Pintores da Escola do Porto, Séc. XIX e XX, nas Colecções do Museu Nacional de Soares dos Reis
1983
Pintores da Escola do Porto, Séc. XIX e XX, nas Colecções do Museu Nacional de Soares dos Reis
150.º Aniversário do Museu Nacional de Soares dos Reis
Exposição itinerante realizada por ocasião da celebração dos 150 anos do Museu Nacional de Soares dos Reis, no Porto. A mostra enquadrou-se num programa de intercâmbio da Fundação Calouste Gulbenkian com diversos museus estatais portugueses, e para esta realização foram selecionadas 70 obras pela diretora do MNSR, Maria Emília Amaral Teixeira.
Travelling exhibition organised for the 150th anniversary celebrations of the Museu Nacional de Soares dos Reis (MNSR), in Porto. The show, which featured 70 works selected by Maria Emília Amaral Teixeira, director of the MNSR, formed part of a Calouste Gulbenkian Foundation exchange programme with several other Portuguese state museums.
Exposição concebida no âmbito dos objetivos definidos pela Fundação Calouste Gulbenkian (FCG) no campo do intercâmbio cultural com os museus portugueses, entre os quais o Museu Nacional de Soares dos Reis (MNSR), no Porto. A exposição realizou-se a convite da FCG, por ocasião da celebração dos 150 anos daquele museu.
No catálogo da exposição, seria apresentada uma cronologia das várias ações de intercâmbio promovidas pela FCG com os museus portugueses, cujos primeiros passos remontavam a 1961, aquando da parceria com o Museu Nacional de Arte Antiga para a exposição «Pinturas da Colecção da Fundação Calouste Gulbenkian».
A seleção das 70 obras apresentadas nesta exposição de 1983 foi assumida pela então diretora do MNSR, Maria Emília Amaral Teixeira, que esclareceria que as escolhas procuravam corresponder aos pintores portuenses mais representativos da época, expostos por ordem cronológica, independentemente de filiações artísticas e movimentos estéticos, embora com evidente destaque para a corrente naturalista.
Esteve inicialmente previsto que a exposição se subordinasse exclusivamente ao tema da paisagem; todavia, por decisão conjunta das duas instituições envolvidas, esta ideia foi abandonada a favor de uma conceção menos restritiva, como se lê num ofício interno redigido pela diretora-adjunta do Serviço de Museu, Maria Helena Soares Costa, dirigida ao presidente da FCG: «Incidir na paisagem seria […] restringir a representação que se quereria mais completa dos pintores naturalistas mais notáveis da Escola do Porto […]. Fazer coincidir esta exposição com a inauguração do Centro de Arte Moderna afigura-se-nos uma oportunidade de grande significado, já que permitia estabelecer a ligação entre os pintores do naturalismo do séc. XIX e os que na passagem do século ou no séc. XX o prolongaram, sem esquecer outros, abertos já às correntes estéticas do séc. XX.» (Apontamento do Serviço de Museu, 30 jun. 1983, Arquivos Gulbenkian, MCG 03068)
Coincidindo com a abertura do Centro de Arte Moderna (CAM) da FCG, cuja coleção proponha fixar os seus limites cronológicos entre 1911 e a contemporaneidade, esta mostra destacava alguns aspetos da pintura naturalista e contextualizava a pintura portuguesa, procurando apontar as direções que esta percorrera desde os finais do século XIX até chegar às práticas artísticas das várias gerações de modernistas portugueses a que a coleção moderna da FCG procurava dar representatividade. A diretora do Serviço do Museu Gulbenkian, Maria Teresa Gomes Ferreira, entendia também que este pequeno núcleo de obras do MNSR poderia ser «facilitador da leitura da Colecção de Pintura Portuguesa» do CAM (Pintores da Escola do Porto Séc. XIX e XX…, 1983). Maria Teresa Gomes Ferreira chamaria ainda a atenção para o diálogo que se poderia estabelecer entre as referências da pintura francesa patentes na coleção do Museu Calouste Gulbenkian e as obras dos artistas da Escola do Porto no acervo do MNSR, largamente influenciadas por aquele «grupo de paisagista dos meados do século XIX» e cuja relação já havia sido posta em evidência, nomeadamente, na apresentação, em 1964, da exposição «Artes Plásticas Francesas. De Watteau a Renoir», no MNSR (Ibid.).
Entre os 24 pintores portuenses representados, destacavam-se Sousa Pinto (1856-1939), Silva Porto (1850-1893), Artur Loureiro (1853-1932), Marques de Oliveira (1853-1927), Henrique Pousão (1859-1884), mas também artistas atentos às novas correntes estéticas, como Dordio Gomes (1890-1976), Armando Basto (1889-1923) ou Dominguez Alvarez (1906-1942).
Os artistas mais representados foram Henrique Pousão, com treze pinturas, entre as quais a emblemática obra Casas Brancas de Capri; Silva Porto, com um total de dez óleos; e Marques de Oliveira, com nove obras.
Relativamente à representatividade das gerações de modernistas da Escola do Porto, a diretora do Museu Calouste Gulbenkian considerou «desajustada» a sua inclusão nesta exposição, pela diversidade de práticas e de artistas formados na escola nortenha, embora reconhecendo que era «obrigação» lembrá-los igualmente (Ibid.).
Talvez por ter coincidido com a tão aguardada inauguração do Centro de Arte Moderna, não se registou uma afluência significativa de público nesta exposição (que totalizaria apenas 12 760 visitantes), sobretudo tendo em conta que, para o público da cidade de Lisboa, se tratava de uma oportunidade única de conhecer o acervo de um dos principais museus nacionais. Aparentemente, o público deu preferência à coleção moderna do CAM, que veio satisfazer uma necessidade de contacto direto com os valores modernos da arte portuguesa, através de uma coleção de vocação pública, há muito reclamada.
No ano seguinte, em 1984, a exposição acabaria por ter uma itinerância pelas Caldas da Rainha, sendo apresentada no Museu José Malhoa.
Filipa Coimbra, 2017
Exhibition designed to meet the goals set by the Calouste Gulbenkian Foundation (FCG) for cultural exchange with Portuguese museums, including the Museu Nacional de Soares dos Reis (MNSR) in Porto. The exhibition was held, upon the FCG's request, to celebrate 150 years of the MNSR.
The exhibition catalogue presented a chronology of the different FCG exchange actions with Portuguese museums, beginning in 1961 with a project held in partnership with the Museu Nacional de Arte Antiga at the Pinturas da coleção da Fundação Calouste Gulbenkian [Paintings of the Calouste Gulbenkian Foundation collection] exhibition.
The 70 works displayed at this exhibition were selected by the MNSR director, Maria Emília Amaral Teixeira, who explained that the choices aimed to include Porto's most representative painters at the time, following the chronology established in the path through the exhibition, regardless of artistic associations and aesthetic movement, although with a clear focus on the naturalist current. It was initially planned for the exhibition to be exclusively dedicated to the landscape theme but, following a joint decision by the two institutions involved, a less restrictive concept was chosen. As mentioned in an internal memo written by the deputy head of the Museum Department, Maria Helena Soares Costa, to the FCG President: Dealing with landscapes would mean (...) restricting a representation, which should be as complete as possible, of the most noteworthy naturalist painters of the School of Porto (...). Making this exhibition coincide with the opening of the Modern Art Centre appears to us be a highly significant opportunity, since it would enable a connection between the naturalist painters of the 19th century and those that extended it at the turn of the century and in the 20th century, but now open to the aesthetic movements of the 20th century (Note by the Museum Department, 30 Jun. 1983, Gulbenkian Archives, MCG 03068).
Coinciding with the opening of the FCG's Modern Art Centre (CAM) the collection of which sought to form a chronology stretching from 1911 to the present this exhibition, which highlighted some aspects of naturalist painting, was justified by providing wider context for the directions of Portuguese painting from the end of the 19th century to the artistic practices of the different generations of Portuguese modernists, which the FCG's modern collection sought to represent. The head of the Gulbenkian Museum Department, Maria Teresa Gomes Ferreira, also understood that this small section of the MNSR's works could enable an interpretation of the Portuguese painting collection at the MAC (Pintores da Escola do Porto Séc. XIX e XX, 1983).
Maria Teresa Gomes Ferreira also highlighted the dialogue that could be established between landmarks in French painting, evident in the Calouste Gulbenkian Museum's collection, and works by artists of the School of Porto in the MNSR collection, broadly influenced by the landscape group of the mid-19th century and whose relationship had already been highlighted in the exhibition Artes Plásticas Francesas. De Watteau a Renoir [(French Visual Arts. From Watteau to Renoir)] held at the MNSR in 1964 (ibid.).
The artists represented included Sousa Pinto (1856-1939), Silva Porto (1850-1893), Artur Loureiro (1853-1932), Marques de Oliveira (1853-1927), Henrique Pousão (1859-1884), but also artists aware of new aesthetic movements, such as Dordio Gomes (1890-1976), Armando Basto (1889-1923) and Dominguez Alvarez (1906-1942). The exhibition represented 24 painters from Porto.
The artists with the most pieces at the event were Henrique Pousão, with 13 paintings, including the emblematic Casas Brancas de Capri, Silva Porto, with a total of 10 oil paintings, and Marques de Oliveira, with nine works.
There was no representation of modernist generations of the School of Porto, with the head of the Calouste Gulbenkian Museum saying that their inclusion in this exhibition would be unsuitable, due to the number of artists and the diversity of practices trained at the northern school, although she did say that it was an obligation to remember them too (ibidem).
Perhaps because it coincided with the eagerly awaited opening of the Modern Art Centre, the public's attendance of the exhibition was not significant (totalling only 12,760 visitors), bearing in mind that it was a unique opportunity for the public in Lisbon to get to know the collection of one of Portugal's major museums. The public instead visited the CAM's modern collection, which satisfied a long-voiced need for direct contact with the modern values of Portuguese art through the public-driven collection that was being formed at the FCG.
The following year, in 1984, the exhibition travelled to Caldas da Rainha, where it was shown at the Museu José Malhoa.
The exhibition catalogue presented a chronology of the different FCG exchange actions with Portuguese museums, beginning in 1961 with a project held in partnership with the Museu Nacional de Arte Antiga at the Pinturas da coleção da Fundação Calouste Gulbenkian [Paintings of the Calouste Gulbenkian Foundation collection] exhibition.
The 70 works displayed at this exhibition were selected by the MNSR director, Maria Emília Amaral Teixeira, who explained that the choices aimed to include Porto's most representative painters at the time, following the chronology established in the path through the exhibition, regardless of artistic associations and aesthetic movement, although with a clear focus on the naturalist current. It was initially planned for the exhibition to be exclusively dedicated to the landscape theme but, following a joint decision by the two institutions involved, a less restrictive concept was chosen. As mentioned in an internal memo written by the deputy head of the Museum Department, Maria Helena Soares Costa, to the FCG President: Dealing with landscapes would mean (...) restricting a representation, which should be as complete as possible, of the most noteworthy naturalist painters of the School of Porto (...). Making this exhibition coincide with the opening of the Modern Art Centre appears to us be a highly significant opportunity, since it would enable a connection between the naturalist painters of the 19th century and those that extended it at the turn of the century and in the 20th century, but now open to the aesthetic movements of the 20th century (Note by the Museum Department, 30 Jun. 1983, Gulbenkian Archives, MCG 03068).
Coinciding with the opening of the FCG's Modern Art Centre (CAM) the collection of which sought to form a chronology stretching from 1911 to the present this exhibition, which highlighted some aspects of naturalist painting, was justified by providing wider context for the directions of Portuguese painting from the end of the 19th century to the artistic practices of the different generations of Portuguese modernists, which the FCG's modern collection sought to represent. The head of the Gulbenkian Museum Department, Maria Teresa Gomes Ferreira, also understood that this small section of the MNSR's works could enable an interpretation of the Portuguese painting collection at the MAC (Pintores da Escola do Porto Séc. XIX e XX, 1983).
Maria Teresa Gomes Ferreira also highlighted the dialogue that could be established between landmarks in French painting, evident in the Calouste Gulbenkian Museum's collection, and works by artists of the School of Porto in the MNSR collection, broadly influenced by the landscape group of the mid-19th century and whose relationship had already been highlighted in the exhibition Artes Plásticas Francesas. De Watteau a Renoir [(French Visual Arts. From Watteau to Renoir)] held at the MNSR in 1964 (ibid.).
The artists represented included Sousa Pinto (1856-1939), Silva Porto (1850-1893), Artur Loureiro (1853-1932), Marques de Oliveira (1853-1927), Henrique Pousão (1859-1884), but also artists aware of new aesthetic movements, such as Dordio Gomes (1890-1976), Armando Basto (1889-1923) and Dominguez Alvarez (1906-1942). The exhibition represented 24 painters from Porto.
The artists with the most pieces at the event were Henrique Pousão, with 13 paintings, including the emblematic Casas Brancas de Capri, Silva Porto, with a total of 10 oil paintings, and Marques de Oliveira, with nine works.
There was no representation of modernist generations of the School of Porto, with the head of the Calouste Gulbenkian Museum saying that their inclusion in this exhibition would be unsuitable, due to the number of artists and the diversity of practices trained at the northern school, although she did say that it was an obligation to remember them too (ibidem).
Perhaps because it coincided with the eagerly awaited opening of the Modern Art Centre, the public's attendance of the exhibition was not significant (totalling only 12,760 visitors), bearing in mind that it was a unique opportunity for the public in Lisbon to get to know the collection of one of Portugal's major museums. The public instead visited the CAM's modern collection, which satisfied a long-voiced need for direct contact with the modern values of Portuguese art through the public-driven collection that was being formed at the FCG.
The following year, in 1984, the exhibition travelled to Caldas da Rainha, where it was shown at the Museu José Malhoa.
Ficha Técnica
- Iniciativa
- Organizador / Serviço responsável
- Organizador / Parceiro institucional
- Programação (FCG)
- Assessoria científica
- Emprestadores
Artistas / Participantes
- Agostinho Salgado (1905 – 1967)
- António Carneiro (1872 – 1930)
- António da Silva Porto (1850 – 1893)
- António José da Costa (1890 – 1929)
- Armando Basto (1889 – 1923)
- Artur Loureiro (1853 – 1932)
- Auguste Roquemont (1804 – 1852)
- Aurélia de Sousa (1866 – 1922)
- Cândido da Cunha (1866 – 1926)
- Dominguez Alvarez (1906 – 1942)
- Dordio Gomes (1890 – 1976)
- Eugénio Moreira (1871 – 1913)
- Heitor Cramez (1889 – 1967)
- Henrique Pousão (1859 – 1884)
- João Augusto Ribeiro (1860 – 1932)
- João Baptista Ribeiro (1790 – 1868)
- João Correia (1822 – 1896)
- João Marques de Oliveira (1853 – 1927)
- Joaquim Lopes (1886 – 1956)
- José Maria Soares Lopes (1888 – 1921)
- Lima Machado Pereira (1877 – 1945)
- Manuel Maria Lúcio (1865 – 1943)
- Sofia Martins (1870 – 1960)
- Sousa Pinto (1856 – 1939)
Eventos Paralelos
Publicações
Material Gráfico
Fotografias
