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121 Architecture
Portugal maintains an important architectural legacy from a long history of contact with invaders and other visitors who brought architectural ideas from Western Europe and North Africa. Among the migrants were Phoenicians, Greeks, Romans, Germanic peoples, and Arabs, as well as visitors from France, Italy, Holland, Germany, Spain, and Great Britain.Architecture in Portugal has been influenced by the broad Western architectural styles, including Romanesque, Gothic, Renaissance, Baroque, and Neoclassicism. Two Portuguese architectural styles are unique, the Manueline architectural style and the Pombaline, named after the dictator the Marquis of Pombal. Pre-Roman-esque styles include early Megalithic structures, Roman styles, and Moorish or Arab styles, when Portugal was occupied by Muslims (711-1290). This period of Moorish castles and mosques, most but not all of which were razed, was followed by the Romanesque period (1100-ca. 1230), when many churches, monasteries, castles, and palaces were constructed.There followed the Gothic period (ca. 1200-1450), which was dominated by buildings for the Church, the monarchy, and the nobility. Related to Portugal's overseas empire, the kingdom's new role briefly as a world power, especially on the seas, and to the reign of King Manuel I, is the Manueline architectural style, described by scholars as "Atlantic Baroque" (ca. 1490-1520), a bold Portuguese version of late Gothic style. This was followed by styles of Renaissance and Mannerism (ca. 1520-1650), including the "Plain style," which was influenced by Castilian styles under King Felipe I.Following the period 1580 to 1640, when Spain ruled Portugal, there was restoration architecture (1640-1717) and then the Baroque style (1717-55). The largest and most unusual building from this era, the Mafra Palace, is said to be even larger than Spain's El Escorial. Following the Lisbon Earthquake of 1755, was Pombaline style (1755-1860), a blend of late Baroque and Neoclassicism, which began when Pombal's government oversaw the reconstruction of large sections of central Lisbon. Modern architecture followed this period, a style influenced in the 20th century by one of Europe's best architecture schools, the so-called Escola do Porto (School of Oporto). This school is the Faculdade de Arquitectura (School of Architecture), and alumni include celebrated architects Fernando Tavora; Álvaro Siza Vieira, designer of the Portuguese pavilion at Expo '98, Lisbon; and Eduardo Souto de Moura. Despite tragic losses of historic structures due to urban development, since the 1930s many Portuguese governments have sought to preserve and restore the remaining historic legacy of architecture. -
122 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. -
123 Domingos, Antônio de Segueira
(1768-1837)From a modest background, Domingos was educated at the Casa Pia of Lisbon, after which he attended the design and figure drawing course at the Aula Régia. In 1788, while working as a decorator, he received a scholarship from Queen Maria I to study at the Portuguese Academy in Rome, where he took classes from Antônio Cavallucci. Later, he studied at the Academy of San Luca. He returned to Lisbon in 1795. He was named court painter in 1802, and codirected the decoration of the Palace of Ajudá. In 1803, he was professor of drawing and painting to the royal princesses and, in 1806, director of drawing in Oporto. His works included patriotic allegories and portraits. He contributed to the cause of Portuguese nationalism through his art. He painted Junot Protecting Lisbon (1808), Apotheosis of Wellington (1811), and, in 1821, the portraits of 33 liberal deputies.After the return of absolutist King Miguel I (1802-66) in 1828, Domingos went into exile in France, where he showed his work at the Louvre alongside that of other romantic painters, such as Eugéne Delacroix. His Death of Camões won a gold medal. In 1826, he settled in Rome, where he dedicated himself to religious painting, the Life of Christ (1828) and Final Judgement (1830) being the best of these. He died in Rome without returning to Portugal in 1837. His work is considered transitional from neoclassicism to romanticism.Historical dictionary of Portugal > Domingos, Antônio de Segueira
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124 Durão Barroso, José Manuel
(1952-)Academic, scholar, and politician who rose to prominence after the Revolution of 25 April 1974. Trained as an academic in the field of political science and law, Durão Barroso received a master's degree in political science at a Swiss university in the 1980s and continued to a doctorate in Portugal. For some years, he taught political science at the University of Geneva. A student of Portuguese government and politics, he entered academic life in Lisbon at various universities, including the Faculty of Law, University of Lisbon, and spent terms abroad as a visiting political science professor at Georgetown University in the United States.A leading member of the Social Democratic Party (PSD) after 1993, he was minister of foreign affairs in the Cavaco Silva government in the mid-1990s. When Marcello Rebelo de Sousa withdrew from politics in 1999, Durão Barroso was elected in his place as chief of the PSD; he led the party in the October 1999 elections, won by the Socialist Party (PS) under Guterres. The defeat of the PSD in this election, whose final results were closer than predicted, cast a shadow on the leadership position of Durão Barroso, whose brittle style and manner of public speaking aroused controversy. The position of the PSD, however, still retained some strength; the results of the October 1999 elections were disappointing to the PS, which expected to win an overall majority in the Assembly of the Republic. Instead, the PS fell one seat short. The electoral results in seats were PS (115) to PSD (81). As the PS's hold on the electorate weakened during 2001, and the party was defeated in municipal elections in December 2001, the PSD's leader came into his own as party chief.In the parliamentary elections of 17 March 2002, the PSD won the largest number of seats, and Durão Barroso was appointed prime minister. To have a majority, he governed in coalition with the Popular Party (PP), formerly known as the Christian Democratic Party (CDS). Durão Barroso reduced government spending, which affected the budgets of local governments and civil service recruitment. These measures, as well as plans to accelerate privatization and introduce labor reforms, resulted in a public-sector worker's strike in November 2002, the first such strike in 10 years. Durão Barroso decided to press ahead with budget-cutting measures and imposed a freeze on the wages of employees earning more than €1,000, which affected more than 50 percent of the workforce.In 2004, he became president of the Commission, European Union (EU). He took up the office on 23 November 2004, and Pedro Santana Lopes, then the PSD mayor of Lisbon, became prime minister. Portugal has held the six-month rotating presidency of the EU three times, in 1992, 2000, and 2007.Historical dictionary of Portugal > Durão Barroso, José Manuel
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125 Ferro, Antônio
(1895-1956)Writer, journalist, cultural leader, and diplomat in the early and middle phases of the Estado Novo. Born into a family with strong republican sympathies and enrolled as a student in Lisbon University's Law Faculty, Ferro soon abandoned his faith in the chaotic republic, quit studying law, and became a poet, writer, and journalist. His reputation as a modernist and nationalist who was also a cosmopolitan, celebrated, prolific, and well-traveled journalist was acquired during the years 1917-33, when his publications attracted much public attention. Ferro published best-selling accounts include exclusive personal interviews of right-wing dictators in Italy, Spain, and other countries; portraits of the United States, including Hollywood in the 1920s; and a depiction of the turbulent Spanish Republic prior to the Spanish Civil War.The best-selling book that brought Ferro a key government job with the Estado Novo was composed of a series of 1932 interviews with Portugal's dictator, Salazar-O Homem e a Sua Obra (1933). This sensational book advanced an appealing image of Antônio de Oliveira Salazar, recently appointed premier by the military. The next year, Salazar invited Ferro to head the government's new information arm, Secretariado de Propaganda Nacional, which was renamed Secretariado Nacional da Informação (SNI) in 1944. From 1933 to 1949, Ferro directed this agency. Later alienated by the political situation, he was posted as a diplomat to Berne and Rome. Ferro married the Lisbon-based writer Maria Fernanda de Castro (1900-94). She collaborated with him on many writing and film projects. Ferro's so-called "policy of the Spirit" was a cultural policy that blended modernism, nationalism, and conservative values in the plastic and performing arts, film, and literature. After his diplomatic service abroad, he died in Lisbon. -
126 Galvão, Henrique
(1895-1970)Army officer and oppositionist of the Estado Novo. A career army officer with considerable service in the African colonies, especially as an administrator in Angola in the 1930s, Galvão was an enthusiastic supporter of the Estado Novo in its early phase (1926-44). As a young officer, he supported the Twenty- eighth of May coup against the republic, and soon held middle-level posts in the Estado Novo. An early booster of the cultural and political potential of the radio and public spectacles, Galvão did little soldiering but more administration in radio and was appointed to manage the June-December 1940 Exposition of the Portuguese World in Lisbon. After a tour of the African colonies as inspector-general, he presented a confidential report (1947) to the regime's National Assembly in Lisbon. His findings revealed widespread abuse of authority and forced labor and semislavery in Angola and other colonies.The regime's suppression of this report and its negative response precipitated Galvao's break with Prime Minister Antônio de Oliveira Salazar's government. Galvão was harassed by the political police (PIDE) and arrested and tried for treason in 1952. Imprisoned, he escaped, disguised as a woman, from Santa Maria hospital in 1959 and fled to South America, where he organized opposition groups to the Estado Novo. In early 1961, Galvão got world media coverage when he led a group of about a dozen Iberian dissidents who participated in an early act of political terrorism: the hijacking at sea of the Portuguese ocean liner Santa Maria, drawing the attention of the world's journalists and public to the flaws in the Estado Novo and attempting to arouse a revolution against the Lisbon authorities by sailing the liner to Portuguese Africa ( São Tomé or Angola). This bold enterprise failed, the liner and the hijackers were interned in Brazil, and Galvão continued in the political wilderness as an adventurer/oppositionist. He died in South America in 1970, the same year as his bête noire, Dr. Salazar. -
127 Godinho, Vitorino Magalhães
(1918-)Historian, academic, political figure. Internationally, Portugal's most celebrated historian of the 20th century. Born into a family with strong republican and antidictatorial tendencies, Godinho chose an academic career following his graduation (1940) in history and philosophy from the Faculty of Letters, University of Lisbon. He taught history at the same institution until 1944, when his academic career was cut short by the Estado Novo's orders. He resumed his academic career in France, where he taught history and received his doctorate in history at the Sorbonne (1959). He returned briefly to Portugal but, during the academic/political crisis of 1962, he was fired from his faculty position at the Instituto Superior de Estudos Ultramarinos in Lisbon.In the 1960s and early 1970s, Godinho's scholarly publications on the social and economic history of the Portuguese overseas empire (1400-1700) first made a lasting impact both in Portuguese historiography and world historiography regarding the Age of Discoveries. His notion of a world system or economy, with ample quantitative data on prices, money, and trade in the style and spirit of the French Annales School of History, had an important influence on social scientists outside Portugal, including on American scholar Immanuel Wallerstein and his world system studies. Godinho's work emphasized social and economic history before 1750, and his most notable works included Prix et monnaies au Portugal (1955), A Economia dos Descobrimentos Henriquinos (1962), and, in three volumes, Os Descobrimentos e a Economia Mundial (1963-71).As a staunch opponent of the Estado Novo who had been dismissed yet again from 1962 to 1971, Godinho concentrated on his research and publications, as well as continuing activity in oppositionist parties, rallies, and elections. Disillusioned by the false "Spring" of freedom under Prime Minister Marcello Caetano (1968-74), he returned to France to teach. Following the Revolution of 25 April 1974, Godinho returned to newly democratic Portugal. During several provisional governments (1974-75), he was appointed minister of education and initiated reforms. The confusing political maelstrom of revolutionary Portugal, however, discouraged his continuation in public office. He returned to university teaching and scholarship, and then helped establish a new institution of higher learning, the Universidade Nova de Lisboa (New University of Lisbon), where he retired, loaded with honors and acclaim, at age 70 in 1988.Historical dictionary of Portugal > Godinho, Vitorino Magalhães
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128 Jerónimos, Monastery of
(Mosteiro do Jerónimos)Located at Belém, west of Lisbon, the Monastery and Cathedral of Jerônimos is the most magnificent of the Age of Discoveries monuments. Ordered built as a gift to the monastic Order of Hieronymites by King Manuel I ( 1469- 1521), following the return of Vasco da Gama from India in 1499, Jerónimos was constructed between 1502 and 1525. The purpose of this massive building was to commemorate the Portuguese discovery of the sea route to India. Its location, at the time of its building very close to the water, was near the Restelo beach, the departure point for da Gama's voyage.One of Portugal's premier tourist attractions, Jerónimos consists of a church and claustrum and a portion of the convent, partially destroyed in the 1755 Lisbon earthquake. The Manueline architectural style was an innovation (named for King Manuel I, who helped finance constructions from the new imperial wealth from Africa and Asia; more recently, students employ the term Atlantic Baroque), with columns, pillars, and door frames decorated elaborately with stone sculpted in the form of maritime objects such as ship ropes, coral, sea life, sailors, and seaweeds.Jerónimos is inland from the Monument of the Discoveries, in an open square once the main site of the 1940 Double Centenary Exposition of the Portuguese World, a kind of Lisbon world's fair.
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