Nicolau Nasoni began his artistic life mainly as a painter but he also created various ephemeral architecture works that granted him some notoriety in Sienna. Engaged to paint Porto’s Cathedral, Nasoni would soon become a sublime architect, perhaps stimulated by the magnificence and scenery virtues of the northern granite. The church façades are a real testimony of his “theatrical” sensibility and of the architectonic importance that Nasoni gave to his creations. His intervention in the old Porto borough contributed to a radical transformation of the city’s image. Nasoni lived in a time of renovation for both Portugal and Porto. He lived in a time of economical and cultural vitality. Churches and palaces were built under his guidance throughout the whole region around Porto.
The painter António Carvalho da Silva Porto was born in Porto, on 11 November 1850. He added Porto to his name for being a native of this city. Having concluded his course at the Academia Portuense de Belas-Artes, he then moved to Paris (1876-1877) and Rome (1879) for a traineeship. Following the examples of the Barbizon painters, he dedicated himself to aired landscapes captured live, such as “O Lago de Enghien”, a painting of elegiac expression. In 1879, Silva Porto returned to Portugal. With a prestige reputation, he received to invitation to teach as Master of the subject of Landscape at the Academia de Lisboa. In 1880 he displayed 29 paintings portraying landscapes filled with light. Among these there was the “Charneca de Belas”, a painting then purchased by D. Fernando. From 1881 onwards, Silva Porto was considered an indisputable master, and around him the Grupo do Leão (Lion Group) began to gain form, being later immortalized by Columbano in a famous painting that exists in the National Museum of Contemporaneous Art. Amid other awards, Silva Porto received the golden medal of the Portuguese Industrial Exhibition of 1984 and his first medal from the Artistic Society. Nature itself was the master and model of his paintings, overfilled with light, colour and livelihood. Silva Porto is believed to be the founder of naturalism in Portugal. He is broadly represented in the National Museum of Contemporaneous Art and, especially, in the Soares dos Reis National Museum. In the 1870s he left for Paris as a state scholarship student, devoting himself to painting and drawing. He was admitted at the Ecole de Beaux Arts and at the atelier of Cabanel, and joined the courses of A. Groisseilez and A. Yvon. With Marques de Oliveira he travelled through India, England, Belgium and Holland. Following the example of the outdoor painters of Barbizon, he practised the painting of aired and authentic landscapes. Under Daubigny’s influence he preferred trivial and melancholic periods of wet atmospheres with velvety tones, like the painting “O Lago Enghein”, presented at the Paris Salon. A symbol of the turn of Portuguese painting, he became a teacher of the subject of Landscape at the Lisbon’s Academia de Belas-Artes, in 1875.Marking the beginning of naturalism in Portugal, his landscapes, inspired by the Barbizon movement, influenced the new generation of landscape painters. He was regularly present in exhibitions and nationalised the teachings of Barbizon.Faithful to the Barbizon past, his painting turned out to be a documentation of rural morals with an animalier choice.
He was born in Porto, where he studied at the Escola de Belas-Artes and where he participated in several competitions. Delfim Guedes, principal of the Escola de Belas-Artes and later Count of Almedina, considered Loureiro a talented artist and sponsored his stay in Rome for two years. Back in Portugal he applied for a state scholarship with Columbano and, having been granted the scholarship, left for Paris in 1879.He became a Drawing and Painting teacher at the Presbyterian Ladies Academy in Australia. Elected academician at the Victoria Academy, and chosen as a member of several juries, he was also nominated Inspector of the Victoria National Gallery.He returned to Portugal in 1901 and settled in Porto, where he created a painting atelier at the Palácio de Cristal. Preoccupied with detail, he was an excellent landscape painter, naturalist, animalier and a unique portrait painter.
Painter born in Porto, he studied with João Correia and Francisco José de Resende. Although his landscapes and generic paintings were trivial, he became famous as a painter of inanimate natures and flower patterns, which exhaled sensibility.He had exhibitions at the Academia Portuense de Belas-Artes, at the Sociedade Promotora de Belas-Artes, at the Grémio Artístico, at the Porto International Exhibition of 1865 and in Rio de Janeiro in 1908. He was the private teacher of Henrique Pousão, Marques de Oliveira and Artur Loureiro.
Painter born on 21 July 1868 in Porto, where he studied at the Academia de Belas-Artes. There he obtained honours in a drawing competition and won an architecture award. He studied in Paris from 1891 to 1897. One of his fellow students was António Nobre, author of Só, a book whose second edition (1898) had some illustrations by Júlio Gonzaga Ramos. He won the third prize at the Paris Universal Exhibition (1900) and the gold medal at the Rio de Janeiro International Exhibitions (1908 and 1912). He won his second medal at the Grémio Artístico and at the Sociedade Nacional de Belas-Artes. He wrote about architecture in such publications as “Primeiro de Janeiro”, a newspaper he worked for as an artistic director, “Comércio do Porto Ilustrado”, “Ilustrações Modernas” (1898), “Serões” (1907), “Arte” (1908) and “A Águia” (1910-1911). He was famous as a painter of peaceful landscapes, with a special predilection for the twilight streaked with purple and gold.
António Carneiro was born in Amarante on 16 September 1872. He would later meet his father, who had left for Brazil, and would lose his mother at an early age. He was raised at the Nova Sintra Baron’s Orphanage, that belonged to the Porto’s House of Mercy, and attended the city’s Fine-Arts Academy where he graduated in Painting in 1896. He then left for Paris, with a scholarship funded by the Praia e Monforte Marquis and studied at the Julien Academy. However, it was outside the Academy and the institutional ateliers that Carneiro found the real study and inspiration sources – near the symbolists that had exhibitions all over Paris at that time. Upon returning to Portugal, the artist developed his activity essentially in Porto, where he settled and where he became a teacher at the Academy. Meanwhile, the Lisbon exhibitions were not successful. He received prizes at National Exhibitions – SNBA (1903 and 1906) and International Exhibitions – Paris’ Universal (1900), St. Louis, USA (1904), Barcelona (1906) and Rio de Janeiro’s Centennial (1908). Throughout his career he took advantage of his stays at the Melgaço spa, at Leça da Palmeira’s and Figueira da Foz’s beaches, painting magnificent landscapes of those areas. He kept on travelling to Paris and looked for the reward of an extremely vast production in Brazil. He travelled to Brazil in the mid-1910s and in the late 1920s. He brought back from the country an extremely important series of water-colour paintings, which became his most “modernist” works. His work has a vast gallery of portraits – oils, charcoal sketches and the renowned red pencil drawings – where all the members of his family are represented; a landscape production that withdrew from the valid naturalism of his generation since it lacked the picturesque and abounded with the poetical atmosphere; historical paintings, best represented by the work “Camões lendo Os Lusíadas aos frades de S. Domingos”; and mostly a symbolic mysticism of magical and undefined environments, best represented by the triptych “A Vida”. This was, undoubtedly, the work that granted him a crucial place in the history of Portuguese art, so important as isolated, since the symbolism that it announced had no followers. Exhibitions: - INDIVIDUAL: 1901 – Porto’s House of Mercy; Portuguese Illustration, Lisbon / 1902 – Porto’s House of Mercy / 1911 - Portuguese Illustration, Lisbon / 1914 – Jorge Gallery, Rio de Janeiro; Salão Nobre da Associação Comercial de Paraná, Curitiba / 1916 - Álvaro Miranda Exhibition-Halls, Granja / 1918 – Jorge Gallery, Rio de Janeiro / 1922 - SNBA, Lisbon / 1925 / Atelier Exhibition-Hall, Porto / 1929 – Jorge Gallery, Rio de Janeiro; Glória Building, S. Paulo - POSTHUMOUS: 1931 – Stock-Exchange Palace, Porto; 1937 - Silva Porto Exhibition-Hall, Porto / 1954 – Amarante Library and Museum / 1955 - ESBAP; 1958 - Retrospect Exhibition, SNI, Lisbon and ESBAP / 1965 – Illustrations for the Divine Comedy, Porto’s Commercial Athenaeum / 1973 – First Centenary Retrospect Exhibition, BCG and MNSR, Lisbon and Porto; 1980 - Engº António de Almeida Foundation, Porto; Matosinhos Town Hall - COLLECTIVE: 1894 – Porto’s Artistic Centre / 1895 – Porto’s Commercial Athenaeum / 1896 – Grémio Artístico Exhibition-Hall, Lisbon / 1900 – Paris’ Universal Exhibition / 1903 – SNBA’s Third Exhibition-Hall, Lisbon / 1904 – SNBA’s Fourth Exhibition-Hall, Lisbon; St. Louis’ Universal Exhibition, USA / 1906 – SNBA’s Sixth Exhibition-Hall / 1907 – Barcelona’s Universal Exhibition / 1908 – Centenary’s Exhibition, Rio de Janeiro / 1918 – Portuguese Renaissance, Porto Collections: Português do Atlântico Bank / Borges e Irmão Bank / António Carneiro House and Workshop, Porto City Hall / Soares dos Reis National Museum / Quinta de Santiago Museum, Matosinhos Town Hall / Fernando de Castro House and Museum, Porto / Cupertino de Miranda Foundation, Famalicão / Porto’s House of Mercy / Teixeira Lopes House and Museum, V. N. Gaia Town Hall / Porto’s University Faculty of Fine-Arts / Almeida Moreira Library and Museum, Viseu / Porto’s Civil Government / Angra do Heroísmo Museum / Chiado Museum, Lisbon / Caramulo Museum / Grão Vasco Museum, Viseu / Military Museum, Porto / Machado de Castro Museum, Coimbra / João de Deus Museum, Lisbon / Stock-Exchange Palace, Porto / Coimbra’s University Active Bibliography: Solilóquios, Porto, 1936 Passive Bibliography: ALVES, João - António Carneiro e a Pintura Portuguesa, Porto, Porto City Council, 1971 / FERREIRA, Jaime - António Carneiro, pintor de Matosinhos e Leça, Matosinhos, Matosinhos City Council, 1973 / FRANÇA, José Augusto - António Carneiro, Lisbon, F.C.G., 1973 ; António Carneiro, in “Colóquio Artes”, n. 10, Dec. 1972 / LARANJEIRA, Manuel - António Carneiro - Esboço
He was born in Porto, studying from 1864 to 1873 at the Academia de Belas-Artes, as a pupil of João António Correia. He left for Paris as a state scholarship student in 1873 and there he enrolled at the Ecole de Beaux Arts and at the atelier of Cabanel. He travelled with Silva Porto through England, Belgium, Holland and Italy. The works done while at the boarding school made him famous, such as his painting “Céfalo e Pócris”. He showed a slight impressionist tendency in some of his sketches, in what regards his colour sensibility. In 1873 he returned to Portugal and became one of the founders of the Grémio Artístico. He was nominated professor of History of Painting at the Porto’s Academia de Belas-Artes and, later, the school’s principal. A notable drawer and character painter, he was interested in outdoor painting, where he showed great sensibility. He was an original interpreter of human character and landscape. An expert in the re-creation of the misty atmosphere of the northern coast mornings, he transmits a perfect idea of luminosity, reflecting his attraction to impressionism. Marques de Oliveira, together with Silva Porto, opposed the romantic values, initiating a revolution in Portuguese painting towards nationalism, objectiveness and the alleged truth of representation.
Born in Porto, Armando Basto studied at the Porto’s Fine-Arts Academy (1903-10) before leaving for Paris in the 1910s, where he remained until 1914. He participated in humour exhibitions and co-operated with newspapers by creating caricatures and satirical drawings. He lived at the “Cité Falguière” where he had to struggle for survival, working at ateliers with loaned materials. In Porto he had studied sculpture, drawing and architecture and had published satirical papers: “Lúcifer”, “Escarrador”, “O Careca”, “A Folia”, among others. He returned to Porto in 1915 and dedicated himself to painting and to graphic works. He was the animator of the Fantasists Exhibition-Hall, in 1916, in Porto, where he had tried to found an independent group the previous year. His work is characteristic of the first modernist generation, having developed around portraits, scenes from the inside of the ateliers, landscapes and urban situations, always done with a light palette and a chromatism of an excellent agreement of tone and timbre. Exhibitions: - INDIVIDUAL - 1912 – Portuguese-Brazilian Photo Exhibition-Hall, Porto / 1918 – Misericórdia Gallery, Porto / 1919 – Portuguese Illustration, Lisbon / 1920 – Bobone Exhibition Hall, Lisbon / 1958 – Retrospect Exhibition (Posthumous), SNI. - COLLECTIVE - 1911 – Free Exhibition, Lisbon / 1915 and 1616 – Humour and Modernists Exhibition-Hall, Lisbon / 1916 - Fantasists Exhibition-Hall, Porto / 1917 – Modernists Exhibition-Hall, Porto; Art and War, Porto / 1919 – Third Modernist Exhibition-Hall, Lisbon / 1920 – Bobone Exhibition-Hall, Lisbon / 1923 - SNBA, Lisbon Collections: Soares os Reis National Museum, Porto / Chiado Museum, Lisbon Passive Bibliography: Exposição Retrospectiva da Obra do Pintor Armando de Basto, Lisbon, SNI, 1958 / LOPES, Joaquim - O Pintor Armando Basto, in "O Primeiro de Janeiro", 18 June 1947 / MACEDO, Diogo de - Cadernos de Arte - IX, Lisbon, 1953
Born in Guimarães, Abel Salazar’s life and work are intimately attached to the city of Porto. Abel Salazar was a renowned doctor and scientist, who received his PhD. in 1915 and who dedicated a great part of his life to scientific research, mostly as director of the Embryology and Histology Institute. He also practised the plastic arts, mainly caricature, sculpture (plaster and bronze), painting, relief and copperplate, without any specific apprenticeship. He wrote reviews on art, philosophy and aesthetics and published various titles on this subject, namely in the newspapers “O Diabo”, “Sol Nascente” and “Seara Nova”. He always kept a posture of great civic dignity and humanism, having been persecuted for political reasons. He lived in Matosinhos, in the same house that today holds his Museum. The first stage of Abel Salazar’s painting production testifies his admiration for impressionism. In the 1930s he began a new stage in his career, opting for surfaces filled with large strokes of light and shade, of great density, which led the paintings towards a monochromatic deaf obscurantism. Markets, fairs, feminine shapes at work (porters, coal-merchants, rag pickers, and sellers) dominate his work. This granted him a role as the precursor of neo-Realism, according to some authors. Exhibitions: - INDIVIDUAL: 1938 – SNBA, Lisbon; Salão Silva Porto, Porto / 1940 – Retrospect Exhibition, Porto / 1947 – Porto / 1972 – Retrospect Exhibition - COLLECTIVE: 1935 – Great Exhibition of Portuguese Artists, Porto / 1946 and 47 – General Exhibition of Plastic Arts, SNBA, Lisbon / 1992 – 100 Years of Art in Porto, Árvore; To Feel and to Think the Markets and Fairs of Porto, Mercado Ferreira Borges, Porto. Collections: Abel Salazar House and Museum, S. Mamede de Infesta / MNSR, Porto / Teixeira Lopes House and Museum, V. N. Gaia / Leal da Câmara House and Museum, Rinchoa / Abade Baçal Museum, Bragança / BCGç, Lisbon Active Bibliography: Nota sobre a Filosofia na Arte, 1933 / Paris em 1934, 1938 / O Que é a Arte?, 1940 PASSIVE BIBLIOGRAPHY: Abel Salazar - Retrato em Movimento, 1999, Centenário de Abel Salazar, Guimarães, 1989 / GUSMÃO, Adriano de - A personalidade artística de Abel Salazar, in "Seara Nova", 14 February 1948 / POMAR, Júlio - Na abertura da Exposição Póstuma de Abel Salazar, Porto, Abel Salazar Foundation, 1948 / SAAVEDRA, Alberto - Abel Salazar Íntimo, 1967 / SILVA, Amândio - Abel Salazar / Artista - No primeiro centenário do seu nascimento, Abel Salazar House and Museum, 1989.
Sculptor born in Vila Nova de Gaia, district of Porto. It was in this city that he graduated and taught. He studied at the Porto’s Fine-Arts Academy where he would later become a teacher. He was a scholarship student in Paris. He was awarded prizes at the SNBA’s Exhibition-Halls in 1935, 36, 42 and 43. Although he was present at some modernist Exhibition-Halls in Porto, António Azevedo – mainly an author of busts – would remain, at a figurative level, aesthetically attached to the 19th century. Friendly relationships with such authors as António Carneiro help to explain his choice. Exhibitions: - INDIVIDUAL: 1925 - Porto / 1965 - Guimarães - COLLECTIVE: 1918, 19, 29, 30, 31, 34, 36, 40 and 47 - SNBA, Lisbon / 1930 - Salão dos Independentes, Lisbon / 1957 - Braga / 1958 - V. N. Gaia Collections: MNSR, Porto / Chiado Museum, Lisbon / Abade Baçal Museum, Bragança / José Malhoa Museum, Caldas da Rainha
Born in Vila Nova de Gaia, his work marked the whole urban landscape of Porto, where he had an atelier. He graduated at ESBAP in 1912. He was distinguished at the Seville Exhibition (gold medal), at SNBA in 1916, 1917 and 1935. He also received the Soares dos Reis Prize in 1963 and the gold medal of the city of Porto. He is the author of various monuments located at public places, such as: Monuments to the Dead of the Great War - Porto, Tomar, Portalegre, Luanda, S. João da Madeira, Oliveira de Azeméis. Father Américo, The Mason, D. António Meireles, Fountain and Boys of the Avenue, at Avenida dos Aliados, Lifesaver, Raúl Brandão, Foz do Douro, all in Porto. He has also created monuments for Paredes, Paços de Ferreira, Barcelos and Tomar and decorative shapes, busts and low-reliefs for City and Town Halls, theatres and churches, as well as numerous medals. His work has always remained at an academic figurative sphere. The possession shape and a limited iconography – from the hero, to the personality cherished by the population, from the milieus of show business and of civic or justice values – corresponded entirely to the kind of public orders he accepted. Exhibitions: - COLLECTIVE: 1935 – Great Exhibition of Portuguese Artists / 1975 – Survey of 20th-century Art in Porto, MNSR, Porto / 1992 - 100 Years of Art in Porto, Árvore, Porto Collections: MNSR, Porto / Abade Baçal Museum, Bragança / José Malhoa Museum, Caldas da Rainha / Dr. Santos Rocha Museum, Figueira da Foz / Ovar Museum
Son of the painter António Carneiro, he was born in Porto on 20 September 1900. The Carneiro family played an important role in the whole cultural scene of the century. In the first decade of the 20th century, the family travelled to Paris often. Carlos Carneiro used to visit the Louvre and other occasional exhibitions. Throughout his life he visited the French capital regularly. His notepads are filled with satirical characters drawn during his visits to Paris. In Portugal he used to create caricatures of famous people and of his family, establishing sports characters or copying the work of other artists. In 1911 there is a plan to create a new magazine called "O Echo." To this effect he even creates the magazine’s graphic set-up. In 1914 some historical drawings and an extremely curious periodical appear. The characters he would later use in his considerable work as an illustrator thus gave their first steps. Copies of the fictional periodical “O Bexigueiro” were done when Carlos Carneiro was 13-14 years old. At this time he received an illustration award by the newspaper “O Século”. These were early signs of a natural tendency for drawing. He obtained his academic education at the Porto’s Escola Superior de Belas-Artes, as a student of his father and of Marques de Oliveira. His fellow students include Malta, Medina, and Lino António, among others. In the course of his life he joined plastic art and illustration, journalistic unpretentious chronicle and scattered art reviews. Amongst these works and a lively social life, he died in Porto in 1971.
José Cândido Domínguez Álvarez was born and died in Porto. In 1926 he enrolled in the course of Architecture that he attended for two years, changing then to Painting, in which he graduated, at a later stage, in 1940. His first collective exhibition took place in 1929. The only individual exhibition occurred in 1936 at the Silva Porto Salon where he showed oil paintings and water paintings. Three stages can be devised during his brief career as a painter: the first, which took place around 1927, is called the “red stage” and is characterised by intense colours not much elaborated, in urban landscapes. In 1929, some cubist and abstract experiences began the second stage, characterised by the fantastic. The third stage began in 1937 and is characterised by a return to landscape painting, this time technically better.
Born in Porto, he attended the Porto’s Superior School of Fine-Arts from 1930 on, having obtained several prizes during his academic learning. He was also awarded some SNI prizes in the fields of drawing, water-colour painting and sculpture. He was a scholarship student of the Haute Couture Institute and travelled through several European countries throughout the 1930s and 40s. There is poor knowledge of individual exhibitions, although the one that took place in Porto and in Lisbon, in 1939, is worthy of mention. There was also a posthumous one, in 1989, at the Casa do Infante (Porto). He is regarded as a water-colour painting renovator in Portugal, having achieved to despoil it of the anecdotal motifs that were attached to it. He dedicated himself to the register of landscapes in which the lighting factor is fundamental (as a factor of dissolution, occultation or revelation of the shapes). Thanks to the many registers he left of the city, he is undoubtedly one of the privileged Porto painters.
Born in Vila Nova de Gaia, the personality of this creator of tapestries is strongly attached to the city of Porto. He graduated in Painting at ESBAP, where he later taught. He was awarded in 1936 the SNI’s Sousa Cardoso Prize, in 1957 the BCG’s Sixth Plastic Arts Exhibition Prize and in 1967 the Tapestry National Prize. He has numerous works in public places. Frescos: Conceição Church, Porto, Valpadrinhos Church in Macedo de Cavaleiros, Chaves, Famalicão and Tomar Courts, Porto’s Court of Justice. Tapestries: Coimbra’s Faculty of Arts, Porto’s City Hall, S. João Hospital, Porto, Finance and Defence Ministries, Autonomous Junta of Funchal, Lisbon’s National Library, Amarante’s Court of Justice, among other places. The vast work of frescos and tapestries developed by this artist places him on a very private level of the Portuguese art, one followed by very few. His production, easily recognisable by the style adapted early, is characterised by elements that mirror the diluted influences of cubism, in its geometry and formal analysis. All his shapes are faceted, which allows for the exploration of light and colour, adapted to the particularities of tapestry. EXHIBITIONS: - INDIVIDUAL: 1952 - Porto / 1953 and 58 - Lisbon - COLLECTIVE: 1957 and 1961 – BCG’s Sixth and Seventh Plastic Arts Exhibitions / 1962 – Sixth Tapestry Biennial, Lausanne / 1966 – Tapestry Exhibition, Stuttgart / 1975 – Survey of 20th-century Art in Porto, MNSR, Porto / 1992 – 100 Years of Art in Porto, Cooperativa Árvore / 1995 - ESBAP-FBAUP, Customs-House, Porto COLLECTIONS: MNSR, Porto / Matosinhos Town Hall / Porto’s City Hall / F.C.G. / Caldas da Rainha Museum / Ovar Museu / Tomar Museum
Júlio Martins da Silva Dias was born in Porto where, from 1937, he attended the Escola Superior de Belas-Artes, having been a pupil of Dordio Gomes. The group of students responsible for the organisation of the Independent Exhibitions, which took place in several cities from 1943 to 1950 with the intention of breaking free from academicism, met regularly at his house. The first signs of modernity appear in Júlio Resende’s paintings around 1943. In 1945 Resende went to Madrid where he carefully studied Goya’s painting, thus discovering his fundamental talent: expressionism. Older companion of the main promoters of geometrical abstractionism and of the neo-realism of the 1940s, his artistic creation reflects at a superior level the whole social and aesthetics problematic of such artistic movements. The populist subject dominates in his painting, represented in a way that learns from abstractionism, be it geometrical or gesticulatory. He received a SNI prize and left for Paris as a scholarship student, attending the Paris Fine-Arts School in 1947.
At the age of 4, this Chilean moved to Porto, a city that has influenced her ever since. Quinta da China, where she lived, would become a true landscape school for the artist. She had drawing lessons with Costa Lima. She attended the Escola de Belas-Artes at 25, having as a teacher Marques de Oliveira who recognised in her a great talent. In 1898 she moved to Paris and enrolled in the Julian Academy where she was a pupil of Jean Paul Laurens and Benjamim Constant, who praised her talent. She sold her works very well at the successive exhibitions of Quatre Semaines. She visited all the museums in Paris and travelled to Belgium, Holland and Italy, Germany and Spain, learning from the works of Velasquez, Durere, Van Dick and Wistler. After two years spent in Paris, she returned to Portugal and settled in the banks of the Douro, living of her work. Besides painting, she did various illustrations, among which the postal cards remembering the literary creation of Garrett.
EXPOSIÇÕES: - INDIVIDUAIS:
1936 - Palácio de Cristal, Porto
1973 - Museu Nacional Soares dos Resis, Porto
1984 - Casa Tait, Porto. BIBLIOGRAFIA: Silva, Raquel Henriques da - Aurélia de Sousa, Lisboa, Inafa.
Born in Porto, Arlindo Rocha finished his course in sculpture at the ESBAP (Porto’s Superior School of Fine Arts) in 1945. In 1953 he went to Italy with a Haute Couture Institute’s scholarship, and in 1959, with a BCG’s scholarship, he went to Egypt and Greece, and had the opportunity to visit the most important museums in Europe. He was one of the members of the Independents Group in Porto (in the 1940s). He was awarded a silver medal at the Universal Exhibition of Brussels (1958), and the Salão dos Novíssimos Prize, in 1959. Some of his works can be found in public areas - barracks, schools, courthouses, gardens, etc., for example in Setúbal, Viseu and Porto. Arlindo Rocha is regarded as the pioneer of the abstract sculpture in Portugal, and can be compared to Jorge Vieira and Fernando Fernandes in the movement that freed sculpture from its statuary penchant. The works Mulher e Árvore from 1948, and Ciência from 1961 (this one is of a radical abstractedness) are fundamental marks in the Portuguese sculpture of the 20th century. His work had an irremediable tendency to absolute geometric forms. However, he returned to a hard figurativeness in the last years, in response to public orders. EXHIBITIONS: INDIVIDUAL: 1951 – Luanda/1954 – Lourenço Marques; Beira/1971 – Balaia Hotel, Algarve; Casa do Corpo Santo, Setúbal/1986 – Meridien Hotel/Alvarez Art Gallery, Porto/ 1987 – 5 Art Gallery, Coimbra. COLLECTIVE: Independent Exhibitions/1957, 1961 and 1986 – BCG’s I, II and III Plastic Arts Exhibitions / 1958 – Brussels Universal Exhibition; S. Paulo’s V and VIII Biennials /1959 and 1965 – S. Paulo’s V and VIII Biennials /1975 – Survey of 20th-century Art in Porto, MNSR, Porto/Biennial of V. N. de Cerveira/ Lagos’ Biennial/ Biennial of Caldas da Rainha/1992 – 100 Years of Art in Porto, Árvore/1995 – ESBAP/FBAUP, Porto Custom-House. COLLECTIONS: CAM-FGC, Lisbon/SEC PASSIVE BIBLIOGRAPHY: MATOS CHAVES, Joaquim – Quando a escultura procurou ser escultura apenas, in “Sobre Artes Plásticas”, Porto, Galeria Quadrado Azul, 1992.
Fernando Lanhas was born in Porto where he took a course in Architecture. As a student he was one of the main organisers of the Independent Exhibitions, from 1943 to 1950. These exhibitions took place not only in Porto but also in Braga, Coimbra, Leiria and Lisbon. In these last two cities, in 1945, following Júlio Pomar’s advice, Fernando Lanhas decided to show for the first time the abstract paintings done the previous year. The first abstract paintings by Fernando Lanhas, from 1944, are a consequence of previous drawings from a meditation began in 1942. Therefore, the 1944 paintings present a well-defined style that lingered in the following artistic creation. The stylistic unity of all Fernando Lanhas’ abstract painting is the first characteristic that should be stressed.
Born in 1924 he is regarded as a pioneer of aesthetic promotion. Jaime Isidoro is an inevitable reference of the city’s artistic history since the early 1950s. Founder, in 1954, of the Alvarez gallery (a Galician painter much admired in Porto in the 1930s), he opened the Dois gallery at Avenida da Boavista, where he had multiple exhibitions for more than ten years. Besides this intense activity, Jaime Isidoro was also one of the people responsible for the cultural decentralisation movement in the north of Portugal, that took place in the 1970s and 1980s and was marked by various events, such as the “Encontros Internacionais de Arte” in Valadares and Caldas da Rainha and the V. N. de Cerveira Biennial, which he organised himself. Connected to the organisation of some of the most important Portuguese modern art collections, he introduced in Porto, in 1971, the painting of Serge Poliakoff. His private collection (presented in 1988 at an exhibition in Casa de Serralves), testifies his taste for the Portuguese modern art and assembles pieces of such prestigious painters as Eduardo Viana, Amadeo de Souza Cardoso, Almada Negreiros, Vieira da Silva, Arpad Szenes and Júlio Resende, without neglecting the artistic talents of younger and lesser known artists like Ângelo de Sousa and Albuquerque Mendes. Also a painter, known since the early 1950s for the watercolour paintings where he filters the poetry of the fluvial landscapes of the Alto Minho and Porto, he presently runs a gallery at the Meridien Hotel.
Born in Figueira da Foz, his academic and artistic career is indisputably connected with the city of Porto. In 1955 he graduated in Sculpture at ESBAP, where he taught from 1958 on. In 1956 he was awarded the SNI’s Soares dos Reis Prize. He has works at the City and Town Halls of Matosinhos, Póvoa de Varzim, and Porto; at the Courts of Justice of Porto, Lisboa, Mirandela, Tondela, and Alijó; at Caixa Geral de Depósitos, Porto; Bragança Inn. He has sculptured shapes at several places in Porto – Arrábida Bridge, Caixa Geral de Depósitos, S. Bento Railway Station, City Hall, among others. His production of sculpture remained figurative, never moving forward towards the abstract radicalism that other colleagues of his generation have tried to attain. His statues, solid and robust, strongly marked by frontality, have rarely sought spatial fluidity. EXHIBITIONS: - INDIVIDUAL: 1968 – Alvarez Gallery, Porto; Diário de Notícias Gallery, Lisbon. - COLLECTIVE: / 1949 and 1951 – Plastic Arts General Exhibitions, SNBA, Lisbon / 1951-1967 – ESBAP’s Grand Exhibitions / 1955 – Plastic Arts International Exhibition, Póvoa de Varzim / 1957 and 1961 – BCG’s Sixth and Seventh Plastic Arts Exhibitions / 1958 – Artist of Today Exhbition-Hall, Lisbon / 1985 – Sculptures in Caminha / 1992 – 100 Years of Art in Porto, Árvore / 1995 - ESBAP-FBAUP, Porto’s Customs-House. COLLECTIONS: MNSR, Porto / Matosinhos Town Hall / Machado de Castro Museum, Coimbra/ Ovar Museum, Porto’s Military Museum / BCG, Lisbon PASSIVE BIBLIOGRAPHY: QUADROS FERREIRA, António - Gustavo Bastos ou a Estética do Real, Figueira da Foz, Town Hall, 1989
Born in Porto, Jorge Pinheiro studied at the Porto’s Fine-Arts Superior School where he taught from 1963 to 1976, when he moved to the Lisbon’s Faculty. He was a scholarship owner of the Calouste Gulbenkian Foundation in 1965/66 and in 1979/90, when he studied at the Ecole des Hautes Etudes en Sciences Sociales. He was one of the founders of the Porto’s group “Quatro Vintes”, formed in 1968. He has co-operated with architects and landscape painters and is the author of numerous illustrations of children’s books. From a figurative work he later progressed to a geometrical abstractionism, also questioning the support itself that may acquire unorthodox shapes, breaking up with its predominantly rectangular nature. During the time he was a member of the aforementioned group, he preferred to develop these aspects and was interested by the construction of objects with plain and shiny colours. Later he would devote most his attention to drawing and its relation to painting, by exploring the composition values, in works of great virtuosity where figuration is again present. T he following are his individual exhibitions: 1957 - O Primeiro de Janeiro, Coimbra / 1964 – Divulgação Gallery, Porto / 1968 and 70 – Buchholz Gallery, Lisbon / 1969 and 76 – Alvarez Gallery, Porto / 1976 and 82 – Quadrum Gallery, Lisbon / 1978 – Morone Gallery, Milan / 1983 - Diário de Noticias Gallery, Porto / 1988 – Nasoni Gallery, Porto / 1993 - Cooperativa Árvore, Porto / 1994 - Casa da Cerca, Almada / 1995 - Arte Periférica Gallery, Lisbon. The following are some of the collective exhibitions in which he was present: 1973 – Portuguese Painting of Today, Barcelona / 1983 – Sixth National Drawing Exhibition of Cooperativa Árvore, Porto / 1992 - 100 Years of Art in Porto, Cooperativa Árvore / 1995 - ESBAP-FBAUP, Porto’s Customs-House; The Desire of Drawing, Casa de Cerca, Almada
Born in Estremoz, he would develop his activity in Porto. He graduated at ESBAP with honours and was a teacher there between 1962 and 1973. In 1964, with a F.C.G.’s scholarship, he went to London on a studying trip. His exit from the School implied a dedication to the graphic arts, an area in which he has developed an intense activity. He was one of the members of the “Quatro Vintes” group, alongside José Rodrigues, Jorge Pinheiro and Angelo de Sousa, in 1968. Having started by a figuration that may approach the neo-realist universe, representing motifs of the Alentejo work area, he then opted – together with almost all his generation’s colleagues – for a material informality, which he developed in the 1960s. The following decade is of great experimentation, associated to the particular rigour and to the definition of the graphic arts, marked by an exploitation of the “rainbow” sign and by the construction of painted, purified and contained objects. From the 1980s on, he regains the landscape values, and Alentejo is almost omnipresent, but completely transformed by the acquired experience. His works then fluctuate between “windows” rigorously delimited on the canvas and more revolt areas of a greater material richness. EXHIBITIONS: - INDIVIDUAL: 1964 – ESBAP / 1965, 85, 93 – Cooperativa Árvore, Porto / 1973 – Dois Gallery, Porto / 1978 and 1981 – Jornal de Notícias Galleries, Porto / 1985 – Biscaínhos Museum, Braga / 1987 – Nasoni Gallery, Porto / 1989 – Fonte Nova Gallery, Lisbon / 1990 – Nasoni Gallery, Lisbon / 1995 –Degrau Arte Gallery , Porto / 1996 –Fernando Santos Gallery, Porto - COLLECTIVE: 1956 – Tenth Plastic Arts General Exhibition, Lisbon / 1957 – F.C.G.’s First Plastic Arts Exhibition / 1958 – 11 Painters at Abril Gallery, Madrid / 1960 – Modern Art Exhibition at Amarante / 1961 – Portuguese Art Exhibition, Antwerp ; Paris’ Second Biennial; “Queima das Fitas” Plastic Arts Exhibition, Coimbra / 1963 – Cooperativa Árvore’s Inaugural Exhibition / 1966 – BCG’s Exhibition in Baghdad / 1967 – Divulgação Gallery’s Inaugural Exhibition / 1968 – " Os quatro vintes ", Alvarez Gallery, Porto / 1969 – "Os quatro vintes", Zen Gallery, Porto / 1970 – "Os quatro vintes", Desbrières Gallery, Paris / 1975 – Survey of the 20th-century Art in Porto, MNSR, Porto / 1982 – Abstract Art Aspects, SNBA, Lisbon / 1984 – 15 Portuguese Artists, Alemanha; Cerveira’s Fourth Biennial / 1986 – Portuguese Art in Bordeaux / 1986 e 87 – ARCO, Madrid / 1987 – FIAC, Paris / 1992 – 100 Years of Art in Porto, Árvore / 1995 – ESBAP/FBAUP, Porto’s Custom-House. COLLECTIONS: Soares dos Reis National Museum, Porto / BCG, Lisbon / Matosinhos Town Hall PASSIVE BIBLIOGRAPHY: A proximação ao Silêncio, Porto, Nasoni Gallery, 1987 / Armando Alves, Porto, Jornal de Notícias Gallery, 1978 / PERNES, Fernando - Catálogo de Exposição, Porto, Jornal de Notícias, 1978 and 1981 / PERNES, Fernando – Catálogo de Exposição, Porto, Cooperativa Árvore, 1985 / Quatro (Os) Vintes, O Oiro do Dia, 1985
He attended the Soars dos Reuse Decorative Arts School, in Port, where he was born, and ESBAP, where he finished his Painting Studies. As a student he obtained the Ventura Torres Scholarship and the Rodrigo Soars Prize (1960). In 1958 he had obtained the Miguel Barrios Prize at the Sixth Oil Painting Exhibition, in Vila Real, and in 1960 he was the First Prize winner at the Contemporary Painting Free Exhibition, in Lammed. In the same year he received a prize at the Second Independent Exhibition-Hall of Minato and in 1967 the same thing occurred at the JECS’s Exhibition-Hall. Other than painting, he devoted himself to the mosaic and to the stained-glass, fields in which he produced works for Vies, Bragança, Porto, Nova Lisboa, and other places. EXHIBITIONS: - COLLECTIVE: 1956 and 58 - SNBA, Lisbon / 1959 - Vila Real Exhibition-Hall / 1960 – Modern Art Exhibitions, Braga, Évora and Lamego / 1961 – BCG’s Second Plastic Arts Exhibition / 1967, 68 and 70 – JTCS Exhibition-Halls / 1969 – Exhibition in remembrance of the Fifth Centennial of Amadeo’s Death, Amarante / 1975 – Survey of 20th-century Art in Porto, MNSR, Porto
Born in Luanda, his name and work would undeniably be connected with the city of Porto. He graduated in Sculpture at ESBAP. He has had a permanent fertile activity in the fields of sculpture, drawing, illustration, creation of medals, and theatre scenography. He co-operated with the University Theatre of Porto, the Experimental Theatre of Porto, the Experimental Theatre of Cascais, and the Hoje Theatre Company. He has numerous works in public places, namely in Porto (Faculty of Economy, Ribeira Square, Foz do Douro, Av. da Boavista), V. N. de Cerveira, Viana do Castelo, Vila do Conde, Lisbon (Cª Portuguesa Rádio Marconi), the USA, etc.. He received the Sousa Cardoso Prize, the Portuguese Art Review Prize, the Press Prize for the best scenic space in Lisbon (1972), the Sculpture Prize at the Biennial of V. N. de Cerveira (1980), the SOCTIP’s Artist of the Year Prize (1990) and the Tendencies of Contemporary Art in Portugal Prize (1994). He was one of the members of the Porto’s group “Os Quatro Vintes”, founded in 1968. Although in the last two decades the artist has had various exhibitions dedicated almost exclusively to drawing, it was his sculpture production that established him in the national artistic scene. Initially, the sculptor tried to explore linear and filiform elements that put the pieces in a clear relationship with space (and letting themselves be crossed by it) and the aspects inherent to modern sculpture, such as balance, stability versus instability or movement. Later, mythological subjects would be used on various works, marked by an anatomical figurativeness, never before seen in his production. In the sphere of this figurativeness, the self-portrait temptation has been constant. EXHIBITIONS: - INDIVIDUAL: 1984, 85 and 94 - Cooperativa Árvore, Porto / 1987 – Nasoni Gallery, Porto; Jornal de Notícias Gallery, Porto / 1988 - Amadeo de Souza Cardoso Museum, Amarante / 1989 - Cooperativa Árvore; Alfândega da Fé Town Hall; Solverde Gallery, Espinho / 1991 - Tokyo Art Expo, Tokyo; Castros’ Manor House, V. N. Cerveira; Magellan Gallery, Paris / 1993 – Orada Convent, Monsaraz; TLP’s Gallery, Porto - COLLECTIVE: 1973 - S. Paulo’s Biennial / 1975 – Survey of 20th-century Art in Porto, MNSR, Porto / 1976 – Portuguese Illustration in Rome; Modern Art, Madrid / 1978 – Venice Biennial; Sixth Biennial of V. N. Cerveira (and following) / 1980 – Second Iberian-American Art Biennial / 1982 – Drawing Triennial, New Deli / 1983 – Sixth Drawing Biennial of Cooperativa Árvore, Porto / 1984 - " Porto", Cooperativa Árvore; "Sculptures in the Gardens", SEC, Porto and Germany / 1986 - "The 20th century in Portugal", Brussels / 1988 – Exhibition in celebration of the 25 years of Árvore, Porto / 1989 - "Art and Saturday", Cooperativa Árvore, Porto; "Euro-art", Guimarães COLLECTIONS: MNSR, Porto / BCG, Lisbon / S. Paulo’s Museum of Contemporary Art PASSIVE BIBLIOGRAPHY: José Rodrigues, Lisboa, SOCTIP Editions, 1990 (Book that celebrates the Artist of the Year Award) / Quatro (Os) Vintes, Porto, O Oiro do Dia, 1985
Born in Porto, he graduated in Painting at the ESBAP in 1963, a school that later welcomed him as a teacher. As a student he obtained the José da Costa Meireles and the Rodrigo Soares Prizes, the Três Artes and the Porto’s Rotary Club Prizes. He presented himself at a collective exhibition in the 1950s and individually the year he graduated. He was a founding member of Cooperativa Árvores. He was a co-founder of the arts and letters magazine “Paisagem”. He obtained two F.C.G.’s scholarships, one in 1966 for study visits to Europe, and the other in 1978 for the research of “Realism in the 20th century”. Domingos Pinho’s work evolution developed towards a geometry that reached the abstract in the 1960s. In that decade he devoted himself to a matter and gesture research, which he would abandon in the following decade, opting for a meticulous realism that illustrates daily objects. The precision of the image attaches itself to its strangeness, and one must relate “hyper-realism” with “metaphysical painting”. After the mid-1980s and during the 1990s the almost expressionist strokes are back, and a new cycle arises in the artist’s production. EXHIBITIONS: - INDIVIDUAL: 1963 – Alvarez Gallery, Porto / 1964 - Nova Lisboa Museum, Angola / 1965 – Commerce Palace, Luanda / 1967 – Divulgação Gallery, Porto / 1970 and 1971 – Alvarez Gallery, Porto / 1974 - Alvarez Dois Gallery, Porto / 1978 – Contemporary Art Centre, MNSR, Porto / 1982 - Jornal de Notícias, Porto / 1983 – Módulo Gallery, Porto / 1985 - Cooperativa Árvore, Porto / 1986, 1988 and 1990 – Nasoni Gallery, Porto. - COLLECTIVE: 1959 – 4 Young, Divulgação Gallery, Porto / 1960 – Winter Exhibition-Hall, SNBA / 1961 – BCG’s Second Plastic Arts Exhibitions / 1963 – Alentejo Subjects, Porto / 1967 – Contemporary Art, Amarante; 14 Porto Artists, Divulgação Gallery, Porto / 1968 – 2 Sculptors, 3 Painters, Espinho / 1969 – Exhibition in Homage to Amadeo de Souza-Cardoso, Porto and Amarante / 1970 – Inaugural Exhibition of the Dois Gallery, Porto / 1972 – Summer Exhibition, Ogiva Gallery, Óbidos; Inaugural Exhibition of the Abel Salazar Gallery, Porto; Espinho 72 / 1973 – Contemporary Portuguese Illustration, Espaço Gallery, Porto; Espinho 73; Drawings and Illustrations Exhibitions, Árvore Gallery, Porto; Exhibition 73 SNBA / 1974 – Reviews Exhibition-Hall, SNBA; International Realism Cycle, Alvarez Gallery, Porto / 1975 - Figuration - Today?, SNBA; Survey of 20th-century Art in Porto, MNSR, Porto / 1992 - 100 Years of Art in Porto, Árvore / 1995 - ESBAP/FBAUP, Porto Customs-House COLLECTIONS: Ovar Museu / Luanda Museum / BCG, Lisbon
Born in S. Mamede do Coronado, he studied in Lisbon and Porto where he lives and where he has developed a substantial part of his activity. He was a scholarship owner of the Calouste Gulbenkian Foundation between 1986 and 1970. He obtained the National Sculpture Prize in 1968, the Soquil Prize in 1971, and the AICA-SEC Prize in 1986. Alberto Carneiro’s production has often exceeded the concept of a single work – in which he uses wood as the chosen material – to reach the concept of installation or, in a wider sense, of project. Around ecological questions – putting at play not only natural materials but nature itself and his body – Alberto Carneiro questions the limitations of art and its role in the contemporary world. The following may be seen as individual exhibitions: 1976 – Contemporary Art Centre, MNSR, Porto / 1977, 79, 81 e 83 – Quadrum Gallery, Lisbon / 1978 – Módulo Gallery, Porto / 1980 – JN Gallery, Porto / 1981 – Diferença Gallery, Lisbon / 1985 e 88 - EMI - Valentim de Carvalho Gallery, Lisbon / 1991 - FCG, Lisbon; Serralves Foundation, Porto / 1993 - Pedro Oliveira Gallery, Porto / 1998 - Quadrado Azul Gallery, Porto. The following are some of his remarkable collective exhibitions: 1 969 – Paris Biennial / 1971 - London / 1972, 73 e 74 - SNBA, Lisbon / 1972, 74 e 86 - AICA, Lisbon / 1976 – Venice Biennial/ 1984 - Atitudes Litorais, Lisbon / 1987 e 88 – Serralves Foundation / 1992 - Arte Contemporânea Portuguesa na colecção da FLAD, FCG, Lisbon / 1994 – Um Museu Português, Santiago de Compostela / 1994-98 – ARCO, Madrid / 1998 – Direcção: Escultura, FCG, Lisbon.
Ângelo César Cardoso de Sousa was born in Lourenço Marques (nowadays Maputo). He graduated in Painting at the Porto’s Escola de Belas-Artes where, since 1963, he became part of the teaching staff. He then studied at several London schools (1967). He began his public career in 1959 at the beginning of a cycle of exhibitions organised by the architecture student José Pulido Valente. The purpose of such exhibitions was to join in the same event a young and a famous artist. P redominating since the beginning the symmetrical compositional sense, the vertical lines play a major role in Ângelo’s chromatic fields. EXPOSIÇÕES INDIVIDUAIS - 1959 E 1963 - Galeria Divulgação, Porto / 1964, 1965 e 1966 - Cooperativa Árvore / 1976 - Museu nacional de soares dos Reis / Centro de Arte Contemporânea, Porto / 1981 - Galeria JN, Porto / 1985 , 1986 e 1990 - Galeria Emi / Valentim de carvalho, Lisboa / 1992 e 1993 - Galeria Quadrado Azul, Porto / 1993 - Fundação de Serralves, Porto e Centro Cultural de Belém, Lisboa.
Born in Porto he finished his Complementary Painting Course at ESBAP. He is a Secondary School Teacher. He received a prize in 1961 at the Plastic Arts Exhibition of Queima das Fitas, Coimbra, and in 1968 at the First Youth Exhibition-Hall that took place at Figueira da Foz. He has worked in the field of graphic arts, where he has received several prizes. His work has developed on a figurative matrix with a precision that is not foreign to the practice of the graphic arts. EXHIBITIONS: - INDIVIDUAL: 1964 – Commerce Palace, Luanda / 1965 - ESBAP / 1967 – Divulgação Gallery, Porto / 1968 – Foz Palace, Lisbon / 1969 e 1970 – Alvarez Gallery, Porto / 1973 - Cooperativa Árvore, Porto; D. Diogo de Sousa Museum, Braga / 1974 – Paisagem Gallery, Porto - COLLECTIVE: 1958 TO 1962 - Grand ESBAP Exhibitions / 1961 – Plastic Arts Exhibition of Queima das Fitas, Coimbra; Third Exhibition-Hall of the New / 1962 – ESBAP Students at Alentejo, Évora; Fourth Exhibition-Hall of the New / 1963 – Alentejo Subjects at ESBAP; Fifth Exhibition-Hall of the New / 1966 – First National Art Exhibition-Hall / 1967 – 14 Porto Artists at the Divulgação Gallery, Porto; Fifth Modern Art Exhibition-Hall of the Costa do Sol Tourism Board / 1968 - 2E 3P, Espinho; First Exhibition-Hall of the Youth, Figueira da Foz / 1969 – Exhibition in Homage to the Painter Amadeo de Souza Cardoso; Art of Today, Viseu / 1972 – First National Biennial of the Young Artists, Famalicão / 1973 – Modern Art Exhibition-Hall of the City of Luanda / 1975 – Survey of 20th-century Art in Porto, MNSR, Porto / 1980 – First Collective Exhibition of Cooperativa Árvore, Porto; Second International Biennial of V. N. Cerveira / 1982 – Porto Artists in Seville / 1984 - Gaia as seen by her artists / 1985 – National Plastic Arts Exhibition, Gaia Artists
Justino Alves was born in Porto, graduated in Painting at ESBAP, and was a scholarship owner of the FCG and of the Ventura Terra Legate. From 1968 to 1970 he was professor and principal of the Funchal’s Fine-Arts Academy and from 1971 on he taught at ESBAL. Besides painting he created ballet stage-settings. He was awarded the Master Joaquim Alves Prize, the Silver Medal at the Fourth Art Show in Rome, the National Painting Prize (1969) and the Ministry of Culture’s Third Almada Negreiros Prize. After exploring indented and overlaid shapes, Justino Alves’ painting develops one of the most noble traditions of the western world – the one that explores the values of painting/painting, in fields purely pictorial or plastic, wisely built and with a strong visual impact. Now and again the adoption of big signs is also visible, approaching writing/painting, evoking another tradition, or the adoption of figures placed on the canvas in an equally solid way. EXHIBITIONS: - INDIVIDUAL: 1961 - Amarante / 1963 and 68 - Alvarez and Divulgação Galleries, Porto / 1965 - Abade Baçal Museum, Bragança / 1966 - Cascais / 1972 - Lisbon / 1975 – Documento Gallery, Paris / 1988 to 92 - S. Mamede Gallery, Lisbon; Santiago Gallery, Almada; Palmira Suso Gallery, Lisbon; Degrau Arte Gallery, Porto / 1995 – Ara Gallery, Lisbon - COLLECTIVE: Magnas e Extra-Escolares da ESBAP / 1963, 73 and 74 - SNBA, Lisbon / 1964 and 66 – JTCS’s Exhibition-Halls / 1969 – Fifth Centenary of the Death of Amadeo, Amarante; Sixth Biennial of Paris / Illustrators National Society / 1972 - Sixth Biennial of Young Artists, Famalicão / 1973 - Portuguese Painting Today, Barcelona, Salamanca, Lisbon / 1975 – Survey of 20th-century Art in Porto, MNSR, Porto / 1978 – Sixth International Biennial of V. N. Cerveira / 1982 - ARÚS, MNSR, Porto / 1985 – Tribute to Almada Negreiros, Lisbon; ARCO, Madrid / 1992 - 100 Years of Art in Porto, Cooperativa Árvore COLLECTIONS: SEC P ASSIVE BIBLIOGRAPHY: CENTENO, Y. K - Justino Alves - O Pintor e a sua Filosofia, Lisboa, INCM, 1985
Born in Valbom, district of Porto, he studied and graduated at ESBAP (1963-68) where he would later teach. During his studies he was a BCG’s scholarship owner and, from 1971 to 1973 he renovated his scholarship to study in England. He is the author of several monumental sculptures, namely in Porto. He received prizes in 1967, at the Coimbra’s Plastic Arts Exhibition; in 1969, at the Exhibition remembering the Fifth Centenary of Sousa Cardoso’s Death, in Amarante; in 1982, at the Third Biennial of V. N. de Cerveira; in 1983, at the Sixth Drawing Exhibition of Cooperativa Árvore; in 1984, at Lagos’ 84; in 1985, at the A.F.’s Contemporary Art Exhibition, in Porto; in 1986, at the BGC’s Third Plastic Arts Exhibition; in 1993, at the Competition for the Celebration Medal of the 100 Years of the Leixões’ Harbour; in 1995, at the Sculpture Competition for the Computer Centre of Minho’s University. Zulmiro de Carvalho’s work was extremely innovative in terms of the materials explored and of the shapes reached, showing structural essentiality and simplicity. The intervention of iron and other metals signalled the beginning, being later joined by marble, slate and even wood. The great shapes that he creates stand out through a rigorous outline or show textural accidents of great expressiveness. EXHIBITIONS: - INDIVIDUAL: 1969 - Porta Nova’s Tower, Barcelos / 1970 - Cooperativa Árvore, Porto; Buchholz Gallery, Lisbon / 1971 – Plastic Arts Centre, Coimbra (and 1981); Alvarez Gallery, Porto ; Quadrante Gallery, Lisbon / 1982 – Quadrum Gallery, Lisbon; Coimbra’s Artistic Movement; Cooperativa Árvore; Roma e Pavia Gallery, Porto / 1983 and 87- JN Gallery, Porto / 1986 – EMI Gallery, Lisbon / 1987 - SEC, Porto; Nasoni Gallery, Porto; Gardens, Santo Tirso / 1988 - Amadeo Souza Cardoso Museum, Amarante; Porto’s University Faculty of Arts / 1995 – Minho’s University Gallery, Braga - COLLECTIVE: 1964, 65, 66 and 68 - ESBAP’s Grand Exhibitions / 1965, 66, 67 and 68 – Extra-Curricular Exhibitions of the ESBAP’s Students / 1965 – Spring Exhibition-Hall, Guimarães / 1967 – Plastic Arts Exhibition, Coimbra / 1968 – Exhibition Celebrating Ovar’s Museum Seventh Anniversary; SE SP, Espinho / 1969 – Exhibition Remembering the Fifth Centenary of Amadeo Sousa Cardoso’s Death; BPA’s Plastic Arts Exhibition, Lisbon / 1970 – Fourth Summer Exhibition-Hall, SNBA; Ogiva’s Gallery Inaugural Exhibition, Óbidos / 1971 – Quadrante Gallery, Lisbon / 1972 – Multiples, Mini Gallery, Porto; Platform 72, Museum of Modern Art, Oxford ( and 73) / 1974 – Painters are with the children, JN Gallery, Porto/ 1975 – Survey of 20th-century Art in Porto, MNSR, Porto; Abstraction Today, SNBA / 1986 – BCG’s Third Plastic Arts Exhibition / 1992 - 100 Years of Art in Porto, Cooperativa Árvore / 1995 - ESBAP/FBAUP, Porto’s Customs-House. COLLECTIONS: BCG, Lisbon / SEC / Serralves Foundation P ASSIVE BIBLIOGRAPHY: PERNES, Fernando - in Zulmiro de Carvalho. Esculturas Recentes, Porto, 1982; in Zulmiro de Carvalho. Esculturas, Porto, 1986
Although he was born in Porto, Manuel Casimiro lives and works in Nice since 1976. He has developed a solid international career, but still uses fundamental aspects of a national mythology, like the series connected with King Sebastião. His production, of a conceptual matrix, is crossed by a series of constants in which fixed shapes and schemes appear, wandering from one canvas to the other – let us not forget the predominance of oval shapes. His work is extremely intentional and elaborate, not submitting to the empiricism of solutions. EXHIBITIONS: - INDIVIDUAL: 1968 – Interior Gallery, Lisbon / 1969, 70 – 111 Gallery, Lisbon; Alvarez Gallery, Porto (and 1972) / 1971 – Dubose Gallery, Huston / 1972 – Judite Dacruz Gallery, Lisbon / 1974 and 77 – Modern Art Gallery, SNBA, Lisbon / 1978 – BCG, Paris / 1979 – Anne Roger Gallery, Nice / 1981 – Roma e Pavia Galleries, Porto / 1982 – MNAA, Lisbon / 1984 – SNBA, Lisbon / 1985 – Zen Gallery and Cooperativa Árvore, Porto / 1986 – Fine-Arts Museum, Nice / 1988 – MNSR and Roma e Pavia Gallery, Porto / 1989 and 90 – Fluxus Gallery, Porto / 1996 – Chiado Museum, Lisbon - COLLECTIVE: 1968 – Etchings International Gallery, New York / 1969 – 22 Years of Portalegre’s Tapestry, Lisbon / 1971 – Lausanne’s Fifth International Biennial of Tapestry, Lausanne and Warsaw / 1972 – Sixth Biennial of the New Artists, Famalicão / 1973 – Grands et Jeunes d'aujourd'hui, Paris; Exhibition 73, SNBA; Drawing 73, Cooperativa Árvore, Porto / 1974 – Perspective 74, Porto; Painters are with the children, JN Gallery, Porto / 1975 – Contemporary Artists and St. Antão’s Temptations, NMAA, Lisbon, Survey of 20th-century Art in Porto, MNSR, Porto / 1977 – Zero Alternative, Modern Art National Gallery, Lisbon / Weird Corpses and Collective Paintings, Ottolini Gallery, Lisbon; Abstraction Today, SNBA, Lisbon / 1981 – Nucleus VI, S. Paulo’s Modern Art Museum / 1982 – Third Biennial of V.N. Cerveira / 1985 – National Centre of Contemporary Art, Nice; Signatures, Liège; Performat, Torres Vedras / 1988 – FotoPorto, Casa de Serralves, Porto / 1989 – Euro-art, Guimarães COLLECTIONS: FCG, Lisbon PASSIVE BIBLIOGRAPHY: De Perto e de Longe (Exhibition Catalogue), Porto, Fluxus Gallery, 1989 / France, José Augusto and LYOTARD, François – in Colóquio artes, n. 64, 1985 / MONTICELLI, Raphael – in Colóquio Artes, n. 32, 1977 / Pinturas Recentes (Exhibition Catalogue), Porto, Fluxus Gallery, / 1990
He studied at ESBAP and developed his activity in the fields of sculpture and ceramics. He received the Teixeira Lopes Awards in 1967 and was honoured in Porto and Coimbra in 1967, and in Aveiro in 1968. EXHIBITIONS: - COLLECTIVES: 1972 and 74 - SNBA, Lisbon / 1974 – Algarve’s International Festival / 1992 - 100 Years of Art in Porto, Cooperativa Árvore /
Born in Coimbra, Eduardo Batarda became a professor in 1976 at the Porto’s Fine-Arts School, where he had studied. As a scholarship owner of the Calouste Gulbenkian Foundation, he post-graduated from the London’s Royal College of Art. In 1986 he obtained the Homoeoaesthetics Prize and the Prize for the creation of a tapestry for the Constitutional Court. Among others, he had the following individual exhibitions: 1975 – Calouste Gulbenkian Foundation, Lisbon; 1982, 86 and 90 – Zen Gallery, Porto; 1983, 85, 87, 89 and 92 – 111 Gallery, Lisbon. A fter a stage of recognisable figurative elements and humorous and satirical situations, Eduardo Batarda devoted himself to a painting of filiform elements, generating ellipses and curved lines constructed in detail, to which text is added from time to time.
Born in Porto, he graduated at the Porto’s Fine-Arts Superior School, where he teaches. He was a scholarship owner of the Calouste Gulbenkian Foundation in the late 1970s and early 1980s. Among others, he had the following individual exhibitions: 1981 – Cooperativa Árvore, Porto; 1983 – Diário de Notícias Gallery, Lisbon; 1988 – Nasoni Gallery, Porto. He was present at the following collective exhibitions: 1975 – Survey of 20th-century Art in Porto, MNSR; 1977 – Portuguese Art in Spain; 1980-82 – Second and Third Biennials of Cerveira; 1982 – First National Drawing Exhibition of Cooperativa Árvore; 1986 – F.C.G.’s Third Plastic Arts Exhibition; 1995 – ESBAP/FBAUP. M ário Américo’s work systematically crosses painting and drawing, in a presence that lives of connection lines, of marked structures, of filiform graphic signs that cover the whole support.
Born in Porto, Rui Aguiar has developed his painting activity in this city. Several works in the field of graphic design and stage-setting are also known. In the late 1980s he was a scholarship owner of the Calouste Gulbenkian Foundation. Among the individual collections he made, the following are especially worthy of mention: 1988 – Nasoni Gallery, Porto; 1994 – Por Amor à Arte Gallery, Porto and 1998 – Projecto Gallery, Vila Nova de Cerveira. R ui Aguiar’s work is characterised, according to Joaquim Matos Chaves, by the investigation of raw materials, from other activity areas. Other than a pasting work, a structuring of pieces from lines and other geometric elements, his is a notable work. Despoilment and contention may be regarded as other characteristics of a work whose approach is little facilitated.
Although he was born in Porto, Manuel Casimiro lives and works in Nice since 1976. He has developed a solid international career, but still uses fundamental aspects of a national mythology, like the series connected with King Sebastião. His production, of a conceptual matrix, is crossed by a series of constants in which fixed shapes and schemes appear, wandering from one canvas to the other – let us not forget the predominance of oval shapes. His work is extremely intentional and elaborate, not submitting to the empiricism of solutions. Exhibitions: - Individual: 1968 – Interior Gallery, Lisbon / 1969, 70 – 111 Gallery, Lisbon; Alvarez Gallery, Porto (and 1972) / 1971 – Dubose Gallery, Huston / 1972 – Judite Dacruz Gallery, Lisbon / 1974 and 77 – Modern Art Gallery, SNBA, Lisbon / 1978 – BCG, Paris / 1979 – Anne Roger Gallery, Nice / 1981 – Roma e Pavia Galleries, Porto / 1982 – MNAA, Lisbon / 1984 – SNBA, Lisbon / 1985 – Zen Gallery and Cooperativa Árvore, Porto / 1986 – Fine-Arts Museum, Nice / 1988 – MNSR and Roma e Pavia Gallery, Porto / 1989 and 90 – Fluxus Gallery, Porto / 1996 – Chiado Museum, Lisbon - Collective: 1968 – Etchings International Gallery, New York / 1969 – 22 Years of Portalegre’s Tapestry, Lisbon / 1971 – Lausanne’s Fifth International Biennial of Tapestry, Lausanne and Warsaw / 1972 – Sixth Biennial of the New Artists, Famalicão / 1973 – Grands et Jeunes d'aujourd'hui, Paris; Exhibition 73, SNBA; Drawing 73, Cooperativa Árvore, Porto / 1974 – Perspective 74, Porto; Painters are with the children, JN Gallery, Porto / 1975 – Contemporary Artists and St. Antão’s Temptations, NMAA, Lisbon, Survey of 20th-century Art in Porto, MNSR, Porto / 1977 – Zero Alternative, Modern Art National Gallery, Lisbon / Weird Corpses and Collective Paintings, Ottolini Gallery, Lisbon; Abstraction Today, SNBA, Lisbon / 1981 – Nucleus VI, S. Paulo’s Modern Art Museum / 1982 – Third Biennial of V.N. Cerveira / 1985 – National Centre of Contemporary Art, Nice; Signatures, Liège; Performat, Torres Vedras / 1988 – FotoPorto, Casa de Serralves, Porto / 1989 – Euro-art, Guimarães Collections: FCG, Lisbon Passive Bibliography: De Perto e de Longe (Exhibition Catalogue), Porto, Fluxus Gallery, 1989 / France, José Augusto and LYOTARD, François – in Colóquio artes, n. 64, 1985 / MONTICELLI, Raphael – in Colóquio Artes, n. 32, 1977 / Pinturas Recentes (Exhibition Catalogue), Porto, Fluxus Gallery, / 1990
Born in Porto in 1979, he graduated in Painting at ESBAP, where he teaches. He received the Revelation Prize at the Second Biennial of V. N. de Cerveira (1980), the Edition Prize at the Third National Illustration Exhibition (1981), an Honourable Mention at the Biennial of Lagos (1982), the Acquisition Prize at the Biennial of Lagos (1984) and the Fifth Biennial of Cerveira Prize (1986). In 1988 he was a BCG’s scholarship owner in the fields of painting, illustration and theatre stage-setting. Rui Pimentel’s work affirms a formal contention and a progressive economy of resources that originates a great unity. He creates his works from basic drawings, calligraphic elements that suggest aspects from nature or architectonic shapes. EXHIBITIONS: - INDIVIDUAL: 1972 – Lourenço Marques’ Art Centre / 1980 - Cooperativa Árvore, Porto / 1986 – JN Gallery, Porto / 1987 – EG Gallery, Porto; Plastic Arts Circle, Coimbra / 1988 - Roma e Pavia Gallery, Porto; University Gallery, Braga; O Tempo do Gato Gallery, Lisbon / 1991 – Fluxus Gallery, Porto - COLLECTIVE: 1980 – Second Biennial of V.N. de Cerveira; Abstract Art Aspects in Portugal, SNBA / 1981 – Third National Illustration Exhibition; Porto Artists in Vigo / 1982 and 84 - Biennial of Lagos / 1982 – Porto Artists, Seville; Aspects of Contemporary Drawing in Portugal, Germany and Portugal / 1983 – Sixth Biennial of Young Art, Chaves; Sixth National Drawing Biennial, Porto; Christmas Tree, Espaço Lusitano Gallery, Porto / 1984 - Lagos 84; Sixth Plastic Arts Exhibitions of the Porto’s City Hall; Figurative or Abstract, Braga; Porto, Cooperativa Árvore / 1985 - ARUS, MNSR, Porto; Second Drawing Biennial, Árvore, Porto / 1986 – Fifth Biennial of Cerveira; Third Plastic Arts Exhibition, BCG; Contemporary Art Show, S. João da Madeira; Lagos 86; 80 Years of Art in Porto, Cooperativa Árvore / 1987 – Sixth Drawing Biennial, Campinas - Brasil; Amadeo de Sousa Cardoso Modern Art Exhibition, Serralves Foundation; Sixth Biennial of Sintra; Third Anniversary of the EG Gallery / 1988 – Contemporary Art Forum, Lisbon; Coimbra’s University Biennial; Mom'Arte, Vila do Conde; ArtePortex, Porto / 1989 – 25 Years of Cooperativa Árvore, Porto; ARCO 89, Madrid; 10 Artists 10 Serigraphs , Serralves Foundation, Porto; Anniversary of Sábado Magazine, Cooperativa Árvore, Porto / 1994 - El Duero que nos une, Salamanca and Zamora / 1995 - ESBAP/FBAUP, Porto’s Customs-House
They both graduated at the Porto’s Fine-Arts Superior School and they both teach: Isabel Cabral at the Soares dos Reis Secondary School and Rodrigo Cabral at the Porto’s Fine-Arts Faculty. They have developed a multifaceted career that comprises sculpture, installation, performance, in Portugal and abroad, the co-operation with theatre through scenery and pattern conception, and the creation of murals and others. They have been working in the so-called “Common Project” since 1987, which led them to sign as one person all the work created in the meantime. They received prizes in 1990 and 94 at the Second and Fourth Illustration Biennial of Amadora, and the Almada Negreiros Painting Prize; in 1993 they were awarded the BFC’s National Painting Prize and in 1983 the Afonso Nadir Prize at the First Biennial of Chaves. The following are some of their exhibitions: 1983, 86, 88 – Árvore, Porto; 1989 – Labirintho, Porto; 1990 – SNBA, Lisbon; 1991 – Quadrado Azul Gallery, Porto; Gonfilarte, Vila Praia de Âncora; Cinanima, Espinho; 1992 – Elms Lesters Gallery, London; 1994 – Nyborg Art Event Gallery, Denmark; 1995 – Por Amor À Arte Gallery, Porto. Isabel and Rodrigo Cabral’s sculpture often uses materials that are not part of the lasting western tradition but comprises in it characteristic substances from contemporaneity. Of various references (ethnographic, decorative, humoristic or amusing) from the western civilisation or elsewhere, their work has an affirming and lively presence on Portuguese art.
Born in Porto, Gerardo Burmester attended for a while the Fine-Arts Superior School of this city, and abandoned it before completing his academic studies. Between 1975 and 78 he lived in Paris. He was one of the members of the Puzzle Group, having performed with them, and founded and directed (with Albuquerque Mendes) the Espaço Lusitano, in Porto. He received prizes in 1986 and 1995 at the Fifth and Eighth Biennials of Cerveira. The following are some of his individual exhibitions: 1981, 82, 89 – Roma e Pavia Gallery, Porto; 1982, 88 – Cooperativa Árvore, Porto; 1983 – Espaço Lusitano, Porto; 1990, 91, 92, 93, 95 and 97 – Pedro Oliveira Gallery, Porto; The following are some of the collective exhibitions in which he took part: 1980 – Portuguese Art Today, SNBA, Lisboa; 1981 – Postal Art – Biennial of S. Paulo; 1982 – Biennial of Cerveira; Third Iberian-American Biennial, Mexico; Porto Artists, Seville; 1983 – First National Drawing Exhibition of Cooperativa Árvore; 1984 – New Primitives, Árvore, Porto; 1985 – Expo AICA, SNBA, Lisbon; 1986 – Fifth Biennial of Cerveira; Eighth Biennial of Pontevedra; AICA 86, SNBA, Lisbon; 1988 – Tendencies of the 1980s, S. João da Madeira; 1989 – FAC – Second Contemporary Art Forum, Lisbon; 1991 – A Minute ago of the time that goes by, Serralves Foundation, Porto; 1992 – Sortileges, Customs-House, Porto; 100 Years of Art in Porto, Árvore, Porto; 1993 – Images for the 1990s, Serralves Foundation, Porto; 1994 – When the world falls on us, CCB, Lisbon; Fragments to an imagined museum, Serralves Foundation, Porto; 1995 – Eighth Biennial of Cerveira; 1997 – Coastline, Munich; Contemporary Anatomies, Oeiras. Gerardo Burmester’s work developed towards big dimensioned pieces, facilities comprising objects where the alleged utility condition, the evident uselessness and the aesthetic quality intersect. The whole is treated in perfectly finished materials that stage splendour situations, which is an element systematically associated with his production.
Born in Trancoso, his activity is attached to the city of Porto. He has been exhibiting since the 1970s, having worked in the fields of performance and installation. He was one of the founders of Espaço Lusitano, in Porto, and member of the Puzzle group. He obtained the Nadir Afonso Prize at the Chaves’ First Biennial of Art in 1983. Among his individual exhibitions the following are worthy of mention: 1987 – Sala Atlântica, Porto; 1988 – Gruporzan Gallery, La Coruña; 1990 and 93 – Nasoni Gallery, Porto and Lisbon; 1991 – Lídia Cruz Gallery, Leiria; 1992 – Amadeo de Souza Cardoso Museum, Amarante; 1993 – Nogueira da Silva Museum, Braga.
Born in Vila Nova de Gaia, where he lives, Amaral da Cunha graduated at ESBAP where he became a teacher. In 1982 he was a BCG’s scholarship owner, exploring the application of bronze fusion through a sand process. He received an award at the 1980’s Biennial of V. N. de Cerveira and was distinguished by the jury at the BCG’s Third Plastic Arts Exhibition in 1986, at the Óbidos’ Second International Biennial in 1987 and received the SECIL’s National Sculpture Prize in 1992. He has participated in numerous symposiums on sculpture and stone work, both in Portugal and abroad. He was invited for plastic arts projects in Cascais and Lisbon (Telheiras Metro Station). Although he has worked with bronze, Amaral da Cunha prefers marble and granite. He has always shown quite an interest for motifs that have always been present in the history of sculpture throughout the years, like the “female torso.” He has also collected the signs of the oriental imaginary, in pieces that resemble votive pieces, a reflex of his journey to Japan in 1987. Exhibitions: - INDIVIDUAL: 1983, 87 and 1992 – Quadrum Gallery, Lisbon / 1983 - Teixeira Lopes House and Museum, V.N. Gaia / 1987 – SEC’s Gardens, Porto / 1992 – Praça Gallery, Porto; Counts of Resende’s Manor House, V. N. Gaia / 1993 - Amadeo Souza Cardoso Museum, Amarante - COLLECTIVE: 1980, 82 and 84 - V. N. de Cerveira Biennials / 1984 - Novos, Novos, SNBA, Lisbon; / 1986 - BCG’s Third Plastic Arts Exhibition / UNICER’s Young Sculpture; 1987 – Óbidos’ Second International Biennial / 1994 –Contemporary Art Tendencies, Vila da Feira / 1995 - ESBAP-FBAUP, Porto’s Custom-House.
António Santiago Gonçalves Areal e Silva was born in Porto and died in Lisbon. The practice of drawing was the most natural to his intellect and conditions. His first exhibitions were in 1955, in a SNBA collection, and in 1956, at the Pórtico Gallery, alongside Carlos Calvet and Jorge Vieira. António Areal’s artistic creation may be divided into three stages. The first stage comprises the time between 1953 and 1958. The drawings created then use realistic processes to activate visionariness. From these first stage drawings to the paintings and objects later created, the persistent shapes-forms are the disc and the box, which are archetypal. In 1957, Areal won a drawing prize at the First Gulbenkian Exhibition. In 1975 he wrote an essay on the sense and meaning of poetry, which was published in 1958. His career as a writer was permanent, having published later on a compilation of the remarkable Intervention Texts at the Vanguard of Visual Arts. After 1960 he started a technical incursion as a painter into informality.
Born in Lamego, it is in Porto that he has an atelier and develops his professional career. He finished the ESBAP studies in 1978, and teaches there presently. He was a BCG’s and JNICT’s scholarship owner in Portugal and abroad. He received a prize in 1978 (Engº António de Almeida Foundation), at ARÚS 82 and at the exhibition comprised in the First International Congress on the Douro River in 1986. Besides teaching and painting, he has devoted himself to writing about art and artistic teaching. Francisco Laranjo’s work has been developing in the field of a vast, under pressure abstract gesture and of a great pictorial freedom. His works of art mirror a despoiled invoice where the great gesture and the intrinsic value of colour stand out. Exhibitions: - INDIVIDUAL: 1978 - ESBAP / 1981 - Engº António de Almeida Foundation, Porto / 1982 - Roma e Pavia Gallery, Porto / 1984 – Módulo Gallery, Porto / 1989, 90 and 93 – Nasoni Gallery, Porto / 1989 and 94 - Interart Gallery, Holland / 1992 – 5 Gallery, Coimbra / 1996 - Árvore, Porto - COLLECTIVE: 1978, 80, 84, 86 and 95 – Biennials of V. N. Cerveira / 1980 – Collective Exhibition of Cooperativa Árvore, Porto / 1981 - Lis' 81, Lisbon / 1982 - ARÚS, MNSR, Porto / 1984 - Porto, Árvore / 1986 - BCG’s Fourth Plastic Arts Exhibition, Lisbon / 1987 – Second Art Biennial of the Azores / 1988 - 25 years 44 artists, Árvore / 1990 and 91 – AIP’s Fourth Painting and Sculpture Exhibitions / 1993 – Tendencies of Contemporary Art in Portugal, Vila da Feira / 1994 - El Duero que nos une, Zamora and Salamanca / 1995 - ESBAO/FBAUP, Porto Customs-House. Collections: CAM-FCG, Lisbon / Serralves Foundation, Porto Active Bibliography: Em torno de uma ideia de técnica em pintura, Porto, Nova Renascença, 1984 / Ensino (O) Artístico e as Belas Artes, VI Congresso Ibérico das Escolas Superiores e Faculdades de Belas Artes, Porto, 1981 / Porto (O) e a Cultura, Porto, Encontro Nacional da APEVEC, 1992 Passive Bibliography: PERNES, Fernando - Sobre Francisco Laranjo, in "Colóquio Artes", n. 56, 1983 / ROCHA DE SOUSA - Do paradoxo à obra aberta, Catálogo de exposição, Coimbra, 1992
He was born in Porto and graduated from ESBAP in 1985. In 1984 he received a prize at the Fourth Biennial of V. N. de Cerveira, in 1985 he was awarded the Augusto Gomes Prize by the Matosinhos City Council, in 1990 he received the Edition Prize at the Second Illustration Biennial of Amadora, in 1993 he received the Banco Comercial de Macau Prize and in 1995 the Almada Negreiros Prize (Mapfre). He is one of the founders of the “Por Amor à Arte” Gallery, in Porto. Augusto Canedo’s painting is part of the renovation of figuration, that occurred in the 1980s, a time that explored almost academic spatiality, composition and lighting. Subsequently, he preferred the vestiges of the human shape instead of the shapes themselves, including in his canvas spots, textures and natural materials, inaugurating a cycle of his work that became known as “Litorality”. The proximity of the Atlantic Ocean motivated the dominant presence of the colour blue and of fossils, which is being surpassed by techniques recently practised, such as the art of encaustic. Exhibitions: - INDIVIDUAL: 1985 – EG Gallery; Cooperativa Árvore, Porto / 1987 – EG Gallery, Porto / 1988 - Café des Arts Gallery, Porto; Augusto Gomes Gallery, Matosinhos; Solverde Gallery, Espinho; Labirinto Gallery, Porto; Príncipe Real Gallery, Lisboa / 1989 – Algarve Gallery / 1990 – Quorum Gallery, Lisboa / 1991 - Meridien Gallery / Alvarez, Porto; Amadeo Sousa Cardoso Gallery, Amarante; Elvine Dalbanes Gallery, Paris / 1992 – Labirinto Gallery, Porto; Eterso Gallery, Cannes; 1993 – Meridien Gallery, Porto / 1994 – Calçada Gallery, Porto / - COLLECTIVE: 1984 - Novos, Novos, SNBA; Fourth Biennial of V.N. Cerveira; Homage to Almada Negreiros, Lisbon; 1984 - O Futuro é já hoje?, FCG / 1985 – Nine Paintings from the New Figuration, Roma e Pavia Gallery, Porto / FCG’s Third Modern Art Exhibition / Biennial of V. N. de Cerveira; Second Drawing Biennial, Cooperativa Árvore; Second Biennial of Chaves; Fifth Biennial of Festa do Avante / 1986 – Second Biennial of V. N. de Cerveira; F.M. Oliveira, MNSR, Porto / 1987 – Third Plastic Arts Exhibition BCG; Operação Ensino Árvore, Pau; Recent Figurations, Quadrado Azul Gallery, Porto / 1988 – Sixth Biennial of Sintra; Marca, Madeira; Industries Fair / 1989 – Eleven Porto Artists, Interni Gallery, Lisboa; Sixth Biennial of Festa do Avante; Norte-Sul, Quadrum Gallery, Lisbon / Second Illustration Biennial of Amadora; Contemporary Art Biennial, Turim; Engraving Biennial of la Coruña / 1991 – Itinerant Exhibition of Portuguese Illustration in Brazil; Jeune Peinture, Monte Carlo; Foire d'Art Cant. De Bologne, Italy / 1992 - America, Minas Gerais; Seventh Biennial of V.N. Cerveira; 100 Years of Art in Porto / 1993 – Duplicities, Brazil / 1995 - ESBAP/FBAUP, Porto Customs-House
Joaquim Manuel Lima Carvalho was born in Porto, where he graduated in Painting at the Fine-Arts Superior School. He learned from his master Júlio Resende and, like him, followed the ways of expressionism. He was one of the founders of Cooperativa Árvore (Porto, 1963), and a member of the Lisbon’s boards of directors of the SNBA and of the Fine-Arts Superior School, where he teaches. He founded the Acre group with sculptors Clara Meneres and Queirós Ribeiro, which intervened aesthetically in public places in Porto, Lisbon and Caldas da Rainha (1974/1977). The expressionist painting of Lima Carvalho brings shapes rhetorically to the foreground. The co-participation in collective actions, after the 25 April 1974, gave priority to immediate language. Lima Carvalho made paintings on walls and, with his group Acre, offered the citizens ephemeral paintings done on pavements; decorations done at night, lyrically lasted “the time of a morning.” The nauseated disfigurement of the early 1970s gave way to a live presence of naked bodies, in energetic strokes that make schemes explode. This whole painting is organic and the contrasts of the elements of the language try to express the violence of eroticism.
Victor Manuel Pires Vieira was born in Porto. He studied Architecture and Urbanism in Paris and Vincennes, starting to exhibit in 1971 at the Alvarez Gallery. He went beyond painting seen merely in terms of the abstract and the figurative to concentrate on the relation between colour and real space. The knowledge of the limits of pure colour impact led him to a persistent analysis of the variations of an elementary structure: a square topped by a small rectangle. An outlined shape or seen as a silhouette, filled with colour or empty, or partially coloured, isolated or in a sequence, taking part in the shape of the support itself, the above-mentioned square topped by a small rectangle marked all the painting of Pires Vieira until 1975. Matisse, Rothko and Reinhardt were adopted in one of these series showing not only a will to synthesise the lessons of such masters but also Pires Vieira’s research direction. An integral part of the support-surface at the time, he tended towards the purely plastic environment. After several years without painting, Pires Vieira resumed his activity in 1983 with paintings and drawings that are images of the process itself.
A Porto artist of great sensibility, she was famous as a painter and drawer. She studied at the Academia de Belas-Artes, being a pupil of Marques de Oliveira. Together with her sister Aurélia de Sousa, she left for Paris and joined the Ecole de Beaux Arts, having as teachers Jean Paul Laurens and Benjamim Constant. She had several paintings at the 13th Exhibition of the Sociedade Nacional de Belas-Artes in 1916 and in the following years. She dominates the techniques of oil and pastel painting, creating inanimate natures, interiors, landscapes and portraits.
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