Our artists have been primarily interested in historical subjects, but in dealing with them, they have not concerned themselves with the period customs of the characters in the composition of these canvases. Belmiro was the first, because he breaks with precedents, is innovative, and interprets a new subject clearly according to the art of his time. This is a serious question here—not so much a predilection than of a real aesthetic transformation.
look at the fruits that appear on the canvas, the creative contact of the brush strokes—the vivid, but almost simple, colors and, above all, the striking effect of the separation of the intense reds of cashews and vibrant yellows of mangoes. It must be your soul, you must have these rough visions, noisy with wild coloring, your fantasy [...]
Nicolau Facchinetti was able to dedicate himself to his love of art thanks to the favorable acceptance he received. Gradually, he became closer to nature, giving his work greater fidelity, almost to the level of a botanical print. The tones of his colors improved: He entered, as studio jargon would describe it, into the colors of our sunsets, our greens…
Interpreting the subject of such a remote creation, the artist tried to give it the characteristic tone, to do it in a gentle reconstruction of the classical feelings with the resources of contemporary technique. It combined the naive expressiveness of the motif, which we feel to be communicating with us, with the intoxication of a perfume exhaled by the graceful and decorous figures in the old way.
This Gioventú was awarded the coveted silver medal of the Universal Exhibition of 1900 along with the Dance of the Oréadas. The chaste beauty that we observe in the dance, the expressiveness of the highlighted blond girl, who moral orthodoxy has not desexualized with misplaced decorum. That striking chaste beauty that moistens our pupils with tenderness, is even more moving in this lovely Pre-Raphaelite pose that transfixes us. She seems abstract, timid, as if dazed by the splendor of the life burning in her slender bust of a child becoming an adolescent.
Indeed, such subjects, when they are not commended by the beauty of nudes or eminent originality of composition, quickly fall into ridicule. That is to say, it is understood how much work the young artist put into the making of his new picture, and hence the excuse for the artifice used in its appeal, which is evident in the visible transformation of the female model into several types,
The same artifice is repeated in the composition of bacchantes stretching along the field, in which the impossibility of being naked in the open air forced the artist not only to falsify the color tones, but to blur the bodies in the distance into one uniform mass. However, its composition deserves praise for the graceful distancing of the serpentine line
and the excellent contrasting effect of the shade to the foreground with the lightness of the secondary planes. The figures, touched by color, are very lively and expressive; the landscape is vast and illuminated, conveying the fresh impression of the day; the happy prospects, the clear, bright sky.
Arthur Lucas is a handsome man diverted from his natural course in life by fate. A painter, and painter by temperament, he became a caricaturist and illustrator because the genre promised him a living. But his innate quality as a colorist and great vocation for the palette was latent and at times he broke through obstacles of time and commitment in order to express himself in beautiful imaginative panels, in a gentle fantasy of colors and shapes […].
On a uniform purple background, a woman's head stands out, of a dreamy, almost ideal gentleness. A brunette in profile, but of that faint brown of fading magnolias. From the dark crown of her warm brown hair hangs a transparent veil, which envelops her in a mist and all her bust, feather-light, is covered by a thin light fabric in soft tones of white and gray, harmonizing with the sentimental hesitancy of her countenance, revealed
There you have what I was able to translate as the Cataplum of Mr. Barbasán Lagueruela, a comic strip of just over a hand span. So, in terms of the subject and the painting, it is known that the admirable Mr. Barbasán Lagueruela has a wonderful palette and his brush strokes are as fine as a cushion pin, with the skill of a Boldini, or the famous Meissonier, who had the ability to contemplate their work and to produce a very realistic image. And, no matter how small the detail, he captures it perfectly.
The head of one of the children is smaller than a newborn's thumbnail, but it is treated with such detail that it has eyelashes. However, the overall impression of the brilliant comic is not damaged by the excess of minutiae because there is absolute precision in the tones and the neatness of the colors.
Eternal Struggle, José Otávio Correia Lima
In the "Eternal Struggle," inspired by the humble life of rural workers, the movement of the diggers does not have the muscular contortion of the sturdy workers of Constantin Meunier, who made the hard labor of the poor and oppressed a subject for sculpture, without using the conventions and restrictions of those who previously attempted to reproduce the laborer.
As a rhythmic effort the movement is moderate, and in spite of the care with which he modeled the figure out of clay with magnificent workmanship and the observation with which he reproduced the motion, the strained faces and contorted bodies are not obvious. He does not lose, however, the expressive naturalness of his representative figure.
"Eça de Queiroz", Antonio Teixeira Lopes In this work by Teixeira Lopes, as in that of all creators that merit the veneration of great artists, the components are closely linked and so strike us with the precise feelings in the expressions, and fascinate and dazzle us at the same time, by the skill of the thumbnail drawings of a rare sureness by the smoothness and gentleness, and from the scuffing and nervous dabbing of the sketchers, indicating the high level of their visual training and steady pulse. [...] And if you would, gentlemen, take a look at the bust of the beloved Eça de Queiroz, the same I believe, that served as the beautiful monumental sculpture of the Quintela square in Lisbon. [...]
See this smiling and caustic look and how in the right eye socket there is a habitual groove, as if allowing us to perceive the foppish monocle of the petulant inquirer into other's souls! The bust is an exact portrait because the spirituality that gives it life shines through the precise physical delineation.
The former Germans, Klixto (Calixto Cordeiro)
His caricature is in the bizarreness of the line, even pretending to hilariously distort the structure. Abstracting any intentionality, which may be claimed, it is made whole in the greater or lesser dexterity of the drawer's hand. It is made to be seen, the gaiety of the form has a charm.
Gonzaga Duque: Um crítico de arte no museu
Realizada no Museu Nacional de Belas Artes
De 09 de outubro a 30 de novembro de 2008
Pedro Martins Caldas Xexéo