{"id":33,"date":"2021-11-26T12:58:53","date_gmt":"2021-11-26T12:58:53","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=33"},"modified":"2021-12-03T12:18:30","modified_gmt":"2021-12-03T12:18:30","slug":"7-surrealismo","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/7-surrealismo\/","title":{"rendered":"7. Surrealism"},"content":{"rendered":"

\u00abSURREALISM, n. Mental Automatism in its purest state, we propose to express through it \u2013 verbally, through writing and through any other means\u2014the true functioning of thoughts. Dictated by thought, in the absence of any other type of control exerted by reason, abstained from any aesthetic or moral concerns. \u00bb<\/p>Andr\u00e9 Breton, 1st Surrealist Manifest<\/cite><\/blockquote>\n\n\n\n

\"\"
Ant\u00f3nio Pedro, Aparelho metaf\u00edsico de medita\u00e7\u00e3o, 1935, Museu do Chiado<\/figcaption><\/figure>\n\n\n\n

Surrealism established in Paris in 1924, it evolved from what was left by Dadaists and was one of the most influential artistic movements of the century. Surrealists wanted the revolution and its action, defined by disobedience to the norm, an opposition to tradition, they established themselves as an anti-classic art who aimed to fight the bourgeoise social structure. Surrealists kept a strict bond with Leon Trotsky, who resurfaced the surrealist manifest in that same year with the saying: \u201cArt is no mirror, it is a hammer; it does not reflect, it shapes\u201d<\/em>, which summarizes in a few words the essentials of the surrealist attitude.<\/p>\n\n\n\n

Surrealists were interested in Psychology, particularly, Freuds views on the subconscious and the dreams. They believed that art should be an expression of individuals most profound intimacy, and that artistic production should be as independent as possible from reasoning, and intent should be kept away from the creative process. That is the reason why they defended the creative process being done in a \u201cstate of trance\u201d, close to a dream, and in the early years they even recurred to hypnosis and psychotropic external help, these strategies were stopped in the aftermath of an incident that almost culminated in a collective suicide.<\/p>\n\n\n\n

From a visual arts point of view, Surrealism unfolded into two main paths. One, there was a strong bet in automatism<\/em>, in a pictorial production, with no reflection, that sat on spontaneousness, that welcomed the uncertainty, the error, it was a route that artists such as Andr\u00e9 Masson, Jean Arp or Joan Miro chose; Two, they explored the representation of dreams, it didn\u2019t have to be exactly the same, the paintings only had to appear dreamlike, this was mostly attained by contrary elements cohabitating with each other, and mixing two or more objects in an image, or even recurring to objects that held a strong symbolic value, which many times masked sexual impulses and fear. This route was selected in Giorgio de Chirico\u2019s walls, by Ren\u00e9 Magritte or Salvador Dal\u00ed. Artists such as Max Ernst or Yves Tanguy walked lightly through both paths.<\/p>\n\n\n\n

Surrealism was brought into Portugal by C\u00e2ndido Costa Pinto, who had been given by Andr\u00e9 Breton the duty to organize a nucleus in Portugal. Similar to what had happened in France, where the Surrealists were maintaining close ties with Trotsky's social and artistic philosophies, the Lisbon group would display a blatant opposition to the fascist regime. The Surrealist Group of Lisbon<\/em> became official in 1948 (ironically, without the presence of Costa Pinto, who had been outlawed, accused of collaborating with the regime) and immediately began working alongside the organizers of the III General Exhibition of Fine Arts with the goal of including 41 of its members work. Several issues with the political police culminated in the censorship of their work, this was accepted without much opposition by the organization, which led to a boycott by the surrealists, who decided to remove their paintings from the exhibition. As an alternative, they prepared an exclusively surrealist exhibition in the studio that had once belonged to two Surrealism doyens in Portugal, Ant\u00f3nio Pedro and Ant\u00f3nio Dacosta. This followed the exhibition held at Casa Repe in 1940, with the British sculptor Pamela Boden, and a previous experience with proto-surrealism, in which Ant\u00f3nio Pedro and some friends had taken a series of literary cadavres-exquis<\/em> to the press.<\/p>\n\n\n\n

In 1949, following M\u00e1rio Cesariny\u2019s initiative, some artists abandoned the group to form another one \u2014 The Surrealists<\/em> \u2014 which would come to an end shortly, in 1953, along with the publication of their manifesto, and after some of the artists had forsaken their surrealist work. In January 1952, a final and important exhibition was held. This exhibition brought together Fernando de Azevedo, Fernando Lemos, and Vespeira, in a luxury decoration shop in Chiado, where more than two hundred artworks were exhibited.<\/p>\n\n\n\n

Surrealism would eventually lose its strength in Portugal when some of the members made the decision to either stop painting, or move to other artistic territories. Only M\u00e1rio Cesariny and Cruzeiro Seixas remained faithful to Surrealism for the rest of their careers, both their spirit and some of their plastic strategies would have a strong influence on younger artists who would surface during the next decade.<\/p>\n\n\n\n\t\t\n\t\t

\n\n\t\t\t\n\t\t\t\n\t\t\t
\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
Ant\u00f3nio Pedro<\/strong>
Rapto na paisagem povoada, 1947
\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

Ant\u00f3nio Pedro<\/strong>
Interven\u00e7\u00e3o rom\u00e2ntica, 1940
\u00d3leo sobre tela,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/p><\/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

Ant\u00f3nio Pedro<\/strong>
O Avej\u00e3o L\u00edrico,\u00a01939
Colec\u00e7\u00e3o Jo\u00e3o Rendeiro<\/p><\/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
Ant\u00f3nio Dacosta<\/strong>
Cena Aberta, 1939
\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
Ant\u00f3nio Dacosta<\/strong>
Serenata a\u00e7oriana, 1940
\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
Ant\u00f3nio Dacosta<\/strong>
Ant\u00edtese da calma, 1940
\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
C\u00e2ndido Costa Pinto<\/strong>
Mulher da \u00e9poca, 1941
\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
C\u00e2ndido Costa Pinto<\/strong>
sem t\u00edtulo (retrato bidireccional), 1943
\u00d3leo sobre platex, colec\u00e7\u00e3o privada<\/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
C\u00e2ndido Costa Pinto<\/strong>
Aurora Hiante, 1942
\u00d3leo sobre madeira, 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
Cruzeiro Seixas<\/strong>
L\u2019oppresseur,<\/em> 1951
Madeira, obus de canh\u00e3o, torneira, pena de chap\u00e9u, colagem, tinta acr\u00edlica, com camp\u00e2nula de vidro,\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
Cruzeiro Seixas<\/strong>
Homenagem a Julien Gracq ou Litt\u00e9rature pour l\u2019estomac<\/em>, 1953
Garfo, tinteiro e suporte em madeira,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
Cruzeiro Seixas<\/strong>
1\u00ba Estudo para futuros encontros, 1954
Grafite e Guache 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
Fernando de Azevedo<\/strong>
Oculta\u00e7\u00e3o, 1950
Guache 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
Fernando de Azevedo<\/strong>
Oculta\u00e7\u00e3o, 1951
Tinta-da-china 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
Fernando de Azevedo<\/strong>
Oculta\u00e7\u00e3o,1950
Guache 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
Jo\u00e3o Moniz Pereira, Marcelino Vespeira, Ant\u00f3nio Pedro, Fernando de Azevedo<\/strong>
Cadavre exquis<\/em> 1948
\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
Fernando de Azevedo, Marcelino Vespeira<\/strong>
Cadavre exquis<\/em>, 1949
\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
Fernando Lemos<\/strong>
Cena Humana 1949-52
Papel Agfa,\u00a0Fotografia, 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
Fernando Lemos<\/strong>
Eu (Auto-retrato), 1949
Papel Agfa,\u00a0Fotografia, 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
Fernando Lemos<\/strong>
Intimidade dos Armaz\u00e9ns do Chiado, 1952
Prova fotogr\u00e1fica em gelatina sal de prata, 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
Fernando Lemos<\/strong>
A M\u00e3o e a Faca, 1949
Gelatina sal de prata, Colec\u00e7\u00e3o Berardo<\/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
M\u00e1rio Cesariny<\/strong>
Soprofigura, 1947
Tinta-da-china, guache e verniz sobre papel, 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
M\u00e1rio Cesariny<\/strong>
Po\u00e8me,<\/em> 1947
Colagem, 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
M\u00e1rio Cesariny<\/strong>
Per\u00edodo C, 1951
Aguarela, L\u00e1pis de cor e Tinta-da-china 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
Marcelino Vespeira<\/strong>
O salto da evid\u00eancia er\u00f3tica, 1948
\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
Marcelino Vespeira<\/strong>
O Menino Imperativo, 1952
Cera, Vela, Manequim e B\u00fazio, 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
Capa censurada e substitu\u00edda do cat\u00e1logo da Exposi\u00e7\u00e3o do Grupo Surrealista de Lisboa<\/em>, 1949<\/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
Capa do cat\u00e1logo da exposi\u00e7\u00e3o 3 surrealistas<\/em> na Casa Jalco, 1952<\/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