Look at him

Men portraits from Anastácio Gonçalves' collection

By Anastácio Gonçalves House-Museum

Casa-Museu Anastácio Gonçalves

Camões (study for Camões and the Tágides) (1893/1894) by Columbano Bordalo PinheiroAnastácio Gonçalves House-Museum

António Anastácio Gonçalves was a well informed, educated and demanding collector, whose favorite painting theme was landscape. However, he willingly acquired a diverse set of portraits. In this exhibition you will discover some amazing men portraits. Let's start!

Anastácio Gonçalves (1932) by José MalhoaAnastácio Gonçalves House-Museum

The collection features a number of notable portraits by José Malhoa (1855-1933), such as the portrait of Dr. Anastácio Gonçalves, painted in the same year the physician bought the former Malhoa House (as it had been the artist's home and studio, from 1904 until 1919), which turned to be the Anastácio Gonçalves' House Museum.

Look in the eyes of this very well informed collector and traveller.

Portrait of an old man (1895) by José MalhoaAnastácio Gonçalves House-Museum

A decade after his death, José Malhoa (1855-1933) was considered to be the painter of his time who expressed the Portuguese popular feelings - especially in its rural living - in the most real way, as well as to be the portraitist of the urban ascending bourgeoisie.

The singular look of an unidentified man.

Portrait of Dr. Joaquim José de Sousa Campos (1801/1855) by Andre Joseph BodemAnastácio Gonçalves House-Museum

André-Joseph Bodem (Paris, 1791- ?) painted this portrait, possibly in Brazil. Acording to the inscription on its back, this is the portrait of the physician Dr. Joaquim José de Sousa Campos doctor of the ship in which King Dom John VIth sailed from Portugal to Brazil in 1808, due to the Napoleon's invasion.

There are no documents confirming the inscription.

Study for portrait (1887) by Veloso SalgadoAnastácio Gonçalves House-Museum

In 1884, as finishing his studies in Lisbon, José Maria Veloso Salgado (1864-1945) executed a portrait of this man, who worked as a model in the Academy of Fine Arts of Lisbon, where later on the painter would be Professor.

Study for Portrait of Silva Porto (1880) by António RamalhoAnastácio Gonçalves House-Museum

Being one of Silva Porto's main students, António Ramalho (1858-1916) portrayed his master, around 1880, valuing the blot and capturing almost a photographic moment of the work in progress. The bright colours in the palette contrast with the general shades of the composition.

Bust of an old man (1825/1861) by Francisco MetrassAnastácio Gonçalves House-Museum

Francisco Metrass (1825-1861) painted this Bust of an old man reading, who seems to emanate from the spirituality of religious scenes, plastically concentrating the observer's attention on the link of his own identity, that is, his own face. It turns out that the painter uses his romantic spirituality.

The old man has the serenity of a scholar and his outward signs of age are associated with the tranquility of his wisdom.

Portrait of a beggar (1903) by Ricardo RuivoAnastácio Gonçalves House-Museum

The present work can be a final proof for the Course of Painting at the School of Fine Arts in Lisbon. The painter had António Cardoso as the model for this portrait.

Ricardo Ruivo went to Paris as a state pensioner, continuing his training and sending his works to the exhibitions held in Portugal and participating in the National Society of Fine Arts, from 1905 to 1911. With a promising start of career, he was appointed by his contemporaries as a disciple of Columbano, but died prematurely.

Difficult trial (1883) by Columbano Bordalo PinheiroAnastácio Gonçalves House-Museum

Columbano's (1857-1929) portraits are a reference on Portuguese Painting. The models were captured in the modest reserve of their existences, overlapping the inner affirmation, psychological, and the convenient social posture. His nephew, Manuel Gustavo Bordalo Pinheiro, was one of Columbano's family members who frequentley inhabited the painter's works, mostly interested in an urban indoors culture, as this Difficult trial.

In Difficult trial, Columbano turns the action of playing the piano, attentive attitude of the portrayed and its plastic treatment into the main theme of the painting.

Portrait of Prostes da Fonseca (1884) by Columbano Bordalo PinheiroAnastácio Gonçalves House-Museum

Columbano portrayed many urban personalities from the social and intellectual elite in his time, as this portrait of Cunha Vasco, who was a Brazilian writer and art collector, friend of the painter's brother, Rafael Bordalo Pinheiro.

Portrait of Cunha Vasco (c. 1890) by Columbano Bordalo PinheiroAnastácio Gonçalves House-Museum

Prostes da Fonseca was related to Columbano and minister during the monarchy. The portray is structured on the basis of the singularity of the face, in a careful analysis of its physiognomical details, with no other attribute of the figure or any other decorative element.

Camões (study for Camões and the Tágides) (1893/1894) by Columbano Bordalo PinheiroAnastácio Gonçalves House-Museum

Finally, this Columbano's work represents one of the studies for the work Camões and Tágides (1894). The composition is based on the stanzas IV and V of Canto I of Lusíadas, verses of evocation and praise of Tágides, source of inspiration of the poet (Luís Vaz de Camões, c. 1524 - 1580) in his epic poem.

Credits: Story

CMAG - Casa-Museu Anastácio Gonçalves
DGPC - Direção Geral do Património Cultural
Ministério da Cultura

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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