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1 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. -
2 движение за реализм в искусстве
General subject: a movement for realism in artУниверсальный русско-английский словарь > движение за реализм в искусстве
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3 France
The continental European country with which Portugal has had the closest and most friendly relations since the Middle Ages and whose culture since early modern times has been the most important model for Portugal's culture. Beginning in the Reconquest, French groups assisted the Portuguese in fighting the Muslims, and Portugal's first royal dynasty was Burgundian. Various French religious orders settled in Portugal and brought new skills and ideas. Franco-Portuguese relations in diplomacy went through various phases after a virtual break between the two monarchies during the Hundred Years' War and Castile's campaigns to conquer Portugal up to the battle of Aljubarrota (1385), when France was the main ally of Castile. France gave Portugal vital assistance in the 16th and 17th centuries against Spanish aggression. French aid was given to Dom Antônio, Prior of Crato, who opposed Filipe's domination of Portugal, and to restoration Portugal during the War of Restoration (1640-68). With the important exception of the disastrous Napoleonic invasions and war (1807-11), Franco-Portuguese relations in diplomacy, trade, and culture were exceptionally good from the first quarter of the 19th century.In part as a response to unpopular Castilianization during Spain's domination, the Portuguese found French culture a comforting, novel foil and prestigious alternative. Despite Great Britain's dominance in matters commercial, diplomatic, and political under the Anglo- Portuguese Alliance, French culture and politics came to enjoy primary importance in Portugal. Even in commerce, France was Portugal's third or fourth best customer during the 19th century. Especially between 1820 and 1960, French influence provided a major model for the well-educated.A brief list of some key political, literary, philosophical, and artistic ideas Portugal eagerly embraced is suggestive. King Pedro IV's 1826 Charter ( A Carta) was directly modeled on an early French constitution. French models of liberalism and socialism prevailed in politics; impressionism in art; romanticism and realism, Parnassian-ism, and symbolism in literature; positivism and Bergsonianism in philosophy, etc. During the 18th and 19th centuries, the Portuguese language, including vocabulary and orthography (spelling), experienced extensive Frenchification. French became the second language of Portugal's elite, providing access to knowledge and information vital for the education and development of isolated Portugal.French cultural influences became pervasive and entered the country by various means: through the French invasions before 1811, trade and commerce, improved international communication and transportation, Portuguese emigration to France (which became a mass movement after 1950), and close diplomatic and intellectual relations. An example of the importance of French culture until recently, when British and American cultural influences have become more significant, was that works in French dominated foreign book sections in Portuguese bookstores. If Portugal retained the oldest diplomatic link in world history with Britain, its chief cultural model until recently was France. Until after the Revolution of 25 April 1974, the largest portion of Portugal's educated elite studying abroad resided in France and took French higher degrees. The pattern of Portuguese students in higher education abroad has diversified in the years since, and now a significant portion are studying in other European continental states as well as in Britain and the United States. Diplomatic posts in France rank high in the pecking order of Portugal's small foreign service.
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