{"id":21,"date":"2021-11-26T12:10:56","date_gmt":"2021-11-26T12:10:56","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=21"},"modified":"2021-12-03T12:03:38","modified_gmt":"2021-12-03T12:03:38","slug":"3-amadeo-de-souza-cardoso","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/3-amadeo-de-souza-cardoso\/","title":{"rendered":"3. Amadeo de Souza-Cardoso"},"content":{"rendered":"
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Amadeo De Souza-Cardoso, Os Galgos, 1911, colec\u00e7\u00e3o Gulbenkian<\/figcaption><\/figure>\n\n\n\n

Amadeo was born in Manhufe, Amarante, in 1887 and moved to Lisbon at the age of 18 to attend Architecture. However, he was not satisfied, so the following year he went to Paris and developed an interest for painting, he attended free academies and the atelier of the Catalan painter Anglada-Camarsa. Very critical of \"his Portuguese comrade friends, who marched in an old-fashioned way\" \u2014 he vents in a letter to his uncle Francisco \u2014 \"everything that is done here is mediocre apart from very few things\", ended up partnering with Amedeo Modigliani, which opened his horizons to other modern ways.<\/p>\n\n\n\n

In 1912 he published the album XX Dessins<\/em>, which obtained a warm critical reception and gave him his first appearance in the Parisian news, soon reinforced by his participation in the XXVII e XXVIII Salons des Independents<\/em>. The following year he received an invitation from the reputed American critic Walter Pach to join the first exhibition of modern art in the USA, the Armory Show of 1913, alongside the great figures of the coeva generation, such as Braque, Duchamp or Matisse, and the previous generation, where C\u00e9zanne, Gaugin, Renoir or Van Gogh pontificated.<\/p>\n\n\n\n

Amadeo returned to Portugal in 1914 to escape war and settled in Manhufe, in a prosperous farm belonging to his father\u2019s family, where he continued his investigation in visual arts, maintaining little contact, and at a distance, with the modernists from Lisbon and Porto.<\/p>\n\n\n\n

In 1916, Amadeo decided to show his work in Portugal and organized an exhibition with 114 painting in Porto, in the gardens of Passos Manuel. He names it \u201cPainting Exhibitions\u201d (Abstractionism) Amadeo de Souza Cardoso\"<\/em> and, open until late at night, it was visited by 30,000 people during the twelve days it was open. The unusuality of the paintings scandalized many and, in a haughty way, Amadeo faced insults, assault and even alleged spitting on his paintings. The exhibition was then moved to Lisbon, where it got praised in the press by young Almada Negreiros and granted Amadeo a notorious interview in the newspaper O Dia, where he largely quoted the Futuristic Manifest of Marinetti.<\/p>\n\n\n\n

Amadeo died in 1918, victim of the Spanish flu, without fulfilling his long-desired return to Paris. His very short career, which lasted less than seven years, still allowed him to firm a well-creased identity, which remained as he moved from synthetic Cubism to analytical Cubism, from uncompromised Futurism to pioneering Expressionism or from the romantic resonance of his early pieces to a more radical abstractionism.<\/p>\n\n\n\n\t\t\n\t\t

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Amadeo de Souza-Cardoso<\/strong>
T\u00edtulo desconhecido (Clown, Cavalo, Salamandra), 1911\u00a0
Guache sobre papel,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Amadeo de Souza-Cardoso
<\/strong>T\u00edtulo desconhecido (Castelo), 1911
\u00d3leo sobre Tela,\u00a0Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>L\u00e9vriers \/ Os Galgos, 1911
\u00d3leo sobre Tela,\u00a0<\/b><\/span>Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Amadeo de Souza-Cardoso
<\/strong>LA D\u00c9TENTE DU CERF (Desenho original para o album XX DESSINS, n\u00ba 14,1912), 1912
Aguada, Tinta-da-china e Grafite sobre papel, Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>Cosinha da Casa de Manhufe, 1913
\u00d3leo sobre madeira,\u00a0Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>Procession Corpus Christi<\/em> \/ Prociss\u00e3o Corpus Christi, 1913
\u00d3leo sobre madeira,\u00a0<\/b><\/span>Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Amadeo de Souza-Cardoso
<\/strong>T\u00edtulo desconhecido, 1913
\u00d3leo sobre Tela,\u00a0Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>T\u00edtulo desconhecido (barcos), 1913
\u00d3leo sobre Tela,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Amadeo de Souza-Cardoso
<\/strong>T\u00edtulo desconhecido, 1913
\u00d3leo sobre cart\u00e3o prensado, Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>Can\u00e7\u00e3o popular \u2013 a Russa e o Figaro, 1916
\u00d3leo sobre Tela,\u00a0Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>Vida dos Instrumentos, 1916
\u00d3leo sobre Tela,Colec\u00e7\u00e3o Gulbenkian
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Amadeo de Souza-Cardoso
<\/strong>T\u00edtulo desconhecido (Entrada), 1917
Tela, Espelho, Madeira, Cola, Areia, \u00d3leo e Colagem, Colec\u00e7\u00e3o Gulbenkian
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