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
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