Journey To The Collection With Amadeo De Souza-Cardoso

We invite you to travel through our collection, starting with Amadeo's works and showing other contemporary artists from Amarante and Portugal. Enjoy the journey!

By Rede Portuguesa de Arte Contemporânea a Norte (RPAC – Norte)

Museu Municipal Amadeo de Souza-Cardoso

The house of Manhufe (c. 1913) by Amadeo de Souza-CardosoOriginal Source: Museu Amadeo de Souza Cardoso

Amadeo de Souza-Cardoso

This is the family home of Amadeo, where he will spend his first years of life. 


Amadeo leaves Manhufe in Amarante for the world.

Water-mils (c. 1915) by Amadeo de Souza-CardosoOriginal Source: Museu Amadeo de Souza Cardoso

Watermills

This is one of the references to landscapes that we find in Amadeo's pictorial work. In 1906 he left for Paris, but the colour reference of the Amaranthine landscapes never left him. On several occasions in his letters, Amadeo mixes the concept of physical journey and incorporeal journey.

"My destinies are only right with me. Either I triumph by them or I am crushed by them." 

[Letter from Amadeo to his mother, on the occasion of his departure for Paris].

Futuristic drawing (movement) (c. 1912) by Amadeo de Souza-CardosoOriginal Source: Museu Amadeo de Souza Cardoso

Futuristic Drawing (Movement)

In Amadeo's drawings, in his first years in Paris, it's clear the influence of the "Futurist Manifesto" signed by Marinetti and Sergei Diaghilev's "Ballets Russes". This drawing is an example of that mark, where movement becomes the engine of the creative process and where movement becomes the engine of the creative process and where the cosmopolitan city is the landscape chosen as the symbol of a life in movement.

"I am convinced that I live a profound life of art - and I am glad" 

[Letter to his mother, Paris, June, 1907].

Painting - Cavaquinho guitar (c. 1915) by Amadeo de Souza-CardosoOriginal Source: Museu Amadeo de Souza Cardoso

Painting – Cavaquinho

Completely integrated in the artistic life of Paris, he left for other exhibition trips, such as the Cézanne retrospective at the Salon d'Automne and the opening of the Kahnweiler gallery, which had a strong impact on his visual culture. The journey continues between cultural or natural landscapes.... 

"at every step we stopped to marvel at the grandiose beauty of this giant country. The mountains have a style of lines that makes you want to run your hand along the back of them..."

Popular song and the Bird from Brazil (c. 1916) by Amadeo de Souza-CardosoOriginal Source: Museu Amadeo de Souza Cardoso

Popular Song and Bird of Brazil

Amadeo's artistic travels are also marked by his participation in exhibitions, namely in France, the USA, England and Germany. The work presented portrays how Amadeo contributed to the internationalisation of Portuguese culture and also how he was influenced by the Delaunay couple.

"...distinguished Portuguese cubist, whose works have achieved international reputation..."

[Exhibition of Painting and Sculpture in "The Modern Spirit, Milwaukee Art Society, 456 Jefferson Street, USA. 16 de Abril a 12 de Maio.]

The Rise of the Green Square and the Violin Woman (c.1916 /c.1918) by Amadeo de Souza-CardosoOriginal Source: Museu Amadeo de Souza Cardoso

The Rise of the Green Square and the Violin Woman

Despite Amadeo's reference as a cubist, he himself did not identify with any movement and sought his own language. This is an example of a work in which the mixture of languages and movements (abstractionism, cubism, Dadaism, etc.) is evident.

"Artists should keep their distance from official currents; I, for example, do not even use myself, neither in invoicing nor in artistic vision..."

[Fonseca, João Fortunato de Sousa - Futurismo em Lisboa. Falando com Amadeo de Sousa Cardoso. Jornal de Coimbra. Nº 560, 6.º Ano (21 Dez. 1916)]

Amuada (1947) by Acácio LinoOriginal Source: Museu Amadeo de Souza Cardoso

Pouting

When Amadeo arrived in Paris, he was received by Acácio Lino - a master of history painting in Portugal, also from Amarante. 

This work, although not an example of history painting, is an example of pictorial landscapes of the Portuguese interior.

Self-portrait (1919) by António CarneiroOriginal Source: Museu Amadeo de Souza Cardoso

António Carneiro

António Carneiro is other contemporary Amarante artist, of the generation between Amadeo de Souza-Cardoso and Acácio Lino. 

The only Portuguese symbolist, he presents himself to those who observe him through this self-portrait, trying to be provocative and facing the observer.

Navy (1911) by António CarneiroOriginal Source: Museu Amadeo de Souza Cardoso

Navy

The landscape in António Carneiro, as a symbolist, simultaneously portrays the contemplation of the place and the inner journey that the observer/artist was experiencing at the time of contemplation. A clear example that landscape and journeys are for artists a whirlwind of inner and outer experiences and stimuli, as stated by Amadeo in the sentence that opens this exhibition.

Teixeira de Pascoaes (1923) by António CarneiroOriginal Source: Museu Amadeo de Souza Cardoso

Teixeira de Pascoaes

With a drawing by António Carneiro, we introduce another contemporary Portuguese and Amaranthine reference – Teixeira de Pascoaes.

Untitled by Teixeira de PascoaesOriginal Source: Museu Amadeo de Souza Cardoso

"The landscape is not an inanimate thing; it has a soul which acts with love or pain upon our ideas or feelings, transmitting to them whatever is of its essence, of its vague and remote quality which, in them, wins moral and conscious action." 

[In Art of Being Portuguese]

Watercolour by Teixeira de Pascoaes

This mountainous landscape of Teixeira de Pascoaes appears as a pretext to make it known that the writer and poet also drew and painted as an integral part of his creative process of building worlds, places and characters.

Painting (1972) by Mário CesarinyOriginal Source: Museu Amadeo de Souza Cardoso

Mário Cesariny

From Pascoaes' landscape we move to a surreal landscape by Mário Cesariny, which integrates a verse by Teixeira de Pascoaes.

Painting (1972) by Mário CesarinyOriginal Source: Museu Amadeo de Souza Cardoso

Painting

With this work it becomes more evident that the journey we have made so far allows us to see the importance of Amadeo and his contemporaries for the interpretation of art that is made today. In Surrealism the journey is extrasensory and irrational and one quickly loses the goal and the very sense of time of the journey.

Le Mirador (1975) by Vieira da SilvaOriginal Source: Museu Amadeo de Souza Cardoso

Vieira da Silva

With Vieira da Silva, we propose that this journey crosses hers fantastic cities, in which the observer feels the limbo between the concept of abstraction and the metaphysical.

Mexico Series (1996) by José de GuimarãesOriginal Source: Museu Amadeo de Souza Cardoso

José de Guimarães

We end our Journey with a work by José de Guimarães, from a series that result from his travels in Mexico. Here we see how the artist absorbs the cultural landscapes of that country and uses them as the code of his artistic language.

Credits: Story

More information at

Museu Municipal Amadeo de Souza-Cardoso
Rede Portuguesa de Arte Contemporânea a Norte
Works from the Permanent Collection with representation of some artists, among them: Amadeo de Souza-Cardoso, Acácio Lino, António Carneiro, Teixeira de Pascoaes, Vieira da Silva, José de Guimarães and Mário Cesariny.


Câmara Municipal de Amarante

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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