Pompeia. Vida e Arte nas Cidades do Vesúvio
1974
Pompeia. Vida e Arte nas Cidades do Vesúvio
Exposição de itinerância internacional, que reuniu um conjunto de mais de 300 objetos e vestígios arqueológicos de Pompeia e Herculano, recriando o quotidiano dessas cidades antes da erupção do Vesúvio, em 79 d.C. Com grande importância científica e pedagógica, a mostra registou uma grande afluência de público. Notable for its scientific and educational relavance, the exhibition attracted a significant number of visitors.
International travelling exhibition bringing together a wide range of objects and archaeological remains from Pompeii and Herculaneum to recreate the everyday life in the towns before the Vesuvius volcano eruption in 79 AD.
Exposição de itinerância internacional, iniciada em 1972 e que já havia percorrido, à data da sua realização em Lisboa, cidades como Tóquio, Paris, Essen, Haia e Zurique. Na sua apresentação em Lisboa, a exposição «Pompeia. Vida e Arte nas Cidades do Vesúvio» contou com o apoio institucional (identificado no catálogo como «Alto Patrocínio») dos governos de Itália e de Portugal, tornando-se, desta forma, um evento cultural de âmbito diplomático, realizado poucos meses após a Revolução do 25 de Abril de 1974.
Esta exposição, que reuniu um conjunto de mais de 300 peças, obedeceu a um criterioso plano, quer na seleção dos objetos apresentados, quer na organização do espaço expositivo, visando atrair, além de especialistas e visitantes previamente conhecedores de Pompeia, o público em geral.
A exposição recriava a vida e a arte das cidades da Campânia atingidas pela erupção do Vesúvio em 79 d.C., e a qualidade das peças expostas justificava a sua relevância internacional enquanto programa museológico de divulgação da história e produção artística do período romano, relevância documentalmente corroborada por José de Azeredo Perdigão: «[…] uma exposição que se reveste do maior interesse no campo da Arqueologia, da História e da História da Arte, com incidência muito especial neste sector da Arte Romana.» (Despacho do Presidente ao Serviço de Exposições e Museografia, 1 jul. 1974, Arquivos Gulbenkian, PRES 00214)
A importância científica e pedagógica da exposição foi igualmente invocada pelo Serviço de Exposições e Museografia aquando da determinação das datas em que estaria patente em Lisboa, sugerindo-se que se retardasse a data de inauguração para, pelo menos, o final do mês de agosto, de modo que, ao prolongar-se até outubro, a exposição permitisse «mais francamente o proveito cultural para as camadas escolares, desde a Universidade aos estabelecimentos secundários e de outros níveis etários» (Apontamento do Serviço de Exposições e Museografia e do Serviço de Belas-Artes, 26 jun. 1974, Arquivos Gulbenkian, SEM 00060).
A exposição viria efetivamente a ser inaugurada a 16 de setembro de 1974, prolongando-se até 16 de novembro do mesmo ano. Em Lisboa, alcançou uma grande afluência de público durante os dois meses em que esteve patente, registando mais de 60 mil entradas.
Como programação associada, foi inicialmente ponderada a hipótese de realização de uma mostra de arte romana com objetos existentes em Portugal e que estivessem relacionados com a cidade de Pompeia. Contudo, esta ideia acabaria por não se concretizar.
Complementarmente, realizaram-se diversas visitas guiadas e promoveu-se um ciclo de projeção de filmes e diapositivos sobre Pompeia e Herculano, com material cedido pelo Istituto Italiano di Cultura, pela FCG e por entidades particulares. Este ciclo ocasionou «repetidas enchentes do Auditório 3», o que levaria a que, «por diversas vezes», se optasse por realizar as sessões no Auditório 2, «para se conseguir assim a única resposta possível à grande afluência de público» (Despacho do Presidente, 1 jul. 1974, Arquivos Gulbenkian, PRES 00214).
Isabel Falcão, 2017
International travelling exhibition that began in 1972, going to cities including Tokyo, Paris, Essen, The Hague and Zurich before arriving in Lisbon. In Lisbon, the exhibition Pompeia: vida e arte nas Cidades do Vesúvio received institutional support (identified in the catalogue as high patronage) from the Italian and Portuguese governments, and was therefore a cultural event with diplomatic reach, held just a few months after the 25 April 1974 revolution.
The exhibition included more than 300 pieces, with a very careful selection of objects and organisation of the exhibition space in order to create a display not just for specialists and people who had already visited Pompeii but for the public in general.
The exhibition recreated the life and art of the towns in Campania hit by the eruption of Vesuvius in 79 AD. The quality of the pieces on display justified its international relevance as a museum event for publicising history and artistic output during the Roman period. This idea was underlined by José de Azeredo Perdigão when he wrote: (...) an exhibition that is of the greatest interest to archaeology, history and history of art, particularly in this field of Roman art (Order from the Chairman to the Exhibitions and Museography Department, 1 Jul. 1974, Gulbenkian Archives, PRES 00214).
The exhibition's scientific and pedagogical importance was also mentioned by the Exhibitions and Museography Department when justifying the dates for its stay in Lisbon. It was suggested that the opening date be delayed at least until the end of August so that the exhibition could be extended until October and therefore allow (...) its cultural benefits to be more unreservedly enjoyed by academic groups, from university to secondary education and other age groups (Note from the Exhibitions and Museography Department and the Fine Arts Department, 26 Jun. 1974, Gulbenkian Archives, SEM 00060).
The exhibition in fact opened on 16 September 1974, remaining until 16 November of the same year. The exhibition was visited by large numbers in Lisbon during the two months it was there, with more than 60,000 entries recorded.
The programme organised alongside the international exhibition was initially designed to include another exhibition presenting Roman art pieces found in Portugal related to the town of Pompeii. However, this idea never came to fruition.
Several guided tours were held, and there was a programme of films and slide shows about Pompeii and Herculaneum including pieces loaned by the Italian Culture Institute, the FCG and private organisations. This led to Auditorium 3 being filled repeatedly, and the decision was made to (...) often hold the showings in Auditorium 2, as this was the only response possible to the great influx of people (Order of the Chairman, 1 Jul. 1974, Gulbenkian Archives, PRES 00214).
The exhibition included more than 300 pieces, with a very careful selection of objects and organisation of the exhibition space in order to create a display not just for specialists and people who had already visited Pompeii but for the public in general.
The exhibition recreated the life and art of the towns in Campania hit by the eruption of Vesuvius in 79 AD. The quality of the pieces on display justified its international relevance as a museum event for publicising history and artistic output during the Roman period. This idea was underlined by José de Azeredo Perdigão when he wrote: (...) an exhibition that is of the greatest interest to archaeology, history and history of art, particularly in this field of Roman art (Order from the Chairman to the Exhibitions and Museography Department, 1 Jul. 1974, Gulbenkian Archives, PRES 00214).
The exhibition's scientific and pedagogical importance was also mentioned by the Exhibitions and Museography Department when justifying the dates for its stay in Lisbon. It was suggested that the opening date be delayed at least until the end of August so that the exhibition could be extended until October and therefore allow (...) its cultural benefits to be more unreservedly enjoyed by academic groups, from university to secondary education and other age groups (Note from the Exhibitions and Museography Department and the Fine Arts Department, 26 Jun. 1974, Gulbenkian Archives, SEM 00060).
The exhibition in fact opened on 16 September 1974, remaining until 16 November of the same year. The exhibition was visited by large numbers in Lisbon during the two months it was there, with more than 60,000 entries recorded.
The programme organised alongside the international exhibition was initially designed to include another exhibition presenting Roman art pieces found in Portugal related to the town of Pompeii. However, this idea never came to fruition.
Several guided tours were held, and there was a programme of films and slide shows about Pompeii and Herculaneum including pieces loaned by the Italian Culture Institute, the FCG and private organisations. This led to Auditorium 3 being filled repeatedly, and the decision was made to (...) often hold the showings in Auditorium 2, as this was the only response possible to the great influx of people (Order of the Chairman, 1 Jul. 1974, Gulbenkian Archives, PRES 00214).
Ficha Técnica
- Iniciativa
- Alto patrocínio
- Organizador / Serviço responsável
- Organizador / Serviço envolvido
- Organizador / Parceiro institucional
- Programação (FCG)
- Comissariado
- Comissão organizadora
- Comissão de honra
- Parceiro institucional
- Emprestadores
Eventos Paralelos
Publicações
Material Gráfico
![Pompeia. Vida e Arte nas Cidades do Vesúvio [exposição, curso, simpósio, visitas-guiadas e ciclo de cinema]](https://content.gulbenkian.pt/inarte/7283_1053x1500.jpg)
Fotografias
