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
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