António Soares was known in Lisbon as being a difficult person, easily irascible, and permanently involved in small conflicts and quarrels with the ones around him. There was, however, one exception: The director António Lopes Ribeiro. He was a close figure to the regime, and was known to be the only person in Lisbon whose relationship with António Soares didn’t go through a rough patch.
In 1936, production of the movie “A Revolução de Maio” began. It was a propagandistic project of the regime and aimed to show the politics of the New State in a better light. The initiative was developed by António Ferro, director of the S.P.N (Secretariat of National Propaganda), and António Lopes Ribeiro. Under pseudonym, the two fascists wrote the argument; Lopes Ribeiro was in charge of the production, and for the development of the artistic environment, they invited the painter António Soares, a summit figure of Lisbon modernism in the last two decades. He always strived to keep apart from the tense political takeovers that animated the relations of the artists with those in charge.
António Soares designed the poster of the film, but his most relevant work was the study of the décors and definition in the environments. Five drawings made in graphite and charcoal, with generous dimensions, were found amongst what was left by the artist and are showcased to the public for the first time.
Film poster A Revolução de Maio, 1937
Décor para o filme A Revolução de Maio, Quarto de Clara, 1937
Grafite e carvão sobre papel
58 x 43 cm
Espólio do artista na posse dos herdeiros
Décor para o filme A Revolução de Maio, 1937
Grafite e carvão sobre papel
58 x 43 cm
Espólio do artista na posse dos herdeiros
Décor para o filme A Revolução de Maio, Tipografia, 1937
Grafite e carvão sobre papel
58 x 43 cm
Espólio do artista na posse dos herdeiros
Décor para o filme A Revolução de Maio, saguão, 1937
Grafite e carvão sobre papel
58 x 43 cm
Espólio do artista na posse dos herdeiros
Décor para o filme A Revolução de Maio, quarto de Barata, 1937
Grafite e carvão sobre papel
58 x 43 cm
Espólio do artista na posse dos herdeiros