{"id":46,"date":"2021-11-26T14:11:46","date_gmt":"2021-11-26T14:11:46","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=46"},"modified":"2021-12-03T12:21:10","modified_gmt":"2021-12-03T12:21:10","slug":"11-regresso-da-pintura","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/11-regresso-da-pintura\/","title":{"rendered":"11. The return of painting"},"content":{"rendered":"
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Juli\u00e3o Sarmento, Besta entre o dia e a noite, 1983, Funda\u00e7\u00e3o de Serralves<\/figcaption><\/figure>\n\n\n\n

After decades of liberation and experimenting in a more radical way, enduring the social commotion of the year of 68\u2019 and reaching its climax within the years of PREC, art found its emotional balance, and we saw a return to painting. Some of the artists that put their work in the mediums that were popular in the previous decades \u2013 be it photography, video, performance, objects, etc. \u2013 returned to painting. The ones that didn\u2019t, ended being relegated by a temporary darkness as painting was favored within international and national tendencies.<\/p>\n\n\n\n

Portuguese artists that had already been rooted abroad for a long time, such as Paula Rego, J\u00falio Pomar or Costa Pinheiro, were the target of a new and active institutional interest, the commercial galleries \u2013 Gallery 111, for example \u2013 and the newly created Center for Modern Art of the Calouste Gulbenkian Foundation promoting numerous exhibitions where painting predominated. Abstraction and figuration coexisted peacefully and bad painting<\/em> was flooding the exhibitions.<\/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
Jorge Pinheiro<\/strong>
Bispo (vermelho), 1981
\u00d3leo sobre tela, 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
Jorge Pinheiro<\/strong>
Estudo para o quadro O Bispo Vermelho<\/em>
Grafite, l\u00e1pis de cor e tinta-da-china sobre papel vegetal
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
Jorge Pinheiro<\/strong>
Bispo (azul), 1981
\u00d3leo sobre tela e verniz, 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 Vieira<\/strong>
Alfabeto I, 1981
\u00d3leo sobre tela, 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
Juli\u00e3o Sarmento<\/strong>
Besta entre o dia e a noite, 1983
T\u00eampera acr\u00edlica sobre tela de algod\u00e3o n\u00e3o preparada
Colec\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
Juli\u00e3o Sarmento<\/strong>
Santu\u00e1rio do Endov\u00e9lico, 1985
T\u00eampera acr\u00edlica e colagem sobre tela de algod\u00e3o n\u00e3o preparada
Colec\u00e7\u00e3o do Estado em dep\u00f3sito em 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
Juli\u00e3o Sarmento<\/strong>
The House With Upstairs in it, 1996
\u00c1gua-tinta, \u00e1gua-forte e l\u00e1pis litogr\u00e1fico sobre Papel Somerset
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
Costa Pinheiro<\/strong>
O Pintor Ele \u2013 Mesmo no Seu Espa\u00e7o-Po\u00e9tico, 1979
\u00d3leo sobre tela
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
Costa Pinheiro<\/strong>
Fernando Pessoa \u2013 Heter\u00f3nimo, 1978
\u00d3leo sobre tela, 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
Costa Pinheiro<\/strong>
Os \u00d3culos do Poeta \u00c1lvaro de Campos \u2013 Heter\u00f3nimo de Fernando Pessoa, 1980
\u00d3leo sobre tela
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
Paula Rego<\/strong>
The Vivian Girls as Windmills<\/em>, 1984
Tinta acr\u00edlica sobre tela
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
Paula Rego<\/strong>
Gepeto lavando pin\u00f3quio, 1996
Pastel sobre papel montado sobre alum\u00ednio
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
Paula Rego<\/strong>
O Tempo \u2013 Passado e Presente 1990
Tinta acr\u00edlica sobre papel maroufl\u00e9 e tela
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>
Fernando 3, 1983
Marcador sobre Papel vegetal
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