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a forged work of art

  • 1 forged

    forged /fɔ:dʒd/
    a.
    1 ( di metallo) fucinato; forgiato
    2 contraffatto; falso: a forged passport, un passaporto falso; a forged work of art, un'opera d'arte contraffatta; un falso.

    English-Italian dictionary > forged

  • 2 Art

       Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.
       Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).
       During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.
       In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.
       The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.
       In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.
       From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome.

    Historical dictionary of Portugal > Art

  • 3 imitar

    v.
    1 to imitate, to copy.
    Ella imita a Ricardo She imitates Richard.
    Ella imita la obra de arte She copies the work of art.
    2 to mimic, to mime, to ape, to impersonate.
    El payaso imita a María The clown mimics Mary.
    3 to counterfeit, to fake.
    María imita la firma Mary counterfeits the signature.
    * * *
    1 to copy, imitate (gestos) to mimic; (persona) to mimic, do an impression of
    * * *
    verb
    to imitate, copy
    * * *
    VT
    1) (=emular) to imitate
    2) (=por diversión) to imitate, mimic

    ¡deja ya de imitarme! — stop imitating o mimicking me!

    sabe imitar muy bien mi firma — he can imitate o copy my signature really well

    3) (=parecerse a)
    * * *
    verbo transitivo
    a) < persona> ( copiar) to copy, imitate; ( para reírse) to do an impression of, mimic

    se sentó y todos lo imitaron — he sat down and everyone followed suit

    b) <voz/gesto/estilo> to imitate; ( para reírse) to imitate, mimic
    c) ( tener el aspecto de) to simulate
    * * *
    = parallel, simulate, mimic, emulate, imitate, shadow, impersonate, take after, take + a lead from.
    Ex. It directly or indirectly incorporated or paralleled several prevailing objectives and concepts of the communication and behavioral sciences and other contributory disciplines.
    Ex. Cardbox, distributed by Caxton Software Publishing Company, London, is a small data base management system that simulates a stack of index cards.
    Ex. These variations mimic the changes in air pressure at the microphone.
    Ex. You must be a living example of what you expect your child to honor and emulate.
    Ex. Libraries in developing countries must not necessarily attempt to imitate those of the developed nations but be based upon the social and cultural context in which they are set.
    Ex. This shadowing project encourages children to read the books shortlisted for the Carnegie Medal, to 'shadow' it and decide on their own choice of winner.
    Ex. According to the analysis, intruders cannot obtain any secret information from transmitted messages and impersonate another legal user.
    Ex. Libraries are like chameleons: they take after the complexion of society.
    Ex. Scotland should take a lead from Irish on gun control.
    ----
    * ejemplo a imitar = role model.
    * imitando a lo clásico = classicising [classicizing, -USA], classicised [classicized, -USA].
    * imitar a = take + a clue from.
    * modelo a imitar = role modelling, role model.
    * * *
    verbo transitivo
    a) < persona> ( copiar) to copy, imitate; ( para reírse) to do an impression of, mimic

    se sentó y todos lo imitaron — he sat down and everyone followed suit

    b) <voz/gesto/estilo> to imitate; ( para reírse) to imitate, mimic
    c) ( tener el aspecto de) to simulate
    * * *
    = parallel, simulate, mimic, emulate, imitate, shadow, impersonate, take after, take + a lead from.

    Ex: It directly or indirectly incorporated or paralleled several prevailing objectives and concepts of the communication and behavioral sciences and other contributory disciplines.

    Ex: Cardbox, distributed by Caxton Software Publishing Company, London, is a small data base management system that simulates a stack of index cards.
    Ex: These variations mimic the changes in air pressure at the microphone.
    Ex: You must be a living example of what you expect your child to honor and emulate.
    Ex: Libraries in developing countries must not necessarily attempt to imitate those of the developed nations but be based upon the social and cultural context in which they are set.
    Ex: This shadowing project encourages children to read the books shortlisted for the Carnegie Medal, to 'shadow' it and decide on their own choice of winner.
    Ex: According to the analysis, intruders cannot obtain any secret information from transmitted messages and impersonate another legal user.
    Ex: Libraries are like chameleons: they take after the complexion of society.
    Ex: Scotland should take a lead from Irish on gun control.
    * ejemplo a imitar = role model.
    * imitando a lo clásico = classicising [classicizing, -USA], classicised [classicized, -USA].
    * imitar a = take + a clue from.
    * modelo a imitar = role modelling, role model.

    * * *
    imitar [A1 ]
    vt
    1 ‹persona› (copiar) to copy, imitate; (para reírse) to do an impression of, mimic, take off ( BrE colloq)
    se sentó y todos lo imitaron he sat down and everyone followed suit
    ¿la has visto imitar a la profesora? have you seen her doing her impression of the teacher o taking the teacher off?
    2 ‹voz/gesto/estilo› to imitate; (para reírse) to imitate, mimic, take off ( BrE colloq)
    te imita el acento a la perfección he imitates your accent perfectly
    había imitado la firma de su padre she had forged her father's signature
    3 (tener el aspecto de) to simulate
    un revestimiento de plástico imitando azulejos a tile-effect plastic covering
    * * *

    imitar ( conjugate imitar) verbo transitivo
    a) ‹ persona› ( copiar) to copy, imitate;

    ( para hacer reir) to do an impression of, mimic;

    b) ‹voz/gesto/estilo› to imitate;

    ( para hacer reír) to imitate, mimic

    imitar verbo transitivo to imitate: imita a Elvis en su forma de vestir, he dresses like Elvis
    (parodiar) to mimic: el humorista imitaba a un político famoso, the comedian impersonated a famous politician
    ' imitar' also found in these entries:
    Spanish:
    calcar
    - copiar
    - emular
    - mondarse
    English:
    ape
    - caricature
    - imitate
    - impersonate
    - mime
    - mimic
    - take off
    * * *
    imitar vt
    1. [copiar] to imitate, to copy;
    intentaron imitar mi firma they tried to forge my signature;
    se marchó del bar y nosotros la imitamos she left the bar and we followed suit
    2. [producto, material] to simulate;
    un material que imita al cuero a material which looks like leather
    3. [a personajes famosos] to do an impression of, to impersonate;
    imitó al presidente he did an impression of o impersonated o took off the president
    * * *
    v/t imitate
    * * *
    imitar vt
    1) : to imitate, to copy
    2) : to mimic, to impersonate
    * * *
    imitar vb
    1. (hacer lo mismo) to imitate / to copy [pt. & pp. copied]
    2. (parodiar) to take off [pt. took; pp. taken]

    Spanish-English dictionary > imitar

  • 4 χαλκεύω

    A make of copper or bronze or (generally) of metal, forge,

    δαίδαλα πολλά Il.18.400

    ;

    ξίφος S.Aj. 1034

    , etc.; τὸν χαλκέα αὐτὸν χ. work him on the anvil, Pl.Euthd. 301d: metaph.,

    ἀψευδεῖ πρὸς ἄκμονι χάλκευε γλῶσσαν Pi.P.1.86

    : in [voice] Med. sense,

    πέδας χαλκεύεται αὑτῷ Thgn.539

    ;

    χαλκεύεσθε μηνίσκους φορεῖν Ar.Av. 1114

     (troch.);

    ἐχαλκεύσατο κράνη.. ὁλοσίδηρα Plu.Cam.40

    :—[voice] Pass., to be wrought or forged,

    ἐξ ἀδάμαντος ἢ σιδάρου κεχάλκευται Pi.Fr.123.4

    ; ἀφ' ὁπόσων ταλάντων κεχ. at the cost of.., Luc.JTr.11;

    τῶν κεχαλκευμένων πρὸς ἀπώλειαν ὅπλων D.S.17.58

    : metaph., ἐπὶ τοῖς δεδεμένοις χαλκεύεται [ταῦτα] these arms are being forged against.., Ar.Eq. 469; also of the victims in Phalaris' bull, Phalar.Ep. 113.
    II abs., to be a smith, Ar.Pl. 163, 513 (anap.), Th.3.88, Pl.R. 396a;

    τὸ χαλκεύειν

     the smith's art,

    X.Mem.4.2.22

    .

    Greek-English dictionary (Αγγλικά Ελληνικά-λεξικό) > χαλκεύω

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