{"id":39,"date":"2021-11-26T14:04:39","date_gmt":"2021-11-26T14:04:39","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=39"},"modified":"2021-12-03T12:19:23","modified_gmt":"2021-12-03T12:19:23","slug":"9-olhar-para-fora","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/9-olhar-para-fora\/","title":{"rendered":"9. Looking into the outside"},"content":{"rendered":"
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Lourdes Castro, Comedor, 1961, Museu do Chiado<\/figcaption><\/figure>\n\n\n\n

The beginning of the 1950\u2019s was an ungrateful period for artists that were not connected to the regime. The official showings were closed (S.P.N.\/S.N.I.) in 1951, there were no buyers to keep the art halls of General Exhibitions of Fine Arts open, which would end in 1956 due to having no autonomous market \u2013 It wasn\u2019t enough, not even to maintain Galeria de Mar\u00e7o, which was open between 1952 and 1954\u2014the artists faced a brief period of professional distress, which nevertheless did not compromise the deepening of innovative experiences in the aesthetic domain.<\/p>\n\n\n\n

On the second half of the decade, Calouste Gulbenkian Foundation was created, which would come to have, at that time and in the following decades, an irreplaceable role in supporting contemporary art and artists, and was instrumental in a certain revolution that took place in the 1960\u2019s. Four factors were central for its role: the organization of the Exhibitions of Fine Arts, which, despite being critiqued when opened due to the choice of artists \u2014 which included a large number of academics of anachronic work \u2014 allowed to show and reward a new generation whose work was distinguished; the publication of the journal Col\u00f3quio in 1959, which helped broaden the horizons of the aesthetic and the maturing of critical thinking; the regular acquisition of pieces by contemporary artists for the creation of a collection, which would show itself to be profitable internationally and nationally; The most important of the four, the creation of scholarships that led numerous artists to profitable stays abroad in 1957.<\/p>\n\n\n\n

The broadening of the horizons was the most relevant factor of the 60\u2019s it would come to irreversibly change the national artistic scene, even though a considerably large part of the artists opted for remaining abroad when the scholarship ended. Most of the scholarship requests came from Paris, reinforcing the 1900\u2019s tradition, however, the loss for artistic centrality in the French capital, due to talented artists escaping the Second World War, led some artists to seek schools in London and New York.<\/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
Jorge Pinheiro<\/strong>
Sem t\u00edtulo, 1968
\u00d3leo sobre madeira,\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
Jorge Pinheiro<\/strong>
Sem t\u00edtulo 1968
\u00d3leo sobre madeira,\u00a0Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Jorge Pinheiro<\/strong>
Sem t\u00edtulo, 1968
Tinta industrial sobre madeira,\u00a0Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/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 Vieira<\/strong>
Uma Rosa \u00c9, 1968
\u00d3leo sobre tela,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Costa Pinheiro<\/strong>
Homenagem a Malevitch, 1967
\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
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Costa Pinheiro<\/strong>
Do Sofrimento, 1960
\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
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Paula Rego<\/strong>
S. Vomiting the P\u00e1tria<\/em> 1960
\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
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Paula Rego<\/strong>
Stray Dogs (The Dogs of Barcelona),<\/em> 1965
\u00d3leo sobre tela,\u00a0Colec\u00e7\u00e3o Jo\u00e3o Rendeiro (paradeiro desconhecido)<\/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>
Cegos de Madrid, \u00a01957
\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
Waldemar d\u2019Orey<\/strong>
Mobile<\/em> 1964
A\u00e7o e madeira pintada<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Lourdes Castro<\/strong>
Caixa madeira 1963
Madeira,\u00a0Tinta e Assemblage, 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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Lourdes Castro<\/strong>
Caixa Alum\u00ednio (lagostins) 1962
T\u00e9cnica mista, Colec\u00e7\u00e3o Caixa Geral de Dep\u00f3sitos<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Lourdes Castro<\/strong>
Sombras deitadas, 1969
Len\u00e7ol bordado \u00e0 m\u00e3o, Museu do Chiado<\/div>\n\n\n\t
<\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Lourdes Castro<\/strong>
Comedor 1961
Assemblagem de objectos com pintura a alum\u00ednio,\u00a0Museu do Chiado<\/div>\n\n\n\t
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Lourdes Castro<\/strong>
In the Caf\u00e9<\/em>, 1964
Plexiglass, Madeira e Acr\u00edlico,\u00a0Tinta acr\u00edlica, 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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Ren\u00e9 Bertholo<\/strong>
Nuvem com Superf\u00edcie Vari\u00e1vel \u2013 III, 1967
Alum\u00ednio, Programador e Motor,\u00a0Alum\u00ednio pintado, 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
Ren\u00e9 Bertholo<\/strong>
Palmeira,\u00a01966
Alum\u00ednio pintado, ventoinha el\u00e9trica, Serralves<\/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
Jos\u00e9 Escada<\/strong>
S\/T\u00edtulo (Relevo Espacial) 1974
Madeira,\u00a0Chapa de ferro recortada, Colec\u00e7\u00e3o Gulbenkian<\/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