Calouste Gulbenkian Museum, Present day Selection, Lisbon, Portugal
Calouste Gulbenkian Basis, Modern Assortment, Lisbon, Portugal
Materials: Acrylic paint on canvas
Contemporary Collection
Inv. : 84P129
BIOGRAPHY
António Dacosta was born in the Azores on Terceira Island on 3 November 1914. He came from a family of craftsmen accustomed to tricky, skilful operate with their hands: his father was a woodworker and taught this craft at Angra’s Industrial and Industrial Faculty, and his grandfather was a woodcarver who worked at many church buildings on the island. Though nonetheless in his teenage decades, he started off to paint nearby landscapes in oil, demonstrating an creative potential that led him to leave the islands in 1935 and settle in Lisbon, the place he attended the School of Fantastic Arts. He attended the faculty right up until 1941 but by no means graduated.
A encounter in a portray from 1936/37, O Passarinheiro [The Fowler], is one particular of the earliest symptoms of his innovative unrest, which would intensify as the many years handed by and encounters took location, with special emphasis on his friendship and collaboration from 1938 with António Pedro (1909-1966), an older associate in modernist and surrealist adventures. In point, the present they put on with sculptor Pamela Boden (1905-1981) in 1940, at Casa Repe, is regarded as the to start with surrealist exhibition in Portugal in stark contrast to the Exhibition of the Portuguese Earth and the formal centennial celebrations which took place the exact same calendar year.
In the starting of the 40s, the uncertainty brought by wars encompassing his state, to start with the Spanish Civil War, and then proper soon after WWII, translated into paintings, drawings and illustrations in which surrealism reflects the unrest, the “Antithesis to Portuguese Calmness,” where the conscious and unconscious go hand in hand. It is also in the initially half of the 40s that Dacosta unveiled yet another aspect of his work: artwork criticism and chronicles that would final until finally 1980.
He went to Paris in 1947, many thanks to a scholarship from the French governing administration, and would stay in this city right until the conclusion of his existence, experiencing “the exultant capacity to admire” that distinguishes it. Paris need to be professional, even if that can make one’s portray falter for a long time and that is what happened to him, not only simply because experiencing daily life grew to become an essential, but also for the reason that of an acute, conscious realization of a disaster in his artwork, which introduced him to inquire, as early as 1948, “Is the innovative rhythm around?”
Despite progressively giving up painting in the late 40s, which lasted for close to 25 a long time, he did not shed desire in the arts, taking pleasure in the intense observation of his surroundings more than the obligation of producing chronicles and sending them to the newspaper O Estado de S. Paulo. To paint and draw continued to be a residual apply in his marriage with mates and family members but for critics and the history of Portugal, Dacosta remained an absent determine, who “maybe has been lost to painting” (J.-A. França, 1965).
His lengthy absence would only convey much more focus to his community reappearance in a 1983 exhibition (Galeria 111, Lisbon). His gradual, non-public and personal return to painting had commenced before, in the 1970s, almost certainly with the aid of “that which youngsters know and adults need to have to learn”: the presence of Carlos and Lisa, born in 1969 and 1972, his kids with Miriam Rewald, whom he married in 1967.
Dacosta reappeared with a new portray design and style and crystal distinct eyesight of the most straightforward items, which he structured in possibly thematic sequence or spectacular singularities, and would affirm himself through a decade of significant acclaim (AICA Prize for the Arts, 1984 retrospective at the Calouste Gulbenkian Basis in 1988) and formal acclaim (Grã-Cruz da Ordem de Mérito, 1990). This 10 years, the previous a single of his lifetime, was marked by an intense creative output, which was also literary (A Cal dos Muros, a e-book of poetry, was released by Assírio & Alvim in 1994) and regularly evolving into a renewed gravity marked by a sense of fleeting time and the ephemeral character of life and artwork, where by a remaining and serene unrest fulfills the preliminary turmoil of the surrealist youthful guy of the 40s. CAM is making ready a centennial exhibition and edition of a catalogue raisonné with his operates for 2014.
José Luís Porfírio
May possibly 2013
Supply: gulbenkian.pt/cam/en/artist/antonio-dacosta-2/
Posted by pedrosimoes7 on 2017-01-20 19:27:35
Tagged: , António Dacosta , Fernando Pessoa , Artwork Gallery and Museums , ✩ Ecole des Beaux Arts✩
#household furniture #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wooden planer, fantastic woodworking, wooden chairs, wood doing work applications, well known woodworking, woodworking textbooks, woodworking workbench options