Although we are dealing with a gouache, the presence of the line in the definition of the surfaces and general scheme of the composition assumes a vital role here. The colour is bland and refuses the chiaroscuro that suggests depth in space. The proximity with the frescos of the Rocha Conde de Óbidos Maritime Terminal, which was only completed in 1949, is explicit. The skilful advantage of the continuous drawing composes figures in arabesque with great ease. The creation of encounters between surfaces, where the same line defines parts of two different forms that are thus made complementary, or the superimposition of planes that exhibit arabesques and as such, animate and highlight the omnipresence of the line, expose a play of extreme masterlyness. If such a powerful drawing affirms itself over colour, it is in the exacerbation of the drawing's genius that we find an unexpected suggestion of décor which limits its intents.


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