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Fernando Pessoa Dream under a Pergola on a Summer Dream (1982-1983) – António Dacosta (1914-1990)

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

September 22, 2024
Untitled (c. 1948) – António Dacosta (1914-1990)

Calouste Gulbenkian Foundation, Present day Collection, Lisbon, Portugal

Materials: Oil on canvas
Fashionable Assortment
Inv. : 80P125

BIOGRAPHY

António Dacosta was born in the Azores on Terceira Island on 3 November 1914. He came from a relatives of craftsmen accustomed to difficult, skilful do the job with their fingers: his father was a woodworker and taught this craft at Angra’s Industrial and Industrial School, and his grandfather was a woodcarver who worked at numerous church buildings on the island. Though even now in his teenage years, he commenced to paint neighborhood landscapes in oil, demonstrating an creative capacity that led him to leave the islands in 1935 and settle in Lisbon, exactly where he attended the College of Good Arts. He attended the faculty till 1941 but by no means graduated.

A deal with in a portray from 1936/37, O Passarinheiro [The Fowler], is a person of the earliest indicators of his creative unrest, which would intensify as the several years passed by and encounters took location, with particular emphasis on his friendship and collaboration from 1938 with António Pedro (1909-1966), an older husband or wife in modernist and surrealist adventures. In simple fact, the clearly show they put on with sculptor Pamela Boden (1905-1981) in 1940, at Casa Repe, is deemed the first surrealist exhibition in Portugal in stark contrast to the Exhibition of the Portuguese Entire world and the official centennial celebrations which transpired the similar yr.

In the commencing of the 40s, the uncertainty introduced by wars bordering his place, initial the Spanish Civil War, and then appropriate soon after WWII, translated into paintings, drawings and illustrations in which surrealism demonstrates the unrest, the “Antithesis to Portuguese Calmness,” in which the aware and unconscious go hand in hand. It is also in the 1st 50 % of the 40s that Dacosta unveiled an additional aspect of his perform: artwork criticism and chronicles that would last right up until 1980.

He went to Paris in 1947, thanks to a scholarship from the French federal government, and would continue to be in this town until the conclusion of his life, having fun with “the exultant skill to admire” that distinguishes it. Paris must be skilled, even if that makes one’s portray falter for a long time and that is what transpired to him, not only mainly because dealing with lifetime became an very important, but also for the reason that of an acute, conscious realization of a disaster in his artwork, which brought him to request, as early as 1948, “Is the imaginative rhythm about?”

Inspite of progressively providing up painting in the late 40s, which lasted for approximately 25 many years, he did not get rid of desire in the arts, savoring the powerful observation of his environment additional than the obligation of producing chronicles and sending them to the newspaper O Estado de S. Paulo. To paint and draw ongoing to be a residual practice in his connection with close friends and relations but for critics and the heritage of Portugal, Dacosta remained an absent figure, who “maybe has been shed to painting” (J.-A. França, 1965).

His extended absence would only provide much more consideration to his general public reappearance in a 1983 exhibition (Galeria 111, Lisbon). His gradual, non-public and personal return to portray had began previously, in the 1970s, likely with the support of “that which children know and grownups want 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 painting model and crystal apparent eyesight of the simplest factors, which he organized in both thematic series or superb singularities, and would affirm himself through a decade of significant acclaim (AICA Prize for the Arts, 1984 retrospective at the Calouste Gulbenkian Foundation in 1988) and formal acclaim (Grã-Cruz da Ordem de Mérito, 1990). This ten years, the last one particular of his lifestyle, was marked by an intense creative generation, which was also literary (A Cal dos Muros, a e book of poetry, was published by Assírio & Alvim in 1994) and consistently evolving into a renewed gravity marked by a sense of fleeting time and the ephemeral mother nature of lifestyle and art, where by a final and serene unrest meets the preliminary turmoil of the surrealist young man of the 40s. CAM is preparing a centennial exhibition and edition of a catalogue raisonné with his is effective for 2014.

José Luís Porfírio

Could 2013

Source: gulbenkian.pt/cam/en/artist/antonio-dacosta-2/

Posted by pedrosimoes7 on 2017-01-20 19:01:32

Tagged: , António Dacosta , Artwork Gallery and Museums , ✩ Ecole des Beaux Arts✩

#home furniture #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wooden planer, wonderful woodworking, wood chairs, wood doing the job applications, well known woodworking, woodworking guides, woodworking workbench options

July 21, 2024
The celebration (1942) – António Dacosta (1914 – 1990)

Calouste Gulbenkian museum, Present day Assortment, Lisbon, Portugal

Material: Oil on wood
Collection: Museu Nacional de Arte Contemporânea, Museu do Chiado
Inv. Raisonné: ADP31

BIOGRAPHY

António Dacosta was born in the Azores on Terceira Island on 3 November 1914. He came from a spouse and children of craftsmen accustomed to hard, skilful perform with their hands: his father was a woodworker and taught this craft at Angra’s Business and Industrial School, and his grandfather was a woodcarver who labored at a variety of church buildings on the island. Though nevertheless in his teenage several years, he started off to paint community landscapes in oil, demonstrating an artistic skill that led him to depart the islands in 1935 and settle in Lisbon, the place he attended the University of Wonderful Arts. He attended the faculty till 1941 but never ever graduated.

A facial area in a painting from 1936/37, O Passarinheiro [The Fowler], is a person of the earliest signs of his resourceful unrest, which would intensify as the yrs handed by and encounters took area, with particular emphasis on his friendship and collaboration from 1938 with António Pedro (1909-1966), an older partner in modernist and surrealist adventures. In truth, the clearly show they place on with sculptor Pamela Boden (1905-1981) in 1940, at Casa Repe, is regarded as the initially surrealist exhibition in Portugal in stark distinction to the Exhibition of the Portuguese Earth and the formal centennial celebrations which occurred the same 12 months.

In the starting of the 40s, the uncertainty introduced by wars encompassing his state, very first the Spanish Civil War, and then correct right after WWII, translated into paintings, drawings and illustrations in which surrealism displays the unrest, the “Antithesis to Portuguese Calmness,” exactly where the mindful and unconscious go hand in hand. It is also in the 1st half of the 40s that Dacosta unveiled a different side of his perform: art criticism and chronicles that would final until 1980.

He went to Paris in 1947, thanks to a scholarship from the French govt, and would keep in this town till the finish of his lifestyle, making the most of “the exultant means to admire” that distinguishes it. Paris have to be seasoned, even if that will make one’s painting falter for many years and that is what happened to him, not only mainly because dealing with existence turned an vital, but also since of an acute, conscious realization of a disaster in his art, which introduced him to request, as early as 1948, “Is the imaginative rhythm more than?”

Regardless of progressively providing up painting in the late 40s, which lasted for around 25 yrs, he did not shed interest in the arts, having fun with the intensive observation of his environment much more than the obligation of crafting chronicles and sending them to the newspaper O Estado de S. Paulo. To paint and draw ongoing to be a residual observe in his romance with pals and family members but for critics and the background of Portugal, Dacosta remained an absent figure, who “maybe has been lost to painting” (J.-A. França, 1965).

His long absence would only provide far more attention to his general public reappearance in a 1983 exhibition (Galeria 111, Lisbon). His gradual, personal and personal return to painting experienced commenced before, in the 1970s, in all probability with the help of “that which children know and grown ups want to learn”: the presence of Carlos and Lisa, born in 1969 and 1972, his young children with Miriam Rewald, whom he married in 1967.

Dacosta reappeared with a new painting fashion and crystal obvious vision of the easiest matters, which he structured in either thematic series or spectacular singularities, and would affirm himself in the course of a 10 years of important acclaim (AICA Prize for the Arts, 1984 retrospective at the Calouste Gulbenkian Foundation in 1988) and formal acclaim (Grã-Cruz da Ordem de Mérito, 1990). This 10 years, the final one of his life, was marked by an intensive inventive production, which was also literary (A Cal dos Muros, a guide of poetry, was released by Assírio & Alvim in 1994) and continually evolving into a renewed gravity marked by a perception of fleeting time and the ephemeral character of lifestyle and artwork, wherever a final and serene unrest meets the original turmoil of the surrealist younger gentleman of the 40s. CAM is planning a centennial exhibition and edition of a catalogue raisonné with his will work for 2014.

José Luís Porfírio

Could 2013

Source: Calouste Gulbenkian Museum, Modern Assortment

Posted by pedrosimoes7 on 2019-04-05 11:35:15

Tagged: , António Dacosta , ✩ Ecole des Beaux Arts✩ , Masterpiece Mansion

#furnishings #Do it yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wooden planer, high-quality woodworking, picket chairs, wooden performing resources, popular woodworking, woodworking textbooks, woodworking workbench designs

October 27, 2022
Untitled (1990) – António Dacosta (1914 – 1990)

Centro de Arte Manuel de Brito, CAMB, Palácio dos Anjos, Algés, Portugal

Content :
Collection: Manuel de Brito

BIOGRAPHY

António Dacosta was born in the Azores on Terceira Island on 3 November 1914. He arrived from a relatives of craftsmen accustomed to really hard, skilful operate with their palms: his father was a woodworker and taught this craft at Angra’s Professional and Industrial University, and his grandfather was a woodcarver who worked at a variety of church buildings on the island. When nonetheless in his teenage many years, he commenced to paint neighborhood landscapes in oil, demonstrating an artistic ability that led him to leave the islands in 1935 and settle in Lisbon, where he attended the College of Fine Arts. He attended the faculty until 1941 but under no circumstances graduated.

A deal with in a portray from 1936/37, O Passarinheiro [The Fowler], is a single of the earliest signs of his creative unrest, which would intensify as the a long time passed by and encounters took place, with unique emphasis on his friendship and collaboration from 1938 with António Pedro (1909-1966), an more mature lover in modernist and surrealist adventures. In actuality, the display they put on with sculptor Pamela Boden (1905-1981) in 1940, at Casa Reppe, is thought of the to start with surrealist exhibition in Portugal in stark distinction to the Exhibition of the Portuguese Environment and the formal centennial celebrations which transpired the exact same year.

In the beginning of the 40s, the uncertainty introduced by wars bordering his place, initial the Spanish Civil War, and then ideal soon after WWII, translated into paintings, drawings and illustrations in which surrealism displays the unrest, the “Antithesis to Portuguese Calmness,” the place the conscious and unconscious go hand in hand. It is also in the initial fifty percent of the 40s that Dacosta unveiled one more side of his perform: artwork criticism and chronicles that would previous right until 1980.

He went to Paris in 1947, thanks to a scholarship from the French government, and would keep in this city right up until the close of his daily life, making the most of “the exultant skill to admire” that distinguishes it. Paris should be expert, even if that would make one’s painting falter for a long time and that is what occurred to him, not only because enduring everyday living grew to become an crucial, but also for the reason that of an acute, conscious realization of a disaster in his artwork, which introduced him to request, as early as 1948, “Is the creative rhythm around?”

Even with progressively giving up portray in the late 40s, which lasted for somewhere around 25 yrs, he did not shed desire in the arts, experiencing the rigorous observation of his environment far more than the obligation of writing chronicles and sending them to the newspaper O Estado de S. Paulo. To paint and draw continued to be a residual observe in his relationship with pals and relatives but for critics and the heritage of Portugal, Dacosta remained an absent figure, who “maybe has been lost to painting” (J.-A. França, 1965).

His extensive absence would only provide extra awareness to his community reappearance in a 1983 exhibition (Galeria 111, Lisbon). His gradual, private and personal return to portray had started previously, in the 1970s, possibly with the support of “that which small children know and older people require 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 crystal clear vision of the simplest issues, which he structured in both thematic series or spectacular singularities, and would affirm himself throughout a decade of critical acclaim (AICA Prize for the Arts, 1984 retrospective at the Calouste Gulbenkian Foundation in 1988) and formal acclaim (Grã-Cruz da Ordem de Mérito, 1990). This 10 years, the last a single of his existence, was marked by an extreme artistic generation, which was also literary (A Cal dos Muros, a e book of poetry, was posted by Assírio & Alvim in 1994) and frequently evolving into a renewed gravity marked by a perception of fleeting time and the ephemeral character of everyday living and art, where a remaining and serene unrest fulfills the initial turmoil of the surrealist younger guy of the 40s. CAM is planning a centennial exhibition and edition of a catalogue raisonné with his will work for 2014.

José Luís Porfírio

May well 2013

Resource: Calouste Gulbenkian Museum, Contemporary Selection

Posted by pedrosimoes7 on 2017-05-23 21:46:41

Tagged: , António Dacosta , Centro de Arte Manuel de Brito , CAMB , Palácio dos Anjos , Algés , Portugal , Art Gallery and Museums

#home furniture #Do-it-yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wood planer, wonderful woodworking, wooden chairs, wood operating instruments, common woodworking, woodworking textbooks, woodworking workbench designs

October 10, 2022