{"id":36,"date":"2021-11-26T13:06:12","date_gmt":"2021-11-26T13:06:12","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=36"},"modified":"2021-12-03T12:18:57","modified_gmt":"2021-12-03T12:18:57","slug":"8-abstraccao","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/8-abstraccao\/","title":{"rendered":"8. Abstract art"},"content":{"rendered":"
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Fernando Lanhas, O10\u201350, 1950, Museu do Chiado<\/figcaption><\/figure>\n\n\n\n

The first abstractionist experiences in Portugal surfaced in the second half of the decade of 1910, brought by Amadeo de Souza-Cardoso and Guilherme Santa-Rita.<\/p>\n\n\n\n

After an interregnum of over a decade, these two artists reinstated abstractionism in Paris. Vieira da Silva moved to Paris, with his widowed mother, in 1928, and it was there that he started a new artistic life, going to important schools and starting a collaboration with art buyers, which granted him the sale of a painting to MoMa in New York, right on that first year. Ant\u00f3nio Pedro, who was disappointed with Law and Writing in Portugal, traveled temporarily to Paris to study in Sorbonne, where he studied Aesthetic and History of the Art alongside with big international figures. In 1935, he takes part in the creation of Dimensionism<\/em> and signs the manifest together with Duchamp, Mir\u00f3, Kandinsky, Calder and others. He tries to publish this manifest in Portugal, with no success. Dimensionism<\/em> leads Pedro to trade poetry for painting and originates a compilation of abstract pieces that would be showcased among us, with very little impact. At the same time, he was opening the Up gallery, where he would promote his first individual exhibition in Portugal by Maria Helena Vieira da Silva.<\/p>\n\n\n\n

For two decades, abstract painting was practically not seen in Portugal, and it was only in 1953, that an exhibition held by Edgar Pillet, a French man, shook the country and divided the critiques. It then paved the way to the first abstractionist initiative, the First Hall of Abstract Art, in Galeria de Mar\u00e7o in 1954, where the option for non-figurative art ended in itself. From there on, numerous artists incorporated abstractionism in their productions, compiling them into their own aesthetic, as had happened before with the surrealist artists in the exhibition of Azevedo, Lemos and Vespeira<\/em> in 1952. This would later happen again and in the same way with the Pop Art influences.<\/p>\n\n\n\n\t\t\n\t\t

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Ant\u00f3nio Pedro<\/strong>
(Po\u00e8me dimensionnel) Abstractions g\u00e9ometriques<\/em>, 1935
Guache sobre cartolina e l\u00e1pis sobre papel, Museu do Chiado<\/div>\n\n\n\t
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Ant\u00f3nio Pedro<\/strong>
Refoulement<\/em>, 1936
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Vieira da Silva<\/strong>
Composition<\/em>, 1936
\u00d3leo sobre tela, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Vieira da Silva<\/strong>
Composition<\/em>, 1948
\u00d3leo sobre tela, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Vieira da Silva<\/strong>
La biblioth\u00e8que en feu<\/em>, 1974<\/div>\n\n\n\t
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Fernando Lanhas<\/strong>
O10\u201350, 1950
\u00d3leo sobre tela, Museu do Chiado<\/div>\n\n\n\t
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Fernando Lanhas<\/strong>
Cais 44, 1943
\u00d3leo sobre tela, Museu do Chiado<\/div>\n\n\n\t
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Fernando Lanhas<\/strong>
O2\u201344, 1944
\u00d3leo sobre tela, Museu do Chiado<\/div>\n\n\n\t
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Nadir Afonso<\/strong>
Espacillimit\u00e9<\/em> (m\u00e1quina cin\u00e9tica), c. 1956
\u00d3leo sobre tela, madeira, motor el\u00e9ctrico e mecanismo, Museu do Chiado<\/div>\n\n\n\t
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Nadir Afonso<\/strong>
Veneza, 1962
Grafite e \u00d3leo sobre tela,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Nadir Afonso<\/strong>
Jazz Band<\/em>, 1971
Guache sobre papel, Col. Museu Nacional de Soares dos Reis, em dep\u00f3sito na Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Almada Negreiros<\/strong>
Rela\u00e7\u00e3o 9\/10, 1957
\u00d3leo sobre tela, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Almada Negreiros<\/strong>
Quadrante I, 1957
\u00d3leo sobre tela, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Almada Negreiros<\/strong>
O Ponto de Bauh\u00fctte, 1957
\u00d3leo sobre tela, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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