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✩
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