Júlio Pomar: The Life of the Artist
Uncover the story of Júlio Pomar, the Portuguese artist who challenged conventions.
[Studio portrait of Júlio Pomar at eleven months old] [Studio portrait of Júlio Pomar at eleven months old] (12 December 1926) by Phot Française LisbonneAtelier-Museu Júlio Pomar
The Early Years of Júlio Pomar
Júlio Artur da Silva Pomar was born in Lisbon on January 10th 1926. His father died of tuberculosis just a month later, leaving his mother, Caetana, to support three children.
Fine Arts Education: Lisbon & Oporto (1942-46)
Pomar enrolled in the School of Fine Arts in Lisbon. Later, he moved to the Porto School of Fine Arts, where Dordio Gomes encouraged a less academic, more experimental approach to art. During this period, Almada Negreiros acquired Pomar's work «Saltimbancos».
Marcha [The March] (1946) by Júlio PomarAtelier-Museu Júlio Pomar
Early Activism (1946)
In 1946, Pomar helped organize the 1st E.G.A.P. (Lisbon), exhibiting «Marcha» [March]. His student activism led to disciplinary action, and he left the Fine Arts in Porto.
Pomar's political activism continued in 1946 as he joined the central youth committee of the Movement of Democratic Unity (MUD), alongside Francisco Salgado Zenha and Mário Soares. He also received a commission for a fresco at Cinema Batalha, Porto, depicting the popular Saint John festivities.
Parlatório [Prison Visiting Room] (1946) by Júlio PomarAtelier-Museu Júlio Pomar
Arrest and Imprisonment (1947)
Pomar was arrested in Évora for his M.U.D. activities. He was held at Caxias sharing a cell with Mário Soares. Released on 26 August and sentenced to time served.
Pomar faced censorship in 1947. At the 2nd General Exhibition of Plastic Arts, he presents «Almoço do Trolha» [The Bricklayer’s Lunch] (still unfinished due to his arrest) and «Resistência» [Resistance], the latter being one of thirteen works seized by the PIDE. Cinema Batalha opens on 29 May with one fresco unfinished; Pomar completes it after his release. In 1948, the frescoes are destroyed on orders of the PIDE and rediscovered in 2022 beneath layers of paint.
In 1950, Pomar traveled to Madrid and was deeply influenced by the art of Francisco Goya.
In 1954, Pomar designed stained-glass windows for the Church of the Sagrada Família in Pontinha, Lisbon. This was his sole religious commission.
Dark period (1957-58) Following drawings for «O Romance de Camilo», he paints «Maria da Fonte», referring to the historic 19th-century popular uprising. The work marks a turning point in his practice, revealing the combined influence of Goya and Columbano Bordalo Pinheiro.
Move to Paris (1963)
In 1963, Pomar relocated to Paris and was awarded a Gulbenkian scholarship (1964–66). Subsequently, he divided his time and work between Paris and Lisbon.
Whilst in Paris in the mid-1960s, Pomar visited the Longchamp racecourse, where he continued his studies of movement and galloping horses, first developed in his earlier bullfighting series.
During the May 1968 events, Pomar is in Paris. He begins two parallel series: «Mai 68 (CRS-SS)» and «Le bain Turc».
While in Paris, Júlio Pomar frequented the Louvre Museum. There he drew inspiration from master's like Auguste-Dominique Ingres and Paolo Ucello.
Carnation Revolution (1974)
He is in Lisbon during the 25 April Revolution and remains there for several months. From this point on, his stays in Portugal become increasingly extended.
On 10 June, he participates in a collective mural organized by the Movement of Democratic Visual Artists (MDAP).
[Júlio Pomar and Paula Rego at the São Paulo Biennial, 1985] (1985) by Unknown photographerAtelier-Museu Júlio Pomar
Representing Portugal in São Paulo (1975)
With Paula Rego, Eduardo Batarda, and Ângelo de Sousa, he represents Portugal at the 13th São Paulo Biennial.
Tigre [Tiger] (1980) by Júlio PomarAtelier-Museu Júlio Pomar
1979: From the Human Body to Tigers
Solo exhibition «Théâtre du Corps – Vingt Peintures Récentes» at Galerie Bellechasse, Paris. Begins the series «Os Tigres» [The Tigers], continuing until 1982, following illustrations for «Rose et Bleu» by Jorge Luis Borges. Publication of «O Burro-em-pé» by José Cardoso Pires,
[Júlio Pomar at the opening of the exhibition «Pomar», 19 Jan. 1987, at the Centro de Arte Moderna of the Calouste Gulbenkian Foundation] (19 January 1987) by Unknown photographerAtelier-Museu Júlio Pomar
A Major Retrospective (1986-87)
The Calouste Gulbenkian Foundation organizes a major retrospective, shown in Brasília, São Paulo (MASP), Rio de Janeiro, and Lisbon.
Mascarados de Pirenópolis n.º 15 [Masked Figures of Pirenópolis No. 15] (1987) by Júlio PomarAtelier-Museu Júlio Pomar
Brazilian Inspiration
In 1987, Júlio Pomar's travels to Pirenópolis, Brazil, sparked the creation of his series, «Os Mascarados de Pirenópolis». He was inspired by the vibrant Festa do Divino Espírito Santo.
In 1988, Pomar revisited Brazil, spending two months with the Alto Xingu communities. He was there during the filming of Kuarup by Ruy Guerra, drawing inspiration from the experience.
In 1988 the Alto dos Moinhos Metro Station (Lisbon) is inaugurated, featuring Pomar’s homage to Camões, Bocage, Pessoa, and Almada.
1991: Júlio Pomar was commissioned to paint the official portrait of President Mário Soares. He primarily worked on it in his Paris studio.
[Júlio Pomar with President Jorge Sampaio, Istanbul, 2003] (2003) by Unknown photographerAtelier-Museu Júlio Pomar
2003: A Year of Recognition
In 2003, Pomar's work was celebrated with the retrospective «Júlio Pomar: The Painting of the Other» in Istanbul. That same year, he also received the Amadeo de Souza-Cardoso Prize.
[Exhibition «Forms That Become Others: Júlio Pomar» at the Atelier-Museu Júlio Pomar] (2019) by António Jorge SilvaAtelier-Museu Júlio Pomar
Atelier-Museu Júlio Pomar Opens
In 2013, Júlio Pomar saw the opening of the Atelier-Museu Júlio Pomar, designed by Álvaro Siza Vieira, and was awarded an Honorary Doctorate by the University of Lisbon.
[Portrait of Júlio Pomar] (Date uknown [2010's?]) by Unknown photographerAtelier-Museu Júlio Pomar
Pomar's Final Years
In 2018, Pomar received the Bissaya Barreto Prize for his illustrations in Richard Zimler's children's book «O cão que comia a chuva» [The Dog That Ate the Rain]. He passed away in Lisbon May 22 that same year, at the age of 92, marking the end of his remarkable life.
Texts & digital production: Atelier-Museu Júlio Pomar
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