Artbid - Auction 1354 / Lot 34

Artbid - Auction 1354 / Lot 34

MANUEL PEREIRA DA SILVA (1920-2003)

Fireman

Patinated bronze sculpture based on marble base

With plate 'Esc. Manuel Pereira da Silva 1994 '

46 cm. (total alt)

Artbid - Auction 1347/12

Artbid - Auction 1347/12

MANUEL PEREIRA DA SILVA (1920-2003) (2)

Knight

Plaster sculpture along with charcoal paper study

Sculpture signed and dated 1969

30 x 24 x 9 cm. (sculpture)

Artbid - Auction 1337 / Lot 25

Artbid - Auction 1337 / Lot 25

MANUEL PEREIRA DA SILVA (1920-2003) (2)

Untitled

2 Lithographs on paper

One with 1967 signature and date printed

21.5 x 16 cm. (bigger)

Artbid - Auction 1340 / Lot 13

Artbid - Auction 1340 / Lot 13

MANUEL PEREIRA DA SILVA (1920-2003)

Male figure

Patinated bronze sculpture

Without signature

30 cm. (am.)

Artbid - Auction 1332 / Lot 17

Artbid - Auction 1332 / Lot 17

MANUEL PEREIRA DA SILVA (1920-2003)

Untitled

Cardboard ballpoint

Signed and dated 1978

59 x 42 cm.

II Exhibition of Modern Art of Viana do Castelo

II Exhibition of Modern Art of Viana do Castelo held by the Regional Museum of Viana do Castelo, in September 1959, this exhibition was open to the public in the following cities, in Coimbra, organized by the Academic Association Circle of Plastic Arts, in December 1959. and Caldas da Rainha, organized by the Caldense Scenic Ensemble, in January 1960, sponsored by the Calouste Gulbenkian Foundation, planned and organized by Dr. Manuel de Sousa Oliveira.

Art even when it seems far removed from life is always its reflection, not in the sense of imitation, as the Aristotelian definition has been misinterpreted, but in the source of expressive creation.

This exhibition of modern Portuguese artists, despite the energetic care of their organization, cannot, of course, give the full picture of our art. However, it worthily illustrates the transformation that has taken place, especially in the last decade, into the European success of our step. And it will certainly have provided interested visitors with familiarizing themselves with not only the characteristic aspects of today's art but also some of the most representative names in the new ranks of Lisbon and Porto. Manuel Pereira da Silva is one of 37 artists present, with two sculptures and two paintings.

Project Competition for the D. Henrique Monument in Sagres

Project Competition for the D. Henrique Monument in Sagres, Lisbon (1957).

The Executive Committee of the Commemorations of the Fifth Centenary of the death of Infante D. Henrique decided to bring together in this publication the fundamental elements of the contest for the monument that should be built in Sagres.

Such a large number of projects - 22 of Portuguese and 27 foreign authors - is a tribute to the memory of Infante and will be documentary of the interest of national and foreign artists, for the figure and work of the genius initiator of the Discoveries.

Under the Motto: Scorpio; Manuel Pereira da Silva participated in collaboration with Architect Carlos Neves, Architect José Márcio de Freitas, Engineer Armando Santos Paupério and Engineer Manuel O. Dias Lopes.

Artistic Technical Education in Oporto

Soares dos Reis School Of Decorative Arts

Artistic Technical Education in Oporto

During the New State (1948-1973)

Francisco Perfeito Caetano

Ed University of Oporto

(2012)

ISBN 978-989-8265-87-6

The current Soares dos Reis Artistic School was officially created in January 1884 and was designated at that time as the Guimarães do Bonfim Industrial Design School of Faria. Its activity began a year later in precarious installations of a residential building in Campo 24 de Agosto.

In 1917, the school is ordered to be evicted and occupies the former premises of the Lyceum Alexandre Herculano, on Rua de Santo Ildefonso.

In 1927 the purchase of an old hat factory at 49 Firmeza Street is authorized. In 1931 a qualification course for the School of Fine Arts is created. The School gives courses in chisel, steel engraver, woodworker, goldsmith, fashion designer, debux weaver, carver among others.

From 1948, the School, now called the Soares dos Reis School of Decorative Arts, began to offer specialized courses of artistic nature - Decorative Painting, Decorative Sculpture, Decorative Ceramics, Artistic Furniture, Chisel and, among others, the Graphic Arts. With the reform of secondary education in 1972/73, General and Complementary Visual Arts Courses are introduced, including Fabric Arts, Equipment and Decoration, Fire Arts, Graphic Arts and Imaging.

In 2008, 124 years after its foundation, the so-called Soares dos Reis Artistic School finally moves to a new building on Major David Magno Street, where the Oliveira Martins Secondary School used to be. Worked by the public company Parque Escolar, the building is designed by architect Carlos Prata and is part of the pilot phase of the project for the rehabilitation of the national public secondary school. Keeping the facade of the old school, the entire interior is renovated or redeveloped to receive the Specialized Artistic Courses created in 2004.

Maintaining its educational project that consists of an excellent artistic teaching that combines the requirement in general education with the professionalism and passion placed in technical and artistic training, Soares dos Reis is today a reference educational institution in the city of Oporto and in the country. The team of highly trained teachers combines youth and experience in a rare mix that is a recipe for success, today complemented by the best arts facilities in the country.

Bearing in mind the importance of being an internship (internship center) for an institution such as the Soares dos Reis School, and having internship teachers within it, we consider relevant to mention here the names and classifications of the 5th group interns, contained in the book of minutes for “classification of trainee teachers” corresponding to the 1st and 2nd year of internship. They are Mario Truta, 14 and 15 values ​​(1952-1953); Manuel Pereira da Silva, 15 and 17 values ​​(1966-1967); among many other trainee teachers.

Some of the teachers at the Soares dos Reis School had a profound impact on the national art scene, among them Sousa Caldas, Mário Truta and Manuel Pereira da Silva.

After an I Exhibition, in the premises of the School of Fine Arts of Oporto, with sculptures (refer to our choice, only the sculptors) by Altino Maia, Mario Truta, Arlindo Rocha, Serafim Teixeira, Augusto Tavares and Manuel Pereira da Silva , the independent exhibitions take place outside the school and several times outside Oporto. It is a first example of decentralization and willingness to diffuse that, despite everything, will not prevent some marginalization of the artists of Porto in relation to events and initiatives of greater visibility and impact on the capital.

Much more important was the First Exhibition of Independents in April 1943. Portuguese abstract art is historically linked to independent exhibitions whose main organizer and animator, Fernando Lanhas, is coincidentally the central figure of this abstractionism.

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

The III Independent Exhibition takes place, in the same year, in the hall of the Oporto Coliseum, with sculptures by Abel Salazar, Altino Maia, Antonio Azevedo, Arlindo Rocha, Eduardo Tavares, Henrique Moreira, Manuel Pereira da Silva, Mario Truta and Sousa Caldas.

In the catalog of the exhibition, traveling through Coimbra, Leiria and Lisbon, in 1945, it is clear that the name of “independent” is not a random name, but implies the awareness that art is a heritage of humanity and hence “ our varied presence ”, given that the present must be activated to reach the future, and the past cannot be denied the right to remember.

For Fernando Lanhas the “Independent Exhibitions” of Oporto mark a significant historical moment in our painting and sculpture. Firstly, they bring together painters and sculptors of different backgrounds (the raison d'être of the independent word comes from non-affiliation with a particular “ism”), engaged in the same collective action and immersed in the same enthusiasm. Second, because in them there appears, without prejudice or complex, this original and fruitful abstraction. And third, because they escape the centralizing voracity of the capital.

The Story Behind the Personal Memoirs of Ulysses S. Grant

Grant’s Last Battle

The Story Behind the Personal Memoirs of Ulysses S. Grant

Emerging Civil War Series

By Chris Mackowski and Kristopher D. White

SB – Savas Beatie

California

(2015)

ISBN-13: 978-1-61121-160-3

Library of Congress Control Number: 2015943486

Guinea-Bissau, Africa (circa 1956)

This standing sculpture of Grant as presidente was commissioned in recognition of Grant’s 1870 arbitration of a dispute between Portugal and Great Britain over the former colony. The Portuguese government commissioned sculptor Manuel Pereira da Silva to create the monument, which was erected in the main square of Guinea-Bissau’s capital city, Bissau. It later survived the wave of destruction that destroyed many of the other monuments representing the nation’s colonial past. In August 2007, however, the Grant sculpture disappeared and was discovered in pieces, probably for use as scrap metal. Police were able to recover all of the pieces except Grant’s head, but they still hope to recover that piece and reassemble the statue.

The Gaia Art School

Laura Castro
The Gaia Art School

Speaking of artists from Gaia in the period between the 1960s and the 1920s, the panorama is almost necessarily reduced to sculpture.

From the School of Sculptors of Gaia has begun to speak insistently since António Arroio, in 1909, used the expression to characterize the core of sculptors who were born or worked in Gaia, especially from the figure of Soares dos Reis. It is with José Joaquim Teixeira Lopes (1837-1918), and by way of preamble, that the story of the sculptors of Gaia begins. Only after the introit that represented his performance can a first generation be defined by the name of Soares dos Reis (1847-1889), followed by a group of sculptors born in the 60s: Joaquim Gonçalves da Silva (1865- 1912), José Fernandes Caldas (1866-1923), António Teixeira Lopes (1866-1942), Augusto Santo (1869-1907), these two last disciples of Soares dos Reis, to which António Fernandes de Sá, from following decade (1875-1959). Contemporary of this nucleus is the painter Manuel Maria Lúcio (1865-1943). Finally a set of sculptors born in the 80's and 90's, with numerous presence of disciples of Teixeira Lopes: José de Oliveira Ferreira (1883-1942), António Alves de Sousa (1884-1922), Diogo de Macedo (1889-1959) ), António Azevedo (1889-1968), Zeferino Couto (1890-), Henrique Moreira (1890-1979), Jose Fernandes Sousa Caldas (1894-1965), Adolfo Marques (1894-1960). Contemporary in this nucleus, the painter Joaquim Lopes (1886-1956) and the architect Francisco Oliveira Ferreira (1884-1957) stand out.

Soares dos Reis returns from Paris and Rome in 1872. It will take thirteen years to see Teixeira Lopes leave for the French capital. And when Teixeira Lopes prepares to enter the Academy (1901) and Fernandes de Sá, even at the turn of the century, succeeds in Paris (1896-1901), Oliveira Ferreira and Alves de Sousa still study in the Fine Arts of Porto, finishing the Finally, when Alves de Sousa is a pensioner in Paris and Oliveira Ferreira reaches the end of his fellowship period, António de Azevedo, Sousa Caldas, Henrique Moreira, Diogo de Macedo and Zeferino Couto (1911) finish their course. A few years separate the formation of these sculptors, whose activity would intersect on several occasions. It is necessary to clarify in this regard “artists of Gaia” that the question of naturalness does not seem decisive to me in the definition of vocations and formations, being even a little legitimate criterion to ascertain generations of artists and their dominant tendencies or even to organize, solely on the basis of an exhibition or study. The twentieth century has sharply diluted the question of artistic geography that imposed schools by countries or regions. In contemporary times, and with a few exceptions, the term "homeland" has no great meaning when we speak of fine arts. Therefore, this frontier is a pretext to face a group of artists who lived and developed their activity from Vila Nova de Gaia. Some of the representatives of this “Escola de Gaia” come from other parts of the country: José Joaquim Teixeira Lopes is from S. Mamede de Riba Tua.

To emphasize this idea it should be noted that if most are from Gaia, almost all worked in Porto and Porto. In other words, in Gaia one meditates, conceives, produces; In Porto, the work is completed, implemented in a public place, the play and its author perpetuated. Porto and Gaia have always maintained these close relations, because if the workshops and workshops existed in Gaia, it was in Porto that the training was fulfilled. After all, this group of artists only took advantage of the market conditions offered by the neighboring city. And this was also where the exhibition venues were located: Athenaeum, Mercy, Crystal Palace, Trade Association Courtyard (the favorite place by Teixeira Lopes, according to her memoirs) Salão Silva Porto.

Even in relation to the workshops that the sculptors kept, some were located in Porto: Fernandes de Sá worked in R. Álvares Cabral (Bertino Daciano, 1949), Joaquim Gonçalves worked in a religious sculpture workshop in R. da Fábrica (Romero Vila, 1964) and Henrique Moreira at Largo Actor Dias. The most paradigmatic case of this situation is that of Henrique Moreira, born in Gaia and who decisively marked the image of the city of Porto, in terms of public statuary.

In the same order of ideas, but of inverse reason, are the brothers Oliveira Ferreira - architect and sculptor - born in Porto, but with a workshop in Gaia, and with a fundamental part of his work developed here.

Forcing the scheme to adapt to the available examples, others could be added, such as Eduardo Tavares, born in S. João da Pesqueira, professor at the School of Fine Arts of Porto and who kept his workshop at the Soares dos Reis workshop, already in a phase most advanced of our century.

It proves enough of the appetite for this land and its emblematic figures, and the ability to provide some continuity to the movement born in the nineteenth century. In spite of all the criteria contained, it should be acknowledged that there is a very reasonable number of sculptors in Gaia who dominated part of the artistic activity, commissions and exhibitions at the turn of the century. The causes, if not developed in this approach, cannot be ignored by it either. Reasons such as the proliferation of workshops of barists, flowerbeds, smelters have often been adduced; the tradition of the wooden imaginary; the existence of ceramic factories; the making of bow figures for the boats at the Gaia shipyards.

But the reverse movement will also be true, judging by the words of another author who considers that Teixeira Lopes' religious images - such as Santa Isabel's - exerted influence on the art of popular Santeiros (António Arroio, 1909). All these factors, albeit indirectly, have contributed to an enabling environment for artistic creation and decoration; set up an atmosphere used to living with these areas as productive activities, giving it a utilitarian and intervening sense; they generated habituation to three-dimensionality, to modeling, in finished forms ready to be placed on the front of a façade, the decoration of a façade, the ornamental set of a fountain, a garden. It is in this sense that Ramalho Ortigão discusses the superiority of sculpture, based on the fact that “sculptors must be submissively, obligatorily, workers (…) indispensably (…) flowerbeds, founders, chisels, baristas or carvers” (Ramalho Ortigão, 1905).

In this vein, carefully read the considerations of another critic who is strangely uninterested in sculpture because, recognizing that it is more difficult than painting, it is also “less abstract. It deals with form in all its truth (…). No convention has the sculptor, it presents the real form that its conception created. ... Crowds pass almost always impassively before the realities of marble or bronze to run enthusiastically to the conventional seductions of color images. ” And in another step: “It is a pity because it is the art that best does the artistic education of a people, because instead of always hiding in the enclosed buildings, it is in the full and free light of the squares and gardens that the best of its wonders. ”(Ribeiro Artur, 1896).

The critical consciousness of the time in relation to sculpture also reveals: “It is the expression of art that in Portugal describes the most complete line of uninterrupted evolution, from the first coeval architectural monuments of the founding of nationality to the present day”. He goes on to say: "We cannot, therefore, say, in the nineteenth century, as admirable sculptors as Soares dos Reis, as Teixeira Lopes was, that in their race there was no powerful artistic sap from which they flourished." (Ramalho Ortigão, 1905).

Either of the two authors cited worked and exerted critical activity in the face of the movement of sculptors that was generated in Gaia and the fact that they emphasize this art its more workshop side and its more concrete facet, seems to give me a very correct understanding as to to the interest devoted to sculpture in that village. All this argument finds correspondence in the conception that "sculpture is concerned with the body and the painting of the soul" (António Arroio, 1899).

A very particular case of the relationship between the type of workshops referred to and sculpture is that of Adolfo Marques. The son of a woodcarver of the same name, he developed, from the family tradition of woodworking, a set of small images celebrated as “stick figures”. The pieces made using walnut as the predominant material are small and have an invoice that crosses a representative view with constructive features, making them hard and faceted. They betray the initial family learning, but also a willingness to take new paths that would have been deepened, other than the dropout of the School of Fine Arts attended until the fourth year. And it is impossible not to see in these “dolls”, of blacksmiths, sweepers, figures of procession, others reading the fate, of old sitting, of popular musicians, of D. Quixote and so many of literary cut, a nod of the figures. of Teixeira Lopes (Pai) ceramics, in the inventory of professions and popular activities. Very poorly known, these sculptures by Adolfo Marques prove the aforementioned influence and continuity of the production of clay, ceramics and woodwork.

Another case is that of Sousa Caldas who began to live with the statuary made by his father - José Fernandes Caldas - author of numerous religious images, of which the most famous were destined to the Chapel of Bragas, in Porto, and others in Brazil. , where he settled after the establishment of the Republic, where he died. Without being able to establish a direct link between the works of Fernandes Caldas and those of his son, in terms of plastic results, it is inevitable to admit a link between the activities they both chose.

A third figure is that of Fernandes de Sá, whose father had a marble workshop, which allowed the sculptor to convey a taste for the materials he would later use.

Diogo de Macedo started his sculpture from his contact with Fernandes Caldas's workshop, where he learned how to draw, model and sculpt wood.

Finally, in his memoirs, Teixeira Lopes tells how he began by making the glass eyes with which he supplied the clay pots and figures, providing fairs and pilgrimages.

From the activity of these generations, Gaia conserves three symbolic buildings: the studio of Soares dos Reis; the Teixeira Lopes House Museum, the sculptor's studio to which the Galleries Diogo de Macedo later joined; Oliveira Ferreira's studio in Miramar. Buildings that, in their troubled existence, also tell stories of the artists associated with them.

Soares dos Reis's studio was always an objective of the sculptor's defenders who proposed its acquisition by Câmara de Gaia, in more or less organized movements from the 10's (Joaquim Antunes, 1990). It was acquired by the industrialist Manuel Pinto de Azevedo in 1938 and he was bequeathed to the School of Fine Arts of Porto in 1947. In this process, the pressure exerted by Joaquim Lopes, in the image of what he was doing in favor of a home workshop António Carneiro.

The Teixeira Lopes House Museum results from the studio founded in 1895 by the sculptor and designed by his architect brother, José Teixeira Lopes. In 1932 is donated with all its filling to the City Hall of Gaia being the sculptor as its conservator and receiving a monthly pension for life. To this space was associated the name of Diogo de Macedo to which was also dedicated an exhibition space of his works and his collection, which the Chamber took office in 1971, having been repeated the formula of a pension to receive in this case by the artist's widow.

Oliveira Ferreira's studio, where the two brothers, the sculptor and the architect, worked, was conceived by the latter, a very unequal author in his production that still reflects the eclecticism of the turn of the century, who designed, among others, the building of the City Hall of Gaia (1925), breaks radically with historicist traits at the Heliântia Clinic (1916). Oliveira Ferreira's workshop was donated to the Friends of Gaia Cultural Association (Friends of Gaia Bulletin, 12, May 1982).

With the preservation of these three buildings, with the monument to Soares dos Reis, with the bust of Henrique Moreira (by Manuel Pereira da Silva) and Teixeira Lopes (by Gustavo Bastos) Gaia is honoring his sculptors school. Going beyond the chronological scope, there would still be a set of artists to treat: José Pereira dos Santos (1902-), Manuel Teixeira Lopes (1907-) Guilherme Camarinha (1912-1994), António Sampaio (1916-1994), António Coelho de Figueiredo (1916-1991), Manuel Pereira da Silva (1920-2003), Isolino Vaz (1922-1992), Paulino Gonçalves.