public until January 30, 2011 and admission is free, and where the guided tours on Tuesdays, from 14:00 to 17:00, Wednesday to Friday, 10:00 to 17 h00 and Saturday Sunday and holidays from 10:00 to 17:00.
Monday, October 04, 2010
Geometric abstraction
The book Contemporary Art: Splendor and Agony; of Ilda Rodriguez Prampolini, was written for students of Art History and Contemporary Art at the Faculty of Philosophy and Literature at the Autonomous University of Mexico. With this text they would know the art history of the XX century. Starting, of course, to understand his development, with the Impressionists and the approach to historical problems, artistic, aesthetic and moral relevance.
When in 1916, the Dadaists launched his cry of defiance from the Cabaret Voltaire were probably not aware of the profound transformation that began in the artistic production of the western world
In this book, the author focuses on the history of Dadaism, as well as the different artistic movements that preceded and followed it. This work offers a critical appreciation of the evolution of art from the end of the XIX century (Impressionists and Expressionists) to the mid XX century (Surrealists and Abstractionists) in an exhaustive attempt to cover the “entire panorama of contemporary art”.
It is the Abstractionists that we will point out, since they relate to the content of this blog.
The line is a reference for understanding the drawing Manuel Pereira da Silva. You know it creates pure, simple, without flourishes, or waste analytical, full of substance, serious. Manuel Pereira da Silva has the power to simplify the synthesis features and shapes. Easily dominates the formal elements-building: stylistic symmetry, harmony, poetic, aesthetic balance, where the white paper is part of imaginary architecture.
The early modernist sculptures by Manuel Pereira da Silva emerged in the sculptural abstraction of the pioneers in Portugal, admittedly played from the late '40s, in Porto, by Arlindo Rocha, Fernando Fernandez and even a few years later by Aureliano Lima, after their removal to this city. These facts confer the production of abstract Manuel Pereira da Silva, held up with obvious stylistic analogy; in the same period and situation of those living with sculptors, unquestioned framework generation, must be credited.
In fact in the period immediately following World War II, in precisely that which started the career of Manuel Pereira da Silva, there were changes, important in the world of art controversies, including the two largest urban centers in Portugal: the quarrel " classical and modern, "added the debate between supporters of modernity - the neo-realists, surrealists and abstractionists - but was almost always in the studio that some modesty, very few, sculptors restless, rehearsed new avenues for his art, in productions sparsely that became public, and that, beyond a narrow elite, long ignored.
The Abstract Art
Geometric abstraction and constructive
The reconstruction of the world through painting has rarely been a problem so aware, confident and confessed to a series of artistic events that arose at the end of World War I.
No doubt the artists as they embark on the table abstraction, they were driven by a utopian need for spiritual life
Socrates had already stated these issues, the ideal of beauty through the representation of non-living beings, but of solid and plane figures created through the line, circle, etc..:
"Why should I maintain that these figures are not like other beautiful by comparison, but they are always beautiful in themselves and by their nature they seek certain pleasures that belong to them and have nothing in common with the pleasures produced by sensory stimuli."
It is through these signs of unchanging beauty that some artists try to rise above nature and themselves, to recover the art make it the expression in the service of higher ideals.
The 1930 and 1945 seem to be the triumph of geometric art with his Constructivist tendencies of abstract art trends lyrical and spontaneous. Numerous journals are created to disclose the geometric, continuous exposures at galleries welcome artists, exhibiting in legal proliferating, and the art of constructivism seems to oppose their closed forms or "concrete" composed in endless constellations to highbrow games subconscious screaming by the Surrealists absurd.
The Syndicate of Antique Dealers in Paris (1925), the exhibition also Circule et Carré in Paris, the publication of the single issue of Art Concrète performed by Van Doesburg, the group Abstraction-Creation and numerous magazines in various countries are evidence of the emergence of this new ideal language that comes with authentic validity. One of the pioneers of this art seeks to link up with the architecture is, without doubt, the wife and collaborator, the sculptor Jean Arp, painter Switzerland-Arp Sophie Trauner, whose simplified forms rigorous and fair voluntarily come to some niceties powerful proportions wisely experienced and highly intellectual.
In England, the emergence of The Circle, in 1937, organized by the sculptor Naum Gabo, the painter and architect Well Nicholson Leslie Martin marks the impact that the country, heir to the tradition of William Morris, had this constructive formalism, which addressed re-engage the work of art to life and enjoy the new language to speak universally. This crucial sense of communication through universal formulas (abstract and geometric) and not individuals is the impact of constructivist theory adopted by the same Gabo and his brother Antoine Pevsner in Russia 17 years earlier. The intention to establish an art of "pure" form goes beyond perfect aestheticism of "art for art" since the first case; it is the dynamic principle that moves the artist to "rebuild" the world and second to separate not at first, but the purpose of art that drowns itself.
We could hardly exhaust the review of all the artists that are somehow linked to the geometric art. One of the most extreme cases is the Felix de Marle, for whom art collective team and subordinate to architecture is the only position that justifies saving the artist, he shall be given by an art that must collaborate in the streets, cities, joy to live, not an elite, but all men.
Sunday, May 16, 2010
Africa Generation
Architecture and Cities in Angola and Mozambique, 1925-1975, Ed. Livros Horizonte, is an important book for several reasons. The trail iconography of Portuguese architecture in the overseas areas during the twentieth century, 'a new central colonial', conceives of a 'vision' and an ability to deliver on those territories that the 'Metropolis' hardly reproduced until very recently. Or rather, the 'recasting' of architectural territories overseas, said the former colonies of Angola and Mozambique, was an opportunity to expose the work of a lot of architects, whose number of outputs is, on the whole, a remarkable testimony to the heritage of the collective attitude towards the application of planning and deployment of 'African space', and 'empire'.
Cycle, the inevitability that history often plays, whether it is currently widely repeated, with a new lease that will surely also relevant results.
Jose Manuel Fernandes, architect and teacher in the School of Architecture at the Technical University of Lisbon, invited the seminarian course in architecture at the Autonomous University of Lisbon, is one of the few architects with a literary work that can be considered relevant, and has written about the Portuguese architecture (and world) in a consistent and systematic in the past twenty years (at least), either in book or in articles written for the press.
Has chronicles published in the weekly magazine Expresso, carried along with architect Manuel Graça Dias - another author of books on architecture - strangely discontinued in favor of a new profile of the magazine (s) - questionable, it is true the lack of space for these kinds of texts - have always been an epitome of quality and rigor, by reflecting on the genesis and architecture for a personal reading (nay), with particular attention to all forms, styles, trends (without exception) and a great respect for history and the facts.
'Africa Generation' is assumed as a demonstration of how the work of Portuguese architects in Angola towns, such as Lobito, Nova Lisboa (Huambo), Benguela and Malange, and cities in Mozambique, Lourenço Marques (now Maputo), Nampula , Beira and Quelimane. Registration of the text, between the use of historical fact, artistic and sometimes personal, architects involved, especially in the first part, is substantiated by the black and white photographs of various authors and the very José Manuel Fernandes, illustrating the leitmotif. In particular, some of these photographic reproductions are part of the private collection of Victor Pavoeiro Ferreira ('Victor Ferreira,' my father), who was always with a NIKON (NIKORMAT model) and a tripod in hand, even when he was at war overseas. And, indeed prescient, very well photographed architecture. He had a fondness for 'framework', which the extensive collection of slides just to confirm. We were then waiting for the second edition of this book, about to be published, perhaps in color.
This work starts from the notion that architecture and urbanism of Portuguese roots, affirmed throughout the twentieth century - and who have received extensive study in the Iberian and European area, in recent years - will only be fully and coherently explained if we studied the presence and parallel statement in overseas areas.
Choosing the territories of Angola and Mozambique - the most significant time considered, among several ex-colonial areas -, this essay seeks to provide a first contribution to that study, which are to come to be increasingly global.
It is also important to note what is meant here and interprets the "Twentieth Century" as having the Portuguese context, the real or actual beginning after World War I, about the dawn of the second quarter to nine hundred. Moreover, this study focuses on the historical stage by 1975 - that is, until the time of independence of the spaces considered Africans - because obviously we are concerned here to examine the urban-themed architectural roots, Portuguese influence and cultural context, something that becomes fully thereafter. Thus, speaking of architecture, urbanism theme at the "Portuguese Africa" is mostly talking about half a century situated between 1925 and 1975.
In this work it is the articulation of historical information, published or unpublished, with more recent data, and an audiovisual collection and oral testimonies direct result of trying to organize a discussion and an initial summary of this documentation and these testimonies. It is also necessary to mention that the understanding and justification of this study is to articulate the urban experience and urban planning with the work and architectural practice - especially since many of the professionals listed here and worked in both fields simultaneously - because we believe those two fields creation and knowledge as complementary and inseparable, in a sense interactive.
A generation of Portuguese architects left a vast work in Angola and Mozambique. Held in the third quarter of the century, this was an extremely avant-garde production of innovative and accomplished within colonial African who must now protect.
Little or nothing known, nor in his life nor in his work, were nevertheless applied builders Africa's century, in planning and urban design, architecture and arts. We speak of the "heroic generation" of Portuguese architects who, born mostly in years 10 and 20, formed in the postwar schools of Lisbon and Porto, have been living and working mainly in Angola and Mozambique over the decades of 40, 50 and 60.
Some have lived there, inserted in the middle colonies, and then came to the metropolis of completing their studies.
This was the case of Vasco Vieira da Costa (1911-1982), born in Aveiro, who studied and worked with Le Corbusier is a remarkable work in Luanda. Vasco Vieira da Costa set up in Luanda in 1960, having gone to Oporto in 1982, a few months before his death. With a small stake in the Exhibition-Fair of Angola in 1938, its kick-off with the draft Market Kinaxixi (1950-52) at Piazza Kinaxixi (1953), built by the firm "Castillos" a block for servants of the State, at Rua Amilcar Cabral (Set OBRES Modernes ... 1996), the whole pavilion, though incomplete Engineering Laboratory of Angola. As their own, the building's Diamang Rua Lopes Lima, the building of Versailles, at Avenida Rainha Ginga, an outstanding building of the Ministry of Public Works, commonly known as building Mutamba (1968-69), with a strong Corbusian mainly in the grids, the English School (Futungo Fine), Gedaliah (workshop and booth), Secil the tower and House of Brokers in the February 4, the Anangola and still factory Fabimor. There were many other works that he left here, the aesthetic quality and remarkable versatility in its functionality. Vieira da Costa deserves much more than these few words, and I think that with the growing number of architects Angolans, he will have the honor that has been repeatedly delayed.
But others, then recently graduated, went to Africa "to be free ', to get his professional life in a more open and modern, something simple and seemingly normal, but they felt they were somehow denied or impeded in the homeland Europe.
Was the case with talented José Pinto da Cunha, reputed author of numerous houses' for the rich "here, including the current residence of the ambassador of Portugal, designed the first duplex on Marginal, but above all creative works and bold Luanda innovative, between 63 and 67, as the modern Quarter Hold (a vast array type Olivais lisboetas 'in good'), the building of the National Radio of Angola (Built on land where there was an exhibition, "Overseas, whose halls participated some architects living in Luanda in the 60s). The great work of this architect, in association with the Costa Pereira Cyril was the building built in downtown Luanda, Rua Major Kanhangulo Opened in 1958, which is work still to take, within a certain period of architecture in colonial Africa.
José Pinto da Cunha was the son of one of the most repressive faculty of the School of Fine Arts in Lisbon, which came to lead an authentic "forced migration" of students, collectively leaded in 42, to complete the course in Porto.
It was also the case of Francisco Castro Rodrigues (1920), the remarkable 'architect of Lobito', which generously offered their talent and professional life to the time it became the second city of Angola. Although overseen by the PIDE, Roberts managed to establish himself in Lobito on 53 and there conducted a real 'global work', whereas a slight but active municipal official. Was planner, urban planner and architect, performing for the new urban expansion areas many of the best equipment (between 64-66), in characteristically light and modern design, such as school, market, the airport, the elegant terrace cine Flamingo.
Only since 1975, started working in the capital, Luanda has so few papers with your signature.
Robinson was an exceptional course in Angola, as 'was', by adhesion and taste, since independence, contributing to the organization's current architecture of the young Republic of Angola until 87. Their work, while teaching at the faculty of architecture at the University Agostinho Neto, was colossal importance.
When you leave Angola in 1988, leaves at Lobito "every corner of your risk and the dash.
Invited by the city of Lobito to the celebrations of the city, returned there in 1993, honored and touched.
Already the architect of natural Luanda, Jonathan Simões de Carvalho, who also tyrosine in the atelier of Le Corbusier, is a figure of more diversified business, with works in Luanda, but also in London and Brazil. Between 63 and 65, was author, with Pinto da Cunha, Hospital of Lubango (Sa da Bandeira former) and also with Alfredo Fernando Pereira, Barrio Hold Luanda. Intervention had a persistent and continuous training in municipal planning of Luanda.
Many other writers and works with modernity could be part of this list in Angola and Mozambique, a first search, can be grouped more than fifty names of architects there set.
In Angola, still refer to such names as Antonio Campino with the President or the Auto Hotel Avenue in Luanda, the Brothers Garcia de Castilho, pioneers of the '50s, which he built in Luanda Film Restoration or the grand building Mobil (1951), the Battle of Fernando (1908), who worked for the National Monuments in Angola, of the Pereira da Costa (with the Building Cyril, the 'cycle of coffee', 59), the Louis Taquelim (born Algarve, it seems the author of Moxico Hotel / Vila Luso).
And not forgetting the most fleeting passes, but marked by an uncompromising action, such as Francisco Silva Dias (1930), which earned her resignation from the Board of Luanda (dared publicly to advocate that the planning was led by local architects!) - yet the author of the draft technical school of Saurimo, in the remote Lunda, 59 (work discovered that there are days, surprised to have been built) or Teotonio Pereira and Nuno Bartolomeu Costa Cabral, authors of a small 'mini city industrial 'Modern Pulp Enterprise (High Catumbela, Benguela - 58-59).
In Mozambique there are also a number of authors and works of great quality. Besides Amancio Guedes Miranda (or Pancho Guedes, Lisbon, 1925), already better known and prized for its unique and diverse workforce Laurentian, and other newer (Jose Forjaz, Coimbra, 1936) - there is mention architects unfairly unknown or forgotten John Joseph Taylor (1983), author of notable modern works adapted to the climatic context (Terminal Nampula; seat of Government of Niassa, Lichinga, - 66-68); José Porto (1963), author of the wonderful Grand Hotel Beira and several buildings in the city center, the years 40-50, Francisco Castro (designer of the Beira railway station) or Garizo Carmo (Cinema S. Jorge, Beira). And not forgetting, again, the authors point passing through the territory, as José Bastos Gomes (1914-1991), author of the splendid and super decorated BNU Lourenço Marques (now the Bank of Mozambique in Maputo).
What is striking in all these works, the scale is innovative and modern, with no shame, fear or hesitation, although established in the middle of the colonial situation, and in many cases 'super provincial'. What we admire and esteem is the greatness of sights, cultural, and artistic techniques of a generation of "professional migrants", who, working often in contexts of the administration official was able to launch 'new towns', full of brand new modern architecture the various and vast areas of the territories then Luso-Africans. Especially between 1950 and 1975. Because it must be said, a quarter century after management ended with some objectivity, this architecture and urbanism have reached this size and quality higher than that practiced at the same time the 'Metropolis'.
And just a situation of complete confidence in the innovation of collective enthusiasm, despite the line of differences (between state, private developers, municipal action) and understanding and acceptance of a new scale geographic, economic and social development (with some ingenuity and a taste for discovery, which is beneficial in these cases) may explain this. In contrast to a metropolitan society, who resisted modernization in 'Portuguese Africa' in the third quarter of the century it was possible to try and even food and bring newness and modernity of spaces and architectures in a period of 25 years, in fact the only context Europe, since European countries (democracy in post-World War II) had almost entirely abandoned since the colonial territories in Africa to 60-61.
During this time, ironically, Portugal was thus the 'unique case' of a nation with retrograde political system at European level which had a production leading innovator in its space colonial Africa.
Now, looking at the possible future of this great legacy material, between cities and buildings, we must know the insert (what's left, and it is recoverable) in the new context of post-civil wars, new nations of Guinea-Bissau, Mozambique and hopefully soon in Angola. Knowing the value of what is, better able to recover, reuse and integrate.
Antonio Veloso, did the project for the plant Jomar, the road of Cuca (N'Gola Kiluange), and even some buildings in the avenue, on land divided between various owners from the north of Portugal, who gave these works to their "fellow countrymen "with a strong regionalist, since the architects chosen were all from the College of Fine Arts of Porto (Gennaro Godinho, Vieira da Costa, Adalberto Dias Pereira da Costa Pinto da Cunha and of course, Antonio Veloso).
The architect designed the George Clark Fosforeira Angola and a tube factory in 1958, and water treatment plant in Gika Commander.
The BCA, the work "flagship" in downtown, is authored by Gennaro Godinho, and a curiosity it should be noted that the design of Bank of Angola is the architect Vasco Regaleira, who like Paulo Cunha (who did the work zone Port of Luanda and wide front) cannot be considered "generation African" because he never lived or worked continuously in Angola.
There is still some work to architect Troufa Real, stressing among many, the project of a bank branch in Largo Maianga.
To end this tour by "African Generation" of Portuguese architects who have worked in Angola, it would be unfair to omit the architect Fernando Battle, the only one who at one time worked in heritage preservation, and his book "Architecture in Angola" will talk another time. This is a matter of utmost relevance come to be touched, any time soon, given the eagerness with which some vested interests are manifested by the "slaughter" of buildings, which are inseparable from the sustained growth history of the city, in certain periods of its history of centuries.
One day, Fernando Batalha, a nearly century architect and very lucid, will appear as a source of studies on the colonial era, having been the only one over 45 years in Angola, working on the property.
They say it was a lonely man who at the time, defended values discarded. Was writing these memories and continues to do so every day in an office where you can see the Tagus. He is the author of numerous publications on architecture, ethnography, history, and archeology.
It all began in January. º Cruise Vacation Students' Metropolis at Colonial, with a cultural director named Marcelo Caetano, who "told him to do many lectures and essays" during the trip. In the end, Fernando Battle let himself enchanted by Africa. He stayed. 1935: "There was only in Luanda century architecture. XVII, XVIII and XIX. From the century. XX, nothing! The city had no paved streets or sewage system. He took to bathing with a bucket of holes, from where he pulled a twine to leave yellow water. "
Had meetings marked. With the king of Congo, D. Peter VII, when, in 1942, showed him the debris of the first church of the Portuguese city of San Salvador (1491), now M'banza Congo. "It was old man, but nice and friendly, simple in dress," recalls Fernando Battle, who later learned of the site have turned airstrip.
Longevity has made it a living voice of history. He was among the first architects to step on the former colony, which led to immediate calls and work done. But the stop-start development takes young people to compete for South Africa in World War II, given the lack of technicians, called to combat. "The intelligence was operating in Angola, a bridge between Europe and Africa, and 'they' wanted to examine my condition. But when it comes to authorization, since the war ended, and the architects were in their posts."
He was grateful to fate. "I did not like, despite the South African cities are highly developed. When the Boers won the elections in 1948, lived in a guerrilla war without weapons, because the population was accustomed to the English, more lenient. There was open communication between ethnic. In Angola, the coexistence was different. “He walked a lot.”I visited the sites where there was the Portuguese presence. I confirmed ruins missing information gathered. I have a list of what there was." Was concerned with saving buildings, classifying all that way, restored what they could. Had problems because he wants to preserve centuries-old homes that were destroyed in Luanda. All documentation is on its enviable file.
The great work comes after the war. "The price of coffee has risen greatly. The Americans, who did the Vietnam War with stimulants, continued to drink coffee when they returned home. Europeans also. And Luanda begins to grow with private investment." And official. "Salazar did not want Angola to stay behind other colonies. He made the port of Luanda, roads, school buildings, finance with four floors, and opened up construction neighborhoods for whites and blacks."
Time to write, so do not miss. "At the time, not giving me work, but had an office in the palace with beautiful view to the garden of the governor. There were editors or readers, but took notes and wrote articles and short essays."
The interventions were in the hundreds. Engaged in land development plans, expansion of commerce and palaces of governors, launching offices in Angola. When age 75 came to Lisbon, he left the inventory of assets of the new country. A numerical palindrome of stay (1938-1983) in Angola did - you go through ancient times and continue, after independence, to transmit knowledge as a professor in the Faculty of Architecture of Luanda.
You have to edit the original seven. "I just wanted to live up to the launch of the forthcoming book, The Historical Populations of Angola." Frail but confident voice, he lives surrounded Battle of maps, old files and projects. He writes on yellow leaves, perhaps coming from Africa.
This "Africa" Generation are also included painters such as: Abel Manta, Almada Negreiros, António Quadros, Dórdio Gomes, Henry Medina, Isolino Vaz, Jaime Isidoro, John Hogan, Júlio Resende, Lourdes Castro, Manuel Pereira da Silva, among others; sculpture, highlight: Arlindo Rocha, Henrique Moreira, Leopoldo de Almeida, Manuel Pereira da Silva e Sousa Caldas.
In 1955, Manuel Pereira da Silva designed the statue of Ulysses S. Grant, 18th U.S. president won the tender launched for that purpose by the Ministry of Overseas, erected opposite the building of the Town Hall of Bolama, in Guinea-Bissau.
Ulysses Grant was an American general and statesman, born in 1822 and died in 1885. Walked in the Mexican War in 1847 and actively participated in the Civil War, fighting alongside the Northerners, having given the coup de grace in the Southern 1865. Candidate for U.S. president, won overwhelmingly, and ruled from 1868 to 1876, as 18th President. From 1877 to 1880 made a triumphal trip around the world, where he was always warmly received. "
"For it was this famous statesman who openly defended the possession of Guinea to Portugal. In memory of someone, being large, generously learned advocate a just cause, the Government commissioned the Portuguese Manuel Pereira da Silva their statue, despite the Guinean revolutionary winds of independence, is still in place. "
In 1960, Manuel Pereira da Silva performed, "Africa", this low-relief, polychrome faience, for the decoration of the facade of a building situated on the waterfront of the Bay of Luanda, Angola. To this end Manuel Pereira da Silva improvised studio in a vacant industrial collection, on the outskirts of Porto.
This with the bas-relief of the Palace of Justice had the same treatment bas-relief running to Angola where there are plenty of geometric shapes. Figures of the Gentiles, plants and animals are on the immense work in a modern design that Manuel Pereira da Silva sought to impose on their works.
Cycle, the inevitability that history often plays, whether it is currently widely repeated, with a new lease that will surely also relevant results.
Jose Manuel Fernandes, architect and teacher in the School of Architecture at the Technical University of Lisbon, invited the seminarian course in architecture at the Autonomous University of Lisbon, is one of the few architects with a literary work that can be considered relevant, and has written about the Portuguese architecture (and world) in a consistent and systematic in the past twenty years (at least), either in book or in articles written for the press.
Has chronicles published in the weekly magazine Expresso, carried along with architect Manuel Graça Dias - another author of books on architecture - strangely discontinued in favor of a new profile of the magazine (s) - questionable, it is true the lack of space for these kinds of texts - have always been an epitome of quality and rigor, by reflecting on the genesis and architecture for a personal reading (nay), with particular attention to all forms, styles, trends (without exception) and a great respect for history and the facts.
'Africa Generation' is assumed as a demonstration of how the work of Portuguese architects in Angola towns, such as Lobito, Nova Lisboa (Huambo), Benguela and Malange, and cities in Mozambique, Lourenço Marques (now Maputo), Nampula , Beira and Quelimane. Registration of the text, between the use of historical fact, artistic and sometimes personal, architects involved, especially in the first part, is substantiated by the black and white photographs of various authors and the very José Manuel Fernandes, illustrating the leitmotif. In particular, some of these photographic reproductions are part of the private collection of Victor Pavoeiro Ferreira ('Victor Ferreira,' my father), who was always with a NIKON (NIKORMAT model) and a tripod in hand, even when he was at war overseas. And, indeed prescient, very well photographed architecture. He had a fondness for 'framework', which the extensive collection of slides just to confirm. We were then waiting for the second edition of this book, about to be published, perhaps in color.
This work starts from the notion that architecture and urbanism of Portuguese roots, affirmed throughout the twentieth century - and who have received extensive study in the Iberian and European area, in recent years - will only be fully and coherently explained if we studied the presence and parallel statement in overseas areas.
Choosing the territories of Angola and Mozambique - the most significant time considered, among several ex-colonial areas -, this essay seeks to provide a first contribution to that study, which are to come to be increasingly global.
It is also important to note what is meant here and interprets the "Twentieth Century" as having the Portuguese context, the real or actual beginning after World War I, about the dawn of the second quarter to nine hundred. Moreover, this study focuses on the historical stage by 1975 - that is, until the time of independence of the spaces considered Africans - because obviously we are concerned here to examine the urban-themed architectural roots, Portuguese influence and cultural context, something that becomes fully thereafter. Thus, speaking of architecture, urbanism theme at the "Portuguese Africa" is mostly talking about half a century situated between 1925 and 1975.
In this work it is the articulation of historical information, published or unpublished, with more recent data, and an audiovisual collection and oral testimonies direct result of trying to organize a discussion and an initial summary of this documentation and these testimonies. It is also necessary to mention that the understanding and justification of this study is to articulate the urban experience and urban planning with the work and architectural practice - especially since many of the professionals listed here and worked in both fields simultaneously - because we believe those two fields creation and knowledge as complementary and inseparable, in a sense interactive.
A generation of Portuguese architects left a vast work in Angola and Mozambique. Held in the third quarter of the century, this was an extremely avant-garde production of innovative and accomplished within colonial African who must now protect.
Little or nothing known, nor in his life nor in his work, were nevertheless applied builders Africa's century, in planning and urban design, architecture and arts. We speak of the "heroic generation" of Portuguese architects who, born mostly in years 10 and 20, formed in the postwar schools of Lisbon and Porto, have been living and working mainly in Angola and Mozambique over the decades of 40, 50 and 60.
Some have lived there, inserted in the middle colonies, and then came to the metropolis of completing their studies.
This was the case of Vasco Vieira da Costa (1911-1982), born in Aveiro, who studied and worked with Le Corbusier is a remarkable work in Luanda. Vasco Vieira da Costa set up in Luanda in 1960, having gone to Oporto in 1982, a few months before his death. With a small stake in the Exhibition-Fair of Angola in 1938, its kick-off with the draft Market Kinaxixi (1950-52) at Piazza Kinaxixi (1953), built by the firm "Castillos" a block for servants of the State, at Rua Amilcar Cabral (Set OBRES Modernes ... 1996), the whole pavilion, though incomplete Engineering Laboratory of Angola. As their own, the building's Diamang Rua Lopes Lima, the building of Versailles, at Avenida Rainha Ginga, an outstanding building of the Ministry of Public Works, commonly known as building Mutamba (1968-69), with a strong Corbusian mainly in the grids, the English School (Futungo Fine), Gedaliah (workshop and booth), Secil the tower and House of Brokers in the February 4, the Anangola and still factory Fabimor. There were many other works that he left here, the aesthetic quality and remarkable versatility in its functionality. Vieira da Costa deserves much more than these few words, and I think that with the growing number of architects Angolans, he will have the honor that has been repeatedly delayed.
But others, then recently graduated, went to Africa "to be free ', to get his professional life in a more open and modern, something simple and seemingly normal, but they felt they were somehow denied or impeded in the homeland Europe.
Was the case with talented José Pinto da Cunha, reputed author of numerous houses' for the rich "here, including the current residence of the ambassador of Portugal, designed the first duplex on Marginal, but above all creative works and bold Luanda innovative, between 63 and 67, as the modern Quarter Hold (a vast array type Olivais lisboetas 'in good'), the building of the National Radio of Angola (Built on land where there was an exhibition, "Overseas, whose halls participated some architects living in Luanda in the 60s). The great work of this architect, in association with the Costa Pereira Cyril was the building built in downtown Luanda, Rua Major Kanhangulo Opened in 1958, which is work still to take, within a certain period of architecture in colonial Africa.
José Pinto da Cunha was the son of one of the most repressive faculty of the School of Fine Arts in Lisbon, which came to lead an authentic "forced migration" of students, collectively leaded in 42, to complete the course in Porto.
It was also the case of Francisco Castro Rodrigues (1920), the remarkable 'architect of Lobito', which generously offered their talent and professional life to the time it became the second city of Angola. Although overseen by the PIDE, Roberts managed to establish himself in Lobito on 53 and there conducted a real 'global work', whereas a slight but active municipal official. Was planner, urban planner and architect, performing for the new urban expansion areas many of the best equipment (between 64-66), in characteristically light and modern design, such as school, market, the airport, the elegant terrace cine Flamingo.
Only since 1975, started working in the capital, Luanda has so few papers with your signature.
Robinson was an exceptional course in Angola, as 'was', by adhesion and taste, since independence, contributing to the organization's current architecture of the young Republic of Angola until 87. Their work, while teaching at the faculty of architecture at the University Agostinho Neto, was colossal importance.
When you leave Angola in 1988, leaves at Lobito "every corner of your risk and the dash.
Invited by the city of Lobito to the celebrations of the city, returned there in 1993, honored and touched.
Already the architect of natural Luanda, Jonathan Simões de Carvalho, who also tyrosine in the atelier of Le Corbusier, is a figure of more diversified business, with works in Luanda, but also in London and Brazil. Between 63 and 65, was author, with Pinto da Cunha, Hospital of Lubango (Sa da Bandeira former) and also with Alfredo Fernando Pereira, Barrio Hold Luanda. Intervention had a persistent and continuous training in municipal planning of Luanda.
Many other writers and works with modernity could be part of this list in Angola and Mozambique, a first search, can be grouped more than fifty names of architects there set.
In Angola, still refer to such names as Antonio Campino with the President or the Auto Hotel Avenue in Luanda, the Brothers Garcia de Castilho, pioneers of the '50s, which he built in Luanda Film Restoration or the grand building Mobil (1951), the Battle of Fernando (1908), who worked for the National Monuments in Angola, of the Pereira da Costa (with the Building Cyril, the 'cycle of coffee', 59), the Louis Taquelim (born Algarve, it seems the author of Moxico Hotel / Vila Luso).
And not forgetting the most fleeting passes, but marked by an uncompromising action, such as Francisco Silva Dias (1930), which earned her resignation from the Board of Luanda (dared publicly to advocate that the planning was led by local architects!) - yet the author of the draft technical school of Saurimo, in the remote Lunda, 59 (work discovered that there are days, surprised to have been built) or Teotonio Pereira and Nuno Bartolomeu Costa Cabral, authors of a small 'mini city industrial 'Modern Pulp Enterprise (High Catumbela, Benguela - 58-59).
In Mozambique there are also a number of authors and works of great quality. Besides Amancio Guedes Miranda (or Pancho Guedes, Lisbon, 1925), already better known and prized for its unique and diverse workforce Laurentian, and other newer (Jose Forjaz, Coimbra, 1936) - there is mention architects unfairly unknown or forgotten John Joseph Taylor (1983), author of notable modern works adapted to the climatic context (Terminal Nampula; seat of Government of Niassa, Lichinga, - 66-68); José Porto (1963), author of the wonderful Grand Hotel Beira and several buildings in the city center, the years 40-50, Francisco Castro (designer of the Beira railway station) or Garizo Carmo (Cinema S. Jorge, Beira). And not forgetting, again, the authors point passing through the territory, as José Bastos Gomes (1914-1991), author of the splendid and super decorated BNU Lourenço Marques (now the Bank of Mozambique in Maputo).
What is striking in all these works, the scale is innovative and modern, with no shame, fear or hesitation, although established in the middle of the colonial situation, and in many cases 'super provincial'. What we admire and esteem is the greatness of sights, cultural, and artistic techniques of a generation of "professional migrants", who, working often in contexts of the administration official was able to launch 'new towns', full of brand new modern architecture the various and vast areas of the territories then Luso-Africans. Especially between 1950 and 1975. Because it must be said, a quarter century after management ended with some objectivity, this architecture and urbanism have reached this size and quality higher than that practiced at the same time the 'Metropolis'.
And just a situation of complete confidence in the innovation of collective enthusiasm, despite the line of differences (between state, private developers, municipal action) and understanding and acceptance of a new scale geographic, economic and social development (with some ingenuity and a taste for discovery, which is beneficial in these cases) may explain this. In contrast to a metropolitan society, who resisted modernization in 'Portuguese Africa' in the third quarter of the century it was possible to try and even food and bring newness and modernity of spaces and architectures in a period of 25 years, in fact the only context Europe, since European countries (democracy in post-World War II) had almost entirely abandoned since the colonial territories in Africa to 60-61.
During this time, ironically, Portugal was thus the 'unique case' of a nation with retrograde political system at European level which had a production leading innovator in its space colonial Africa.
Now, looking at the possible future of this great legacy material, between cities and buildings, we must know the insert (what's left, and it is recoverable) in the new context of post-civil wars, new nations of Guinea-Bissau, Mozambique and hopefully soon in Angola. Knowing the value of what is, better able to recover, reuse and integrate.
Antonio Veloso, did the project for the plant Jomar, the road of Cuca (N'Gola Kiluange), and even some buildings in the avenue, on land divided between various owners from the north of Portugal, who gave these works to their "fellow countrymen "with a strong regionalist, since the architects chosen were all from the College of Fine Arts of Porto (Gennaro Godinho, Vieira da Costa, Adalberto Dias Pereira da Costa Pinto da Cunha and of course, Antonio Veloso).
The architect designed the George Clark Fosforeira Angola and a tube factory in 1958, and water treatment plant in Gika Commander.
The BCA, the work "flagship" in downtown, is authored by Gennaro Godinho, and a curiosity it should be noted that the design of Bank of Angola is the architect Vasco Regaleira, who like Paulo Cunha (who did the work zone Port of Luanda and wide front) cannot be considered "generation African" because he never lived or worked continuously in Angola.
There is still some work to architect Troufa Real, stressing among many, the project of a bank branch in Largo Maianga.
To end this tour by "African Generation" of Portuguese architects who have worked in Angola, it would be unfair to omit the architect Fernando Battle, the only one who at one time worked in heritage preservation, and his book "Architecture in Angola" will talk another time. This is a matter of utmost relevance come to be touched, any time soon, given the eagerness with which some vested interests are manifested by the "slaughter" of buildings, which are inseparable from the sustained growth history of the city, in certain periods of its history of centuries.
One day, Fernando Batalha, a nearly century architect and very lucid, will appear as a source of studies on the colonial era, having been the only one over 45 years in Angola, working on the property.
They say it was a lonely man who at the time, defended values discarded. Was writing these memories and continues to do so every day in an office where you can see the Tagus. He is the author of numerous publications on architecture, ethnography, history, and archeology.
It all began in January. º Cruise Vacation Students' Metropolis at Colonial, with a cultural director named Marcelo Caetano, who "told him to do many lectures and essays" during the trip. In the end, Fernando Battle let himself enchanted by Africa. He stayed. 1935: "There was only in Luanda century architecture. XVII, XVIII and XIX. From the century. XX, nothing! The city had no paved streets or sewage system. He took to bathing with a bucket of holes, from where he pulled a twine to leave yellow water. "
Had meetings marked. With the king of Congo, D. Peter VII, when, in 1942, showed him the debris of the first church of the Portuguese city of San Salvador (1491), now M'banza Congo. "It was old man, but nice and friendly, simple in dress," recalls Fernando Battle, who later learned of the site have turned airstrip.
Longevity has made it a living voice of history. He was among the first architects to step on the former colony, which led to immediate calls and work done. But the stop-start development takes young people to compete for South Africa in World War II, given the lack of technicians, called to combat. "The intelligence was operating in Angola, a bridge between Europe and Africa, and 'they' wanted to examine my condition. But when it comes to authorization, since the war ended, and the architects were in their posts."
He was grateful to fate. "I did not like, despite the South African cities are highly developed. When the Boers won the elections in 1948, lived in a guerrilla war without weapons, because the population was accustomed to the English, more lenient. There was open communication between ethnic. In Angola, the coexistence was different. “He walked a lot.”I visited the sites where there was the Portuguese presence. I confirmed ruins missing information gathered. I have a list of what there was." Was concerned with saving buildings, classifying all that way, restored what they could. Had problems because he wants to preserve centuries-old homes that were destroyed in Luanda. All documentation is on its enviable file.
The great work comes after the war. "The price of coffee has risen greatly. The Americans, who did the Vietnam War with stimulants, continued to drink coffee when they returned home. Europeans also. And Luanda begins to grow with private investment." And official. "Salazar did not want Angola to stay behind other colonies. He made the port of Luanda, roads, school buildings, finance with four floors, and opened up construction neighborhoods for whites and blacks."
Time to write, so do not miss. "At the time, not giving me work, but had an office in the palace with beautiful view to the garden of the governor. There were editors or readers, but took notes and wrote articles and short essays."
The interventions were in the hundreds. Engaged in land development plans, expansion of commerce and palaces of governors, launching offices in Angola. When age 75 came to Lisbon, he left the inventory of assets of the new country. A numerical palindrome of stay (1938-1983) in Angola did - you go through ancient times and continue, after independence, to transmit knowledge as a professor in the Faculty of Architecture of Luanda.
You have to edit the original seven. "I just wanted to live up to the launch of the forthcoming book, The Historical Populations of Angola." Frail but confident voice, he lives surrounded Battle of maps, old files and projects. He writes on yellow leaves, perhaps coming from Africa.
This "Africa" Generation are also included painters such as: Abel Manta, Almada Negreiros, António Quadros, Dórdio Gomes, Henry Medina, Isolino Vaz, Jaime Isidoro, John Hogan, Júlio Resende, Lourdes Castro, Manuel Pereira da Silva, among others; sculpture, highlight: Arlindo Rocha, Henrique Moreira, Leopoldo de Almeida, Manuel Pereira da Silva e Sousa Caldas.
In 1955, Manuel Pereira da Silva designed the statue of Ulysses S. Grant, 18th U.S. president won the tender launched for that purpose by the Ministry of Overseas, erected opposite the building of the Town Hall of Bolama, in Guinea-Bissau.
Ulysses Grant was an American general and statesman, born in 1822 and died in 1885. Walked in the Mexican War in 1847 and actively participated in the Civil War, fighting alongside the Northerners, having given the coup de grace in the Southern 1865. Candidate for U.S. president, won overwhelmingly, and ruled from 1868 to 1876, as 18th President. From 1877 to 1880 made a triumphal trip around the world, where he was always warmly received. "
"For it was this famous statesman who openly defended the possession of Guinea to Portugal. In memory of someone, being large, generously learned advocate a just cause, the Government commissioned the Portuguese Manuel Pereira da Silva their statue, despite the Guinean revolutionary winds of independence, is still in place. "
In 1960, Manuel Pereira da Silva performed, "Africa", this low-relief, polychrome faience, for the decoration of the facade of a building situated on the waterfront of the Bay of Luanda, Angola. To this end Manuel Pereira da Silva improvised studio in a vacant industrial collection, on the outskirts of Porto.
This with the bas-relief of the Palace of Justice had the same treatment bas-relief running to Angola where there are plenty of geometric shapes. Figures of the Gentiles, plants and animals are on the immense work in a modern design that Manuel Pereira da Silva sought to impose on their works.
Monday, May 10, 2010
Sculpture in Portugal in the XX century (1910 - 1960)
Lúcia Almeida Matos is an Assistant Professor in the Faculty of Fine Arts, University of Porto (FBAUP), graduated in Philosophy in the Faculty of Arts, University of Porto, obtained the degree of Master of Arts (MA) and Master of Philosophy (MPhil) at Syracuse University (USA) and his doctorate from the Faculty of Fine Arts, University of Porto.
Develops research work and teaching in History and Theory of Modern and Contemporary Art, and Museology. Directs the Museum of FBAUP coordinating the publication of a bulletin of the museum and museum and exhibition projects. He has organized scientific meetings and international exhibitions commissioner.
The bibliographic series "Texts University of Social Sciences and Humanities" is proposed to publish important works in a field of knowledge in modern critical studies that fit also valuable classical culture. Many of these investigations are going counter to the contemporary technocratic tendencies, just facing the problems, perceived as larger, quantitative. The return to classical sources of knowledge must be the universal characteristic sign of a new Humanism.
This philosophy inspires and guides the program of this series of doctrinal issues, whose responsibility fell to the defunct National Institute of Scientific Research and the Foundation for Science and Technology wishes to pursue, in partnership with the Calouste Gulbenkian.
This book reproduces, with slight adjustments, the text of a PhD thesis that Lucia Almeida Matos defended at the Faculty of Fine Arts, University of Porto in November 2003. Within three years that separates the public presentation of the dissertation and the publication of this book in 2007, published by the Calouste Gulbenkian Foundation and the Foundation for Science and Technology, the international and national literature was naturally enriched.
In the Preface of this book, authored by Professor Raquel Henrique da Silva, responsible for scientific guidance, "Sculpture in Portugal in the twentieth century (1910-1969) has the evident marks of having been written for doctoral dissertation. But, unlike the usual connotations in connection with such type of work, the book presented here is extremely accessible read, clear in its organization and, I think, interesting for several reasons. However, it has considerable critical apparatus, and collapsed into footnotes, and a laudable ambition. In summary, Lúcia Almeida Matos held an in-depth research and extension on the Portuguese sculpture, through journeys and works of the artists in this area, stood out among the early twentieth century and the 1960s. To select, analyze and enhance naturally had to respond to successive cultural contexts of our recent history, linking it with the ever dynamic international (mainly European) that were influencing. The purpose of tracing the history of nineteenth-century Portuguese sculpture in dialogue with several crucial scenes of art - the French in the early decades, English, in the past, still considering illuminating markings of Catalonia and Italy in the '30s and '40s - is the fact that differentiates this work and become a mandatory reference in our art history. "
The methodology followed by Lúcia Almeida Matos does not, however, only bring the history of Portuguese sculpture of the twentieth century as a specific reality but part and parcel of European sculpture from the same time. She allowed two broad conclusions that should be highlighted.
The first is that, unlike opinions less reasoned and more ideological, the then Portuguese sculptors (including youth of 1960 who, fortunately still active today) contacted with the disruptions of sculptural practice in the time they were occurring, nor more late or earlier than the other national schools. However, in the years 1900 to 1920, this attention to modernity was conducted in a marked fidelity to the models of teaching and academic output without reaching the avant-garde practice that at the time, they rarely are public recognition. Comparing with the painting, it may be said that there was, in sculpture, an Amadeo de Souza Cardoso, and the sculptor who most comes to him (by attention to the international scene where he worked with recognized success) was the modernist Ernesto Canto Maia. By contrast, in 1960, the young Portuguese sculptors entered with enthusiasm and commitment in the field of artistic vanguards then, mainly through London, though, in developing their careers do not always have remained uncertain in this taut string which is the novelty.
The second conclusion is that this book proposes that, contrary to what was intended (in political and ideological), the least interesting period of twentieth century sculpture is the Portuguese of the 30s and 40s, who, paradoxically, would, in desiring words of António Ferro, the "golden age" of the National Sculpture. The sculptors were dominated by activity in excess of orders for content monumental quite outdated, less traveled, did not receive grants processing abroad (unlike its predecessors and successors) and surrendered, more or less, the intent of celebratory nationalist content .
But beyond the depth of history, the book addresses topics Lúcia Almeida Matos ever in Portugal, had been treated and which relate to the field theory of sculpture. This applies to the special constrangements craft, regarding, for example, greater autonomy of the painting, determining the sculptor's face heavy reliance on technology and order, but in the territory of output to the situation, the author introduces the fundamental distinction between the large and small format, which is the best way to research and innovation. These issues are very important in the transition between the nineteenth and twentieth century, when Rodin was the most beloved master of sculpture in Europe. One of the most innovative contributions of this dissertation is to examine how the complexity of that time, distinguishing, effectively, the fields of modernity and vanguard. Regarding the difficult period of 30 years and 40 pages devoted to aesthetic and monumental sculpture and the differentiation between office is bright, and the approach to the ideological future of art in the service of a story of heroes. Indeed, the subchapter "Rise and fall of a statue" suggest the continued relevance of this original research that combines art and urban space in the complex contexts of the most intense vibrations and ruptures of history.
The proposed study of sculpture in Portugal in the period called the modern consensus, that is, until the moment when the very concept of sculpture is called into question by imposing and simultaneously assuming a paradigm shift. The late 60s was then taken as the chronological limit of this work, since, together with the international art scene, those were the years that marked the first major changes in practice and theoretical reflection of Portuguese artists working in the country, or beneficial internships abroad.
The third part of this book is to emphasize that we want and that fits with the purpose of this blog of art, to study and investigate the work of the sculptor Manuel Pereira da Silva. This Part III has the theme "From 1949 to 1969: From the office to sculpture" and is the second chapter: "First disruptions" in subchapter "Neo-realism in general exhibitions of plastic arts" that comes the first reference to Manuel Pereira da Silva. In 1946, Portugal José Augusto France as he admitted "it was necessary to support the neo-realism, even if in ignorance of anything else.
The neo-realism mark out of modernism, which considers formal, empty, and outdated, a very different era, that the divorce with eager real, that should belong to the past, and which also includes surrealism through all phases of modern art, it is noted a common aversion to reality. Creating another reality, here, in outline, the thesis of the table-object claimed by Cubism. Creating another reality, to capture "surreal," a reality get "total", is the obsession of the surrealists. All large and small shocks of modern art are generally seen as revolutions. But according to Júlio Pomar, we must distinguish revolutions only within the plane of modern art to modern art ever surpassed its status as art for a circle and hence its crisis, the result is a vicious circle.
The birth of a neo-realistic expression in the arts happens first, to a certain theoretical level, with features manifest in the pages of new journals, including The Devil and the Rising Sun, is gaining artistic form, particularly in painting, student initiatives Fernando de Azevedo, Julio Pomar. Marcelino Vespereira and others, in Lisbon on 42, then the shares of Julio Pomar and Victor Palla in Independent Exhibition in Oporto on 44, with an issue at the Instituto Superior Técnico in the following year. The year 1946 will be the decisive year in the formation of motion, the décor of the Cinema Batalha, Porto, by Júlio Pomar, the exhibition at the Athenaeum Commercial Port and finally, I General Exhibition of Fine Arts at the National Society of Fine Arts.
In 1946, inaugurate, as two exhibitions, one in Porto and Lisbon in the other, both "freely and independently organized by the artists themselves, who came to work" as stones were thrown onto the surface of a lake parade, "according to Adolfo Casais Monteiro. In the spirit of what many would assume already so distant that they could not recover it, the participating artists exhibited in unity, reminding the independent initiatives of 30 and presenting an alternative model to the usual division between "San Pedro de Alcantara" and "Barata Salgueiro ". It was the spring I Exhibition, opened at the Athenaeum Comercial do Porto, June 15, and R General Exhibition of Fine Arts, the National Society of Fine Arts, the following month.
In a speech that accompanied the exhibition, with the title "Art and Youth", Júlio Pomar reminded young people that "art is the earth, puts down roots in life" and that, in addition to "reflect the rhythm of life" can still "contribute to accelerate this pace." Other lectures on "Painting and Cinema", "Art and Audience" and "Urban Planning and Architecture" shows the ambition of reflection and questioning of the initiative.
The general press has reported extensively from Porto whole event in general noting the comprehensive nature of the exhibition, which included "artists categorized and some that are still early in his career, documenting various genres from classical to pure Modernist stranger." According to art criticism, sculpture displayed in the exhibition was "balanced" and indicated power "to get very far." Were highlighted Eduardo Tavares, Mário Truta, Margaret Shimmelpfenning, Augusto Gomes, Cruz Caldas, Herculano Monteiro and Manuel Pereira da Silva.
In the catalog I General Exhibition of Fine Arts in Lisbon, it is recommended not to put aside some puzzlement by "an apparent lack of unity" that the diversity of the works on display may appear, and before that turns attention "to the intentions of the show "to promote cooperation among the artists who" want to serve not only the life, savor it, enjoy it, but to serve it, improve it, make it worth living.”
The exhibition is received by art critics in a favorable way that highlights the "sense of solidarity" of artists; it seemed to him the cooperation "a wonderful lesson" and welcomes the fact that it may appear a "regular comparison of several trends from different generations.”
In the subchapter "The abstraction and exposures independent" appears several references to Manuel Pereira da Silva. The abstract art, specifically painting, signed in Portugal in June 1935, on the screens of Maria Helena Vieira da Silva, on display in Gallery UP, by António Pedro as "the first exhibition of abstract paintings that are done in Portugal since the time of Amadeo de Souza Cardoso.” By the way still painting Vieira da Silva (and Arpad Szenes), Joao Gaspar Simões explain, at 36, be "the ultimate stage of pictorial expression which disowned the sensible reality" and cites André Lhote to designate the "abstract".
The abstract art is historically linked to the Portuguese independent exhibitions, whose main organizer and entertainer, Fernando Lanhas, coincidentally is the central figure of this abstraction. After a I Exhibition in April 1943, the premises of the School of Fine Arts in Porto, where they already can check the presence of the future "hard core" of independent, such as Julio Resende, Fernando Fernandes, Nadir Afonso, Arlindo Rocha Altino Maia, Mário Truta, Serafim Teixeira, Augusto Tavares and Manuel Pereira da Silva. The exhibitions are independent to take place outside the school and several times outside of Porto in the first example of decentralization and will broadcast that, despite everything, will not avoid a certain marginalization of artists of the Port regarding events and initiatives greater visibility and impact of the capital.
The Independent Exposure II is presented in February 1944, the Athenaeum Commercial Port and is from there that the action of Fernando Lanhas will be felt in the consistent quality of the catalogs and mounts exhibitions, as well as with the persistence in keep alive the initiatives. In this exhibition of sculptures were present Altino Maia, Arlindo Rocha, Eduardo Tavares, Joaquim Meireles, Manuel Monteiro da Cunha, Maria Graciosa de Carvalho, Mário Truta, M. Felix de Brito, Manuel Pereira da Silva, and Serafim Teixeira.
The Independent Exposure III takes place in the same year, the hall of the Coliseum of Oporto and those involved in the sculpture: Abel Salazar, Altino Maia, Antonio Azevedo, Arlindo Rocha, Eduardo Tavares, Henrique Moreira, Manuel Pereira da Silva, Mário Truta, and Sousa Caldas. In the exhibition catalog, roaming in Coimbra in January 1945, it was clarified that the name of "independent" is not a name at random, but involves the awareness that art is a world heritage site and hence our very varied presence it being understood that this should wake up to underpin the future, one cannot deny the right of the month noted.
Unlike what happens with the Surrealist exhibitions or general, much identified with neo-realism, the flag of abstraction will not be held independent exhibitions, which merely incorporate abstract experiences of their increasingly numerous followers.
A more refined and homogeneous III Exhibition that will be presented, also 45, in Leiria and Lisbon, where he criticized the emerging neo-realist.
Develops research work and teaching in History and Theory of Modern and Contemporary Art, and Museology. Directs the Museum of FBAUP coordinating the publication of a bulletin of the museum and museum and exhibition projects. He has organized scientific meetings and international exhibitions commissioner.
The bibliographic series "Texts University of Social Sciences and Humanities" is proposed to publish important works in a field of knowledge in modern critical studies that fit also valuable classical culture. Many of these investigations are going counter to the contemporary technocratic tendencies, just facing the problems, perceived as larger, quantitative. The return to classical sources of knowledge must be the universal characteristic sign of a new Humanism.
This philosophy inspires and guides the program of this series of doctrinal issues, whose responsibility fell to the defunct National Institute of Scientific Research and the Foundation for Science and Technology wishes to pursue, in partnership with the Calouste Gulbenkian.
This book reproduces, with slight adjustments, the text of a PhD thesis that Lucia Almeida Matos defended at the Faculty of Fine Arts, University of Porto in November 2003. Within three years that separates the public presentation of the dissertation and the publication of this book in 2007, published by the Calouste Gulbenkian Foundation and the Foundation for Science and Technology, the international and national literature was naturally enriched.
In the Preface of this book, authored by Professor Raquel Henrique da Silva, responsible for scientific guidance, "Sculpture in Portugal in the twentieth century (1910-1969) has the evident marks of having been written for doctoral dissertation. But, unlike the usual connotations in connection with such type of work, the book presented here is extremely accessible read, clear in its organization and, I think, interesting for several reasons. However, it has considerable critical apparatus, and collapsed into footnotes, and a laudable ambition. In summary, Lúcia Almeida Matos held an in-depth research and extension on the Portuguese sculpture, through journeys and works of the artists in this area, stood out among the early twentieth century and the 1960s. To select, analyze and enhance naturally had to respond to successive cultural contexts of our recent history, linking it with the ever dynamic international (mainly European) that were influencing. The purpose of tracing the history of nineteenth-century Portuguese sculpture in dialogue with several crucial scenes of art - the French in the early decades, English, in the past, still considering illuminating markings of Catalonia and Italy in the '30s and '40s - is the fact that differentiates this work and become a mandatory reference in our art history. "
The methodology followed by Lúcia Almeida Matos does not, however, only bring the history of Portuguese sculpture of the twentieth century as a specific reality but part and parcel of European sculpture from the same time. She allowed two broad conclusions that should be highlighted.
The first is that, unlike opinions less reasoned and more ideological, the then Portuguese sculptors (including youth of 1960 who, fortunately still active today) contacted with the disruptions of sculptural practice in the time they were occurring, nor more late or earlier than the other national schools. However, in the years 1900 to 1920, this attention to modernity was conducted in a marked fidelity to the models of teaching and academic output without reaching the avant-garde practice that at the time, they rarely are public recognition. Comparing with the painting, it may be said that there was, in sculpture, an Amadeo de Souza Cardoso, and the sculptor who most comes to him (by attention to the international scene where he worked with recognized success) was the modernist Ernesto Canto Maia. By contrast, in 1960, the young Portuguese sculptors entered with enthusiasm and commitment in the field of artistic vanguards then, mainly through London, though, in developing their careers do not always have remained uncertain in this taut string which is the novelty.
The second conclusion is that this book proposes that, contrary to what was intended (in political and ideological), the least interesting period of twentieth century sculpture is the Portuguese of the 30s and 40s, who, paradoxically, would, in desiring words of António Ferro, the "golden age" of the National Sculpture. The sculptors were dominated by activity in excess of orders for content monumental quite outdated, less traveled, did not receive grants processing abroad (unlike its predecessors and successors) and surrendered, more or less, the intent of celebratory nationalist content .
But beyond the depth of history, the book addresses topics Lúcia Almeida Matos ever in Portugal, had been treated and which relate to the field theory of sculpture. This applies to the special constrangements craft, regarding, for example, greater autonomy of the painting, determining the sculptor's face heavy reliance on technology and order, but in the territory of output to the situation, the author introduces the fundamental distinction between the large and small format, which is the best way to research and innovation. These issues are very important in the transition between the nineteenth and twentieth century, when Rodin was the most beloved master of sculpture in Europe. One of the most innovative contributions of this dissertation is to examine how the complexity of that time, distinguishing, effectively, the fields of modernity and vanguard. Regarding the difficult period of 30 years and 40 pages devoted to aesthetic and monumental sculpture and the differentiation between office is bright, and the approach to the ideological future of art in the service of a story of heroes. Indeed, the subchapter "Rise and fall of a statue" suggest the continued relevance of this original research that combines art and urban space in the complex contexts of the most intense vibrations and ruptures of history.
The proposed study of sculpture in Portugal in the period called the modern consensus, that is, until the moment when the very concept of sculpture is called into question by imposing and simultaneously assuming a paradigm shift. The late 60s was then taken as the chronological limit of this work, since, together with the international art scene, those were the years that marked the first major changes in practice and theoretical reflection of Portuguese artists working in the country, or beneficial internships abroad.
The third part of this book is to emphasize that we want and that fits with the purpose of this blog of art, to study and investigate the work of the sculptor Manuel Pereira da Silva. This Part III has the theme "From 1949 to 1969: From the office to sculpture" and is the second chapter: "First disruptions" in subchapter "Neo-realism in general exhibitions of plastic arts" that comes the first reference to Manuel Pereira da Silva. In 1946, Portugal José Augusto France as he admitted "it was necessary to support the neo-realism, even if in ignorance of anything else.
The neo-realism mark out of modernism, which considers formal, empty, and outdated, a very different era, that the divorce with eager real, that should belong to the past, and which also includes surrealism through all phases of modern art, it is noted a common aversion to reality. Creating another reality, here, in outline, the thesis of the table-object claimed by Cubism. Creating another reality, to capture "surreal," a reality get "total", is the obsession of the surrealists. All large and small shocks of modern art are generally seen as revolutions. But according to Júlio Pomar, we must distinguish revolutions only within the plane of modern art to modern art ever surpassed its status as art for a circle and hence its crisis, the result is a vicious circle.
The birth of a neo-realistic expression in the arts happens first, to a certain theoretical level, with features manifest in the pages of new journals, including The Devil and the Rising Sun, is gaining artistic form, particularly in painting, student initiatives Fernando de Azevedo, Julio Pomar. Marcelino Vespereira and others, in Lisbon on 42, then the shares of Julio Pomar and Victor Palla in Independent Exhibition in Oporto on 44, with an issue at the Instituto Superior Técnico in the following year. The year 1946 will be the decisive year in the formation of motion, the décor of the Cinema Batalha, Porto, by Júlio Pomar, the exhibition at the Athenaeum Commercial Port and finally, I General Exhibition of Fine Arts at the National Society of Fine Arts.
In 1946, inaugurate, as two exhibitions, one in Porto and Lisbon in the other, both "freely and independently organized by the artists themselves, who came to work" as stones were thrown onto the surface of a lake parade, "according to Adolfo Casais Monteiro. In the spirit of what many would assume already so distant that they could not recover it, the participating artists exhibited in unity, reminding the independent initiatives of 30 and presenting an alternative model to the usual division between "San Pedro de Alcantara" and "Barata Salgueiro ". It was the spring I Exhibition, opened at the Athenaeum Comercial do Porto, June 15, and R General Exhibition of Fine Arts, the National Society of Fine Arts, the following month.
In a speech that accompanied the exhibition, with the title "Art and Youth", Júlio Pomar reminded young people that "art is the earth, puts down roots in life" and that, in addition to "reflect the rhythm of life" can still "contribute to accelerate this pace." Other lectures on "Painting and Cinema", "Art and Audience" and "Urban Planning and Architecture" shows the ambition of reflection and questioning of the initiative.
The general press has reported extensively from Porto whole event in general noting the comprehensive nature of the exhibition, which included "artists categorized and some that are still early in his career, documenting various genres from classical to pure Modernist stranger." According to art criticism, sculpture displayed in the exhibition was "balanced" and indicated power "to get very far." Were highlighted Eduardo Tavares, Mário Truta, Margaret Shimmelpfenning, Augusto Gomes, Cruz Caldas, Herculano Monteiro and Manuel Pereira da Silva.
In the catalog I General Exhibition of Fine Arts in Lisbon, it is recommended not to put aside some puzzlement by "an apparent lack of unity" that the diversity of the works on display may appear, and before that turns attention "to the intentions of the show "to promote cooperation among the artists who" want to serve not only the life, savor it, enjoy it, but to serve it, improve it, make it worth living.”
The exhibition is received by art critics in a favorable way that highlights the "sense of solidarity" of artists; it seemed to him the cooperation "a wonderful lesson" and welcomes the fact that it may appear a "regular comparison of several trends from different generations.”
In the subchapter "The abstraction and exposures independent" appears several references to Manuel Pereira da Silva. The abstract art, specifically painting, signed in Portugal in June 1935, on the screens of Maria Helena Vieira da Silva, on display in Gallery UP, by António Pedro as "the first exhibition of abstract paintings that are done in Portugal since the time of Amadeo de Souza Cardoso.” By the way still painting Vieira da Silva (and Arpad Szenes), Joao Gaspar Simões explain, at 36, be "the ultimate stage of pictorial expression which disowned the sensible reality" and cites André Lhote to designate the "abstract".
The abstract art is historically linked to the Portuguese independent exhibitions, whose main organizer and entertainer, Fernando Lanhas, coincidentally is the central figure of this abstraction. After a I Exhibition in April 1943, the premises of the School of Fine Arts in Porto, where they already can check the presence of the future "hard core" of independent, such as Julio Resende, Fernando Fernandes, Nadir Afonso, Arlindo Rocha Altino Maia, Mário Truta, Serafim Teixeira, Augusto Tavares and Manuel Pereira da Silva. The exhibitions are independent to take place outside the school and several times outside of Porto in the first example of decentralization and will broadcast that, despite everything, will not avoid a certain marginalization of artists of the Port regarding events and initiatives greater visibility and impact of the capital.
The Independent Exposure II is presented in February 1944, the Athenaeum Commercial Port and is from there that the action of Fernando Lanhas will be felt in the consistent quality of the catalogs and mounts exhibitions, as well as with the persistence in keep alive the initiatives. In this exhibition of sculptures were present Altino Maia, Arlindo Rocha, Eduardo Tavares, Joaquim Meireles, Manuel Monteiro da Cunha, Maria Graciosa de Carvalho, Mário Truta, M. Felix de Brito, Manuel Pereira da Silva, and Serafim Teixeira.
The Independent Exposure III takes place in the same year, the hall of the Coliseum of Oporto and those involved in the sculpture: Abel Salazar, Altino Maia, Antonio Azevedo, Arlindo Rocha, Eduardo Tavares, Henrique Moreira, Manuel Pereira da Silva, Mário Truta, and Sousa Caldas. In the exhibition catalog, roaming in Coimbra in January 1945, it was clarified that the name of "independent" is not a name at random, but involves the awareness that art is a world heritage site and hence our very varied presence it being understood that this should wake up to underpin the future, one cannot deny the right of the month noted.
Unlike what happens with the Surrealist exhibitions or general, much identified with neo-realism, the flag of abstraction will not be held independent exhibitions, which merely incorporate abstract experiences of their increasingly numerous followers.
A more refined and homogeneous III Exhibition that will be presented, also 45, in Leiria and Lisbon, where he criticized the emerging neo-realist.
Wednesday, February 03, 2010
Contemporary Artists
Jean-Pierre Blanchon, a Frenchman in love with painting, wrote a book with the quotations of 1500 Portuguese artists, the Quotation Portuguese Artists in Auction - Guide 2006/2010 (Author's edition). The author has an antique shop in the Chiado area and an auction house.
Once arrived in Portugal in 1991, lived up to his addiction to not lose any auction. Economist by training, the lack of data for cataloging artists bothered him. He went to work: analyzing auction catalogs, able to evaluate the evolution of 50 Portuguese Painters between 1974 and 1994. He concluded that only the investment in stock market had gotten over the average return of Portuguese paintings in this period - whose values ranged between 6.6% and -2.8% - relative to inflation.
In this guide we can see that the sculptor Manuel Pereira da Silva scored 10 of his contemporary paintings at auction, during the referred period (2006-2010), was sold 7 paintings in Watercoulor.
Once arrived in Portugal in 1991, lived up to his addiction to not lose any auction. Economist by training, the lack of data for cataloging artists bothered him. He went to work: analyzing auction catalogs, able to evaluate the evolution of 50 Portuguese Painters between 1974 and 1994. He concluded that only the investment in stock market had gotten over the average return of Portuguese paintings in this period - whose values ranged between 6.6% and -2.8% - relative to inflation.
In this guide we can see that the sculptor Manuel Pereira da Silva scored 10 of his contemporary paintings at auction, during the referred period (2006-2010), was sold 7 paintings in Watercoulor.
Wednesday, January 20, 2010
Art Auction
Palácio do Correio Velho Art Auction House, sold four compositions with Mixed Media, a Gouache composition and a Charcoal composition of the Sculptor Manuel Pereira da Silva in the Contemporary Painting Auction.
Tuesday, January 12, 2010
Contemporary Painting Auction
The Sculptor Manuel Pereira da Silva was represented on the Auction of Modern and Contemporary Art, held at Palácio do Correio Velho, with an oil painting on canvas, two Mixed Media compositions and a Watercolour composition.
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.
Thursday, February 19, 2009
Júlio Resende - A great painter
The vision of the place
"The accumulation of folders and drawing pads, records of experiences (so many!) awoke in me the need for a dispassionate reflection on what their fate should be.
Distance in time and space allowed me to judge the consistency of material in the light of a course that befell me by obscure laws – and I felt no “pain” at destroying a large number of these drawings; the old muffle in the studio would bear witness to this had it been able to speak....
I was relieved to observe that as soon as the hesitations along the way were eliminated, that course, that started in the 1930s and covered 60 years, and whose main Expressionist characteristic necessarily matched my own nature as a man, would become clearer.I confess that in my mind there was a desire to maintain the integrity of the collection and that would be enough for me. My friends did not agree; they argued that this material could set an example, amongst many others, perhaps worthier, and they would find a way, and a space, for it. Hence the creation of “Lugar do Desenho” and the Foundation with that institutional weight that has always been alien to me. However, if “Lugar do Desenho” corresponds to the aims I have always striven towards, so be it! Let Drawing be understood in its widest sense and not simply restricted to the Plastic Arts but to all creative attitudes of Man. It is not the monopoly of a particular time or a society. Drawing is the expression of a consciousness that distinguishes it "
Memories
"... But, actually, I wanted to be a painter!
Maybe fate offered me the first step. Aurora Jardim, a known figure in literary and journalism circles in Oporto, spoke to the painter Alberto Silva who, in turn, negotiated with the Silva Porto Academy so that I could attend painting lessons there.
I bought my first “serious” box of paints, and learned how to mix them on the palette, according to the rules."
"... At school, during classes, I would await with great anticipation the critical opinion of Master Dórdio, the possible referential “bridge” with what we understood as our geographical boundaries... A nonconformist movement was taking shape among us, comrades, against the passivity of the town. It was to oppose this situation that the idea of forming the “Group of Independents” arose. “Independent” in stylistic attitude; “dependent” in terms of a commitment that would turn into the awakening of the collective awareness of reality."
"... Maestro Dórdio Gomes headed the “National Fine Arts Academy Aesthetic Mission”, which was held in Évora. Some of the members of the “Independents” met there."
"... In the middle of winter, particularly harsh this year, I began my acquaintance with Paris, looking for every opportunity for revelation. In order to understand the teaching methods and, above all, to evaluate kinds of critical analysis, I attended the School of Fine Arts and the Grande Chaumière Academy."
"One morning, in a heavy snowfall, I went to the window of my room in a small hotel overlooking a cemetery, and saw an old woman trudging through the whiteness of the snow.
She was just a silhouette of pain held up by two filaments ending in huge boots. Without wasting any time, I rushed to the studio of Pierre Dubois, and did this painting in a breath."
"... But, actually, I wanted to be a painter!
Maybe fate offered me the first step. Aurora Jardim, a known figure in literary and journalism circles in Oporto, spoke to the painter Alberto Silva who, in turn, negotiated with the Silva Porto Academy so that I could attend painting lessons there.
I bought my first “serious” box of paints, and learned how to mix them on the palette, according to the rules."
"... At school, during classes, I would await with great anticipation the critical opinion of Master Dórdio, the possible referential “bridge” with what we understood as our geographical boundaries... A nonconformist movement was taking shape among us, comrades, against the passivity of the town. It was to oppose this situation that the idea of forming the “Group of Independents” arose. “Independent” in stylistic attitude; “dependent” in terms of a commitment that would turn into the awakening of the collective awareness of reality."
"... Maestro Dórdio Gomes headed the “National Fine Arts Academy Aesthetic Mission”, which was held in Évora. Some of the members of the “Independents” met there."
"... In the middle of winter, particularly harsh this year, I began my acquaintance with Paris, looking for every opportunity for revelation. In order to understand the teaching methods and, above all, to evaluate kinds of critical analysis, I attended the School of Fine Arts and the Grande Chaumière Academy."
"One morning, in a heavy snowfall, I went to the window of my room in a small hotel overlooking a cemetery, and saw an old woman trudging through the whiteness of the snow.
She was just a silhouette of pain held up by two filaments ending in huge boots. Without wasting any time, I rushed to the studio of Pierre Dubois, and did this painting in a breath."
Júlio Resende in Paris 1947/48
It was a pivotal period in the life of the artist, fitting in an ever timely way into the educational aim that is a relevant historical constant in a post-War period in which France and the World were seeking to re-establish Peace. The painter Júlio Resende had finished the course at the Fine Arts School in Oporto, and was making his first contacts with the theories and practices of the aesthetics resulting from the movements at the end of the 19th Century and beginning of the 20th, of which Paris was the cultural centre.
It was a pivotal period in the life of the artist, fitting in an ever timely way into the educational aim that is a relevant historical constant in a post-War period in which France and the World were seeking to re-establish Peace. The painter Júlio Resende had finished the course at the Fine Arts School in Oporto, and was making his first contacts with the theories and practices of the aesthetics resulting from the movements at the end of the 19th Century and beginning of the 20th, of which Paris was the cultural centre.
1947, Paris.
Drawing in Two Times
1940/1950
History and Society have a duty to speak about the past. The works exhibited here had a specific context in my career and they should be analysed in that context. Various limitations, in particular those resulting from the political regime and world conflict, not to speak of the vaunted loneliness of a country enclosed in specific geographical conditions, would explain the cultural anachronism of the environment, often taking refuge in an outmoded mythology.
One of the works, dating from the 1930s, marks a passage along this path through the desert of ideas and unawareness of the real world beyond our borders. For me, this exhibition shows how much life has evolved in six decades.
Short of another, it will at least have this merit.
1940/1950
History and Society have a duty to speak about the past. The works exhibited here had a specific context in my career and they should be analysed in that context. Various limitations, in particular those resulting from the political regime and world conflict, not to speak of the vaunted loneliness of a country enclosed in specific geographical conditions, would explain the cultural anachronism of the environment, often taking refuge in an outmoded mythology.
One of the works, dating from the 1930s, marks a passage along this path through the desert of ideas and unawareness of the real world beyond our borders. For me, this exhibition shows how much life has evolved in six decades.
Short of another, it will at least have this merit.
Drawing in two times.
Júlio Resende – the years 1940/90
In confession mode
The object of my search? Perhaps the reconciliation of two things apparently irreconcilable.
To discover the form that suits "feeling" and "reflection".
The truth is that the analysts claim that my work reveals a lyrical expressionism. The person who first said that was a Flemish crític, 36 years ago.
If the expressionism in me is not deliberate, maybe the lyricism occurs for reasons underlying a whole people, viewed as submerged in the Atlantic mists, as seems to be the case for Portugal.
That’s probably it.
Ambivalence in feeling and reflecting, is certainly to blame for many hesitations along the way, but it is really justifiable in creative research that is based on a desire for authenticity which I have never moved away from, and do not relinquish now.
The proof is in the fact that I missed out on neo-realism (1940s), abstractionism (1947/48) and all others “isms”, not arrogantly, but always faithful to the feeling and aesthetic thinking that were born with me.
I accept, therefore, to be placed in the "Index" of a contemporaneity marked by the lack of definition of “ephemeral”, “minimalist” things, even if credible, and even by all the resulting humbug of consumerism. I also accept the aesthetic testimony of this contemporaneity, despite its vertigo making it difficult to establish time boundaries. Would a week not be enough for the contemporaneous to cease being so?
The History of Art analyst will respond later.
It is very clear that I do not speculate with painting, although I accept and can understand that others do.
I am only a plastic painter.
In confession mode
The object of my search? Perhaps the reconciliation of two things apparently irreconcilable.
To discover the form that suits "feeling" and "reflection".
The truth is that the analysts claim that my work reveals a lyrical expressionism. The person who first said that was a Flemish crític, 36 years ago.
If the expressionism in me is not deliberate, maybe the lyricism occurs for reasons underlying a whole people, viewed as submerged in the Atlantic mists, as seems to be the case for Portugal.
That’s probably it.
Ambivalence in feeling and reflecting, is certainly to blame for many hesitations along the way, but it is really justifiable in creative research that is based on a desire for authenticity which I have never moved away from, and do not relinquish now.
The proof is in the fact that I missed out on neo-realism (1940s), abstractionism (1947/48) and all others “isms”, not arrogantly, but always faithful to the feeling and aesthetic thinking that were born with me.
I accept, therefore, to be placed in the "Index" of a contemporaneity marked by the lack of definition of “ephemeral”, “minimalist” things, even if credible, and even by all the resulting humbug of consumerism. I also accept the aesthetic testimony of this contemporaneity, despite its vertigo making it difficult to establish time boundaries. Would a week not be enough for the contemporaneous to cease being so?
The History of Art analyst will respond later.
It is very clear that I do not speculate with painting, although I accept and can understand that others do.
I am only a plastic painter.
The Drawing on the Wall
The role of the plastic artist in society is largely understandable and requires no justification. In an urban space its function is to enhance rather than intervene. Something felt rather than seen. A sufficiently encompassing feeling in the overall space which remains latent throughout time. Thus, it seems that one should require from the artist the humility to acknowledge the right moment to participate in the movement outside his studio, indeed the space of experimentation.
The painter, should he really be the one operating through the plastic medium (…), requires a physical support, its nature and sturdiness depending on the characteristics of the place.
The wall has always been for me a kind of obsession, especially since 1947 when, for the first time, I travelled through Italy. Then, on my return to Paris, Duco de La Haix taught me the potential of "mortier", “discharging” me so I myself could erect a wall for fresco painting. Everything has a story and mine comes from afar and is marked by a commitment to murals. Not always straightforward, I recognise that. Over the long period of 50 years between the first and the last mural, the world was shaken up, the winds blew strong and men degraded themselves endlessly. The signs of art have not gone unheeded by them.
How to understand straightforwardness in this so-called evolutional sense? However, the decoration of a mural is always a consequential reference of a time, like the Berlin wall, or of a faith, like the Wailing Wall. A wall in itself always has a meaning, either physical or psychological. The former remains a reality, the latter is submissive, not because it is sidelined, as it is part of a unity resulting from both realities.
The mural artist faces many questions of a technical, aesthetic, functional and other nature. My purpose over this period of time was to answer them, a purpose to serve a society deeply enslaved to the hands of the clock, to traffic jams and to the anguish of having lost the meaning of life. In my view, mural art, rather than emphasising the status quo that numbs society should, on the contrary, awaken it by the new harmony that is the responsibility of today’s artist to find.
The role of the plastic artist in society is largely understandable and requires no justification. In an urban space its function is to enhance rather than intervene. Something felt rather than seen. A sufficiently encompassing feeling in the overall space which remains latent throughout time. Thus, it seems that one should require from the artist the humility to acknowledge the right moment to participate in the movement outside his studio, indeed the space of experimentation.
The painter, should he really be the one operating through the plastic medium (…), requires a physical support, its nature and sturdiness depending on the characteristics of the place.
The wall has always been for me a kind of obsession, especially since 1947 when, for the first time, I travelled through Italy. Then, on my return to Paris, Duco de La Haix taught me the potential of "mortier", “discharging” me so I myself could erect a wall for fresco painting. Everything has a story and mine comes from afar and is marked by a commitment to murals. Not always straightforward, I recognise that. Over the long period of 50 years between the first and the last mural, the world was shaken up, the winds blew strong and men degraded themselves endlessly. The signs of art have not gone unheeded by them.
How to understand straightforwardness in this so-called evolutional sense? However, the decoration of a mural is always a consequential reference of a time, like the Berlin wall, or of a faith, like the Wailing Wall. A wall in itself always has a meaning, either physical or psychological. The former remains a reality, the latter is submissive, not because it is sidelined, as it is part of a unity resulting from both realities.
The mural artist faces many questions of a technical, aesthetic, functional and other nature. My purpose over this period of time was to answer them, a purpose to serve a society deeply enslaved to the hands of the clock, to traffic jams and to the anguish of having lost the meaning of life. In my view, mural art, rather than emphasising the status quo that numbs society should, on the contrary, awaken it by the new harmony that is the responsibility of today’s artist to find.
The drawing on the wall.
The Face of the Sea
The works collected together under the title "The Face of the Sea" resulted entirely from a direct contact with those whose life depends on such imponderable factors: such is the struggle of the Sea.
Expressions, gestures and faces shaped by the unbroken waves. Of course! What I am showing are not doctoral theses (!...), but simply recordings (and some of their developments), in the unique circumstances of convergence that facilitates them. They are, after all, mostly drawings that seek a truth conforming to my feelings. They date from different times. Another aspect that I believe the exhibition shows is the contribution of the geo-human situation to the expressiveness of drawing. The Atlantic was, in a way, the great accomplice of my small, yet enormous, adventure! From the northern Portuguese coast to the north-eastern shores of Brazil, passing through the islands of Cape Verde, the same Atlantic. Only the men are different because the expressions, the gestures and the faces are different! The awareness of this difference is always an invaluable challenge for feeling alive!... A drawing made in Póvoa de Varzim bears an emotional charge of a very different nature from another made on some Pernambuco shore.
Even though this is just an aspect of a much wider issue, maybe it is enough to highlight the importance that I give to emotion in the act of drawing.
The face of the sea.
The works collected together under the title "The Face of the Sea" resulted entirely from a direct contact with those whose life depends on such imponderable factors: such is the struggle of the Sea.
Expressions, gestures and faces shaped by the unbroken waves. Of course! What I am showing are not doctoral theses (!...), but simply recordings (and some of their developments), in the unique circumstances of convergence that facilitates them. They are, after all, mostly drawings that seek a truth conforming to my feelings. They date from different times. Another aspect that I believe the exhibition shows is the contribution of the geo-human situation to the expressiveness of drawing. The Atlantic was, in a way, the great accomplice of my small, yet enormous, adventure! From the northern Portuguese coast to the north-eastern shores of Brazil, passing through the islands of Cape Verde, the same Atlantic. Only the men are different because the expressions, the gestures and the faces are different! The awareness of this difference is always an invaluable challenge for feeling alive!... A drawing made in Póvoa de Varzim bears an emotional charge of a very different nature from another made on some Pernambuco shore.
Even though this is just an aspect of a much wider issue, maybe it is enough to highlight the importance that I give to emotion in the act of drawing.
The face of the sea.
Drawing at the Time of Dance and Theatre Illustration
I do not conceal the paths that life has so often made me tread.
They are part of a long journey and rightly make sense of it.
From the publicity drawings of the 1930s to the tile panels of "Sete Rios" spans a long bridge...
From one bank, already lost in the mist, to another that is awaited… The world, like Art, develops at a maddening pace.
So long as man is not lost, all is well.
This exhibition is thus a “presence” from the past. I only wonder what interest it may arouse in the vortex of modern time.
From comic strips to illustration and costumes, one foot here and one foot there, from Dyas to the Resendes, maybe I lost my bearings!...
This is a doubt, amongst many others, that will always be with me, though I keep a smile on my face that explains the two small lines on it.
1949, People of the sea.
I do not conceal the paths that life has so often made me tread.
They are part of a long journey and rightly make sense of it.
From the publicity drawings of the 1930s to the tile panels of "Sete Rios" spans a long bridge...
From one bank, already lost in the mist, to another that is awaited… The world, like Art, develops at a maddening pace.
So long as man is not lost, all is well.
This exhibition is thus a “presence” from the past. I only wonder what interest it may arouse in the vortex of modern time.
From comic strips to illustration and costumes, one foot here and one foot there, from Dyas to the Resendes, maybe I lost my bearings!...
This is a doubt, amongst many others, that will always be with me, though I keep a smile on my face that explains the two small lines on it.
1949, People of the sea.
Recurrent Watercolour 1946//1989
Watercolour was Resende’s favourite technique during his various travels, mainly in the 1940s and ‘50s, and it regained its importance in the 1980s when the author became a strong admirer of the Black Forest and the northeast of Brazil.
Some of these works and many others of mixed technique, originals of which many have never before been displayed in public, belong to the Lugar do Desenho collection, and the moment has come to show them, in accordance with the foundation’s statutes.
Dating from different times, the exhibition will help the viewer to see and reflect on the evolution of the painter, an analysis that will offer periodic cultural conclusions, one of our constant objectives.
Recorrent Watercolour.
Watercolour was Resende’s favourite technique during his various travels, mainly in the 1940s and ‘50s, and it regained its importance in the 1980s when the author became a strong admirer of the Black Forest and the northeast of Brazil.
Some of these works and many others of mixed technique, originals of which many have never before been displayed in public, belong to the Lugar do Desenho collection, and the moment has come to show them, in accordance with the foundation’s statutes.
Dating from different times, the exhibition will help the viewer to see and reflect on the evolution of the painter, an analysis that will offer periodic cultural conclusions, one of our constant objectives.
Recorrent Watercolour.
The Flight of the Palette
A significant number of works by Júlio Resende have been born out of the painter’s many travels, on which he encountered reasons for constant evolution in terms of structural space and means. In his understanding, these works are records, and it is as such that they should be perceived. The experience of the senses corresponds to the instantaneity of gesture. Amassing these works under the title “Flight of the Palette”, the geographical reason behind them becomes immediately clear, as well as the emphasis the author gives to the manifold factors from which he departed and, above all, the diversity of sources of tropical culture: Continental Africa and the African Islands, South America and Asia.
Beside others, this seems a subject to arouse not only the viewer’s sensitivity but also his thinking. It has indeed been a rule of these exhibitions to provide didactic materials supplied by the author to accompany the original work, which we include in this edition. (…)
The flight of the palette.
A significant number of works by Júlio Resende have been born out of the painter’s many travels, on which he encountered reasons for constant evolution in terms of structural space and means. In his understanding, these works are records, and it is as such that they should be perceived. The experience of the senses corresponds to the instantaneity of gesture. Amassing these works under the title “Flight of the Palette”, the geographical reason behind them becomes immediately clear, as well as the emphasis the author gives to the manifold factors from which he departed and, above all, the diversity of sources of tropical culture: Continental Africa and the African Islands, South America and Asia.
Beside others, this seems a subject to arouse not only the viewer’s sensitivity but also his thinking. It has indeed been a rule of these exhibitions to provide didactic materials supplied by the author to accompany the original work, which we include in this edition. (…)
The flight of the palette.
Gazing on the Immediate
"Do you know what will happen to you as you practise pen and ink drawing? You will become more clever, practical and able to draw a lot inside your head."
Cennini
The material exhibited should not be regarded as the product of a thesis, a final result of reflexive/emotional understanding. As a principle, it is material safeguarded by its own “intimacy” which few would agree to reveal.
The title of the exhibition, “Gazing on the Immediate”, explains from the outset the instability pertaining to the record and the emotion put in it.
The movement of the tool translates the feeling of experienced vision, though expectant and unique, given credibility by the cortex but respectful of the thalamus. Drawing thus becomes a reliable testimony to a vital experience of the being at a given moment.
This exhibition comprises many of these experiences, some of which were fleetingly recorded but no less relevant for it in my life. I recall Turner, acknowledging that many of his late watercolours were sketched in a very schematic drawing to be watercoloured later. His capacity for emotional memory would respond to the particular chromatic solutions in question.
By showing these works in an attitude of apparent indiscretion, I will make myself known, not as an example, as a model… I am just one amongst many!
Gazing on the immediate.
"Do you know what will happen to you as you practise pen and ink drawing? You will become more clever, practical and able to draw a lot inside your head."
Cennini
The material exhibited should not be regarded as the product of a thesis, a final result of reflexive/emotional understanding. As a principle, it is material safeguarded by its own “intimacy” which few would agree to reveal.
The title of the exhibition, “Gazing on the Immediate”, explains from the outset the instability pertaining to the record and the emotion put in it.
The movement of the tool translates the feeling of experienced vision, though expectant and unique, given credibility by the cortex but respectful of the thalamus. Drawing thus becomes a reliable testimony to a vital experience of the being at a given moment.
This exhibition comprises many of these experiences, some of which were fleetingly recorded but no less relevant for it in my life. I recall Turner, acknowledging that many of his late watercolours were sketched in a very schematic drawing to be watercoloured later. His capacity for emotional memory would respond to the particular chromatic solutions in question.
By showing these works in an attitude of apparent indiscretion, I will make myself known, not as an example, as a model… I am just one amongst many!
Gazing on the immediate.
Woman and Drawing
"A considerable part of the work of Júlio Resende has an insistent motivation in the female figure, not only isolated, but inserted in groups in subordination to the compositional structure.
During the course of a decades-long career, the painter’s expressionism rarely submits to viewing in woman the fragile ornamental figure of conventional beauty, rather the contrary, in her silhouettes, she radiates an earthy image, a vital essence that ennobles her.
This path is one of the reasons for this exhibition, taking the viewer to diverse places, from the Oporto riverfront to the Atlantic shore.(...)"
Woman and drawing.
"A considerable part of the work of Júlio Resende has an insistent motivation in the female figure, not only isolated, but inserted in groups in subordination to the compositional structure.
During the course of a decades-long career, the painter’s expressionism rarely submits to viewing in woman the fragile ornamental figure of conventional beauty, rather the contrary, in her silhouettes, she radiates an earthy image, a vital essence that ennobles her.
This path is one of the reasons for this exhibition, taking the viewer to diverse places, from the Oporto riverfront to the Atlantic shore.(...)"
Woman and drawing.
Drawing Techniques
I dare state that in art, technique goes unnoticed. Lest I am misunderstood, I shall add that all statements are valid in themselves, and this also means that I do not belittle the ability to externalise this statement.
Technique is a means of …
For some reason, I find myself resistant to the exhibitionist techniques of a Paganini, although he is recognised as having been the greatest of virtuosi.
In principle, the painter has no violin, but rather various methods that require as many techniques, which he uses according to circumstance. Watercolour, pastel, gouache, pencil, China ink, etc, are “quick” techniques that I use in my frequent ramblings. I rarely used photography, believing that the use of a pad of paper would bring advantages to emotional annotation.
Other techniques, let’s call them “studio” techniques, such as engraving, monotype, collage, mixed technique, form the reference link to oil, acrylic techniques, etc. It is easily perceived that the former result from what I call in loco experience, while the latter are subject to a state of mind.
They all have variable relevance according to the aesthetic profile of the technician, and can even be considered useless for their association with other creative proposals such as those that are based on a performance project. So it should be said that these are the works that are part of the collection exhibition. It will be up to the visitor to make the small effort of telling them apart in terms of the purposes that generated them. Let it be once more stated that they are not conclusive works but rather personal records, fragments which in the circumstances were grouped here for the overall understanding of a whole.
I was moved by no other purpose, when exposing these bits of paper, humble physical presences, than to account for a life of searching, through the dim mists of doubt, with the hope of glimpsing a light that might correspond to the supreme objective of my painter’s conscience.
This search will make no sense without being shared as a brotherly sign of a hopefully universal Harmony.
Drawing Techniques
I dare state that in art, technique goes unnoticed. Lest I am misunderstood, I shall add that all statements are valid in themselves, and this also means that I do not belittle the ability to externalise this statement.
Technique is a means of …
For some reason, I find myself resistant to the exhibitionist techniques of a Paganini, although he is recognised as having been the greatest of virtuosi.
In principle, the painter has no violin, but rather various methods that require as many techniques, which he uses according to circumstance. Watercolour, pastel, gouache, pencil, China ink, etc, are “quick” techniques that I use in my frequent ramblings. I rarely used photography, believing that the use of a pad of paper would bring advantages to emotional annotation.
Other techniques, let’s call them “studio” techniques, such as engraving, monotype, collage, mixed technique, form the reference link to oil, acrylic techniques, etc. It is easily perceived that the former result from what I call in loco experience, while the latter are subject to a state of mind.
They all have variable relevance according to the aesthetic profile of the technician, and can even be considered useless for their association with other creative proposals such as those that are based on a performance project. So it should be said that these are the works that are part of the collection exhibition. It will be up to the visitor to make the small effort of telling them apart in terms of the purposes that generated them. Let it be once more stated that they are not conclusive works but rather personal records, fragments which in the circumstances were grouped here for the overall understanding of a whole.
I was moved by no other purpose, when exposing these bits of paper, humble physical presences, than to account for a life of searching, through the dim mists of doubt, with the hope of glimpsing a light that might correspond to the supreme objective of my painter’s conscience.
This search will make no sense without being shared as a brotherly sign of a hopefully universal Harmony.
Drawing Techniques
A House in Korntal
Family circumstances meant frequent stays in Korntal, a few kilometres from Stuttgart, where my daughter Marta and my only grandson Daniel live. Korntal is a word derived from two others, which means “Valley of Wheat”, and explains the nature of the place in topographical terms. In fact, from Stuttgart to Korntal, we can imagine continuous forest surrounding the Solitude Palace without any difficulty. The forest, of which Germany is proud, is maintained with natural discipline by all who accept and defend it. Korntal, therefore, is a small urban zone which is almost disguised in the landscape since the buildings do not extend beyond the houses surrounded by gardens carefully tended with visible pride by their owners at weekends. The small town obeys the rules of social composure of a class linked to the automobile industry.
But Korntal stands out socially for another reason: a “sect” with a moral ideology and “pietist” religion had its base there for many years, which still today is reflected in the collective behaviour of the residents.
In one of my stays, as I walked along the immaculately tidy streets, I inadvertently dropped a scarf.
The following day, when I noticed it was missing and took the same course, I found it carefully folded and placed on a low garden wall. This is Korntal.
This is where Marta’s house is, where Daniel is growing up. My memories are naturally in the company of my grandson to whom I taught the first Portuguese words and who, as he grew up, walked with me to the forest, making his small watercolours.
It is normal for the private gardens to have no walls to stop passers-by seeing in, and the owners relish their gardening. Although with the passing of time, Marta has become part of this social scene, her garden is not exactly like the rest.
Perhaps it is such a subtle matter it is impossible to explain.
My expressionist temperament, as if "pacified" by the scenery of this house, accepted an “intimacy” I am not used to. The atmosphere of a harmony of images and sounds, not only captured at first hand, but emanating from the surroundings, proved propitious to recording these notes.
Family circumstances meant frequent stays in Korntal, a few kilometres from Stuttgart, where my daughter Marta and my only grandson Daniel live. Korntal is a word derived from two others, which means “Valley of Wheat”, and explains the nature of the place in topographical terms. In fact, from Stuttgart to Korntal, we can imagine continuous forest surrounding the Solitude Palace without any difficulty. The forest, of which Germany is proud, is maintained with natural discipline by all who accept and defend it. Korntal, therefore, is a small urban zone which is almost disguised in the landscape since the buildings do not extend beyond the houses surrounded by gardens carefully tended with visible pride by their owners at weekends. The small town obeys the rules of social composure of a class linked to the automobile industry.
But Korntal stands out socially for another reason: a “sect” with a moral ideology and “pietist” religion had its base there for many years, which still today is reflected in the collective behaviour of the residents.
In one of my stays, as I walked along the immaculately tidy streets, I inadvertently dropped a scarf.
The following day, when I noticed it was missing and took the same course, I found it carefully folded and placed on a low garden wall. This is Korntal.
This is where Marta’s house is, where Daniel is growing up. My memories are naturally in the company of my grandson to whom I taught the first Portuguese words and who, as he grew up, walked with me to the forest, making his small watercolours.
It is normal for the private gardens to have no walls to stop passers-by seeing in, and the owners relish their gardening. Although with the passing of time, Marta has become part of this social scene, her garden is not exactly like the rest.
Perhaps it is such a subtle matter it is impossible to explain.
My expressionist temperament, as if "pacified" by the scenery of this house, accepted an “intimacy” I am not used to. The atmosphere of a harmony of images and sounds, not only captured at first hand, but emanating from the surroundings, proved propitious to recording these notes.
A house in Korntal.
A river that is left to die amongst us
Far from wishing to speculate on a matter of such obscure reflection as the fate of living things, it is true that the title found to group the works in this exhibition lent itself to my perception of the possible analogy of the character of a river and that of man. "A river that is left to die amongst us" deserves every risk.
A river without a history is just a watercourse in the hydrographic scheme of the earth’s crust.
Unlike most, perhaps, the River Douro experienced in geological adversity the traits that made it the scene of epic memories, but also of others more soothing such as a requirement of what is vital. In the fearsome terraced layout, man turned the rock into the womb of miracles for sustenance and breathtaking works of art. As it ends its laborious course the Douro reflects on its banks a ravishing beauty that recalls in us the final chord of a Mahler symphony.
A feeling of involvement dominates the powers of absorption, making us a part of a whole.
The river, like a body, reacts to the physical confrontations of a vital space. To the average observer, this contemplation will be devoid of significance.
Painting is not an entertainment. It results from the intent to respond to a kind of provocation of a phenomenon. The response is at the risk of the painter, who recognises in advance that this response will not be entirely satisfactory.
Far from wishing to speculate on a matter of such obscure reflection as the fate of living things, it is true that the title found to group the works in this exhibition lent itself to my perception of the possible analogy of the character of a river and that of man. "A river that is left to die amongst us" deserves every risk.
A river without a history is just a watercourse in the hydrographic scheme of the earth’s crust.
Unlike most, perhaps, the River Douro experienced in geological adversity the traits that made it the scene of epic memories, but also of others more soothing such as a requirement of what is vital. In the fearsome terraced layout, man turned the rock into the womb of miracles for sustenance and breathtaking works of art. As it ends its laborious course the Douro reflects on its banks a ravishing beauty that recalls in us the final chord of a Mahler symphony.
A feeling of involvement dominates the powers of absorption, making us a part of a whole.
The river, like a body, reacts to the physical confrontations of a vital space. To the average observer, this contemplation will be devoid of significance.
Painting is not an entertainment. It results from the intent to respond to a kind of provocation of a phenomenon. The response is at the risk of the painter, who recognises in advance that this response will not be entirely satisfactory.
A river that is left.
Thursday, September 25, 2008
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. (1956)
Tuesday, May 27, 2008
Busts
Bust of Prof. José Hermano Saraiva
Bust of the Painter Reis Teixeira
Bust of the Sculptor Aureliano Lima
Bust of the Sculptor Henrique Moreira
Bust of the Sculptor Manuel Pereira da Silva
Bust of the Dr. Adelino Gomes
Bust of the Priest Missionary José Araújo
Bust of the Priest Luís
Bust of is father
Bust of is father-in-law
Bust of is granddaughter
Tuesday, May 20, 2008
Monday, November 27, 2006
Art Blog
Thank you for visiting our Blog!
pereiradasilva.blogspot.com 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
Portugal
Phone: +351966779055
Biography
Manuel Pereira da Silva
Self-portrait, 1984
Oil on canvas
63cmx80cm
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
Education
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
49cmx64cm
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
49cmx64cm
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
61cmx75cm
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