{"id":30,"date":"2021-11-26T12:53:27","date_gmt":"2021-11-26T12:53:27","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=30"},"modified":"2021-12-03T12:18:06","modified_gmt":"2021-12-03T12:18:06","slug":"6-neo-realismo","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/6-neo-realismo\/","title":{"rendered":"6. New Realism"},"content":{"rendered":"

\u00abOur paintings have to be useful, serve a purpose to man, take care of their problems that have been longing for a solution for so long\u2026<\/em><\/p>

Let\u2019s make paintings for everyone, let everyone look at us as men. This is our duty. \u00bb<\/em><\/p>Vespeira, Aos pintores portugueses \u2014 carta aberta, A Tarde, 4\/8\/1945<\/em><\/cite><\/blockquote>\n\n\n\n

\"\"
Manuel Filipe, O homem e a m\u00e1quina, 1943, Colec\u00e7\u00e3o Gulbenkian<\/figcaption><\/figure>\n\n\n\n

The European art in-between wars was marked by the return to balance, and by the reappearance of realism. Up until a certain point, realism was popular with dictatorial regimens that were in place for almost the whole continent. This was a reaction to the radical vanguards started in the beginning of the 19th century. However, the motivation was beyond visual arts, it had its roots in the generalized desire for a social regrouping and reorganization after the destruction caused by The First World War.<\/p>\n\n\n\n

In Portugal, the reappearance of the New Realism in visual arts had a different drive. The vanguards were never really established, so the balance was never lost, the ignition was political conscience, that mobilized artists to have sympathy for the people that were explored and oppressed by fascism.<\/p>\n\n\n\n

After being firmly established in literature, after the Second World War, New Realism started to gain its consistence when a group of young artists established themselves in the leftist press, regularly publishing articles that went on to build and clarify the movement\u2019s ideologies.<\/p>\n\n\n\n

New Realism didn\u2019t have much in common with the 19th century realism. Although both chose topics that were connected to the hardness of life, New Realism wanted to start a transforming action in art, not only showing the problems, but, specifically, contributing to a social revolution, to elevate the people to a state they were never able to be in. There were two vectors of great importance: one, using art to expose as much as possible, this depended on the artists only, who did everything in their power to accomplish it. Two, they defended thar art should be accessible to everyone, until then, art was exclusively for the higher classes. Attaining this goal was way beyond the means that these youngsters had. Their dream of reproducing the big American mural paintings encountered difficulties within the regime, who wanted the buildings walls to be exclusively for advertisement. The only vehicle to allow realism to get to a bigger audience with less economic means was illustrations and print.<\/p>\n\n\n\n\t\t\n\t\t

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\n\t\t\t\t \t\t\t\t \n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Marcelino Vespeira<\/strong>
Apertado pela fome, 1945
\u00d3leo sobre tela,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Manuel Filipe<\/strong>
O homem e a m\u00e1quina, 1943
Mina negra sobre papel, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Manuel Filipe<\/strong>
O homem e a m\u00e1quina, 1943
Mina negra sobre papel, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
J\u00falio Pomar<\/strong>
Gadanheiro, 1945
\u00d3leo sobre aglomerado de madeira, Museu do Chiado<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
J\u00falio Pomar<\/strong>
Almo\u00e7o do Trolha, 1946-50
\u00d3leo sobre tela, Colec\u00e7\u00e3o Manuel de Brito<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
J\u00falio Pomar<\/strong>
Resist\u00eancia, 1946
\u00d3leo sobre aglomerado, Colec\u00e7\u00e3o do Museu de Lisboa em dep\u00f3sito na Funda\u00e7\u00e3o J\u00falio Pomar<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Lima de Freitas<\/strong>
Sem t\u00edtulo, 1946
Pastel e Carv\u00e3o sobre papel, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Cipriano Dourado<\/strong>
Sem t\u00edtulo, 1947
L\u00e1pis litogr\u00e1fico sobre papel, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Augusto Gomes<\/strong>
A carta, 1953
\u00d3leo sobre cart\u00e3o, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Augusto Gomes<\/strong>
Sem t\u00edtulo, 1953
Tinta-da-china e grafite sobre papel, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Manuel Ribeiro de Pavia<\/strong>
Ilustra\u00e7\u00f5es para uma edi\u00e7\u00e3o especial do livro Fanga<\/em>, de Alves Redol (nunca publicada)
Colec\u00e7\u00e3o particular<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Manuel Ribeiro de Pavia<\/strong>
Capa do livro Gaib\u00e9us<\/em>, de Alves Redol, 1939<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Manuel Ribeiro de Pavia<\/strong>
Capa do livro Vila Adormecida<\/em>, de Antunes da Silva, 1947<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t\n\n\t\t\t \n\t\t<\/div>\n\t\t\n\n\t\t