the nature of the collection, which is made up exclusively of donations, the
contemporary art section of the Museu
do Caramulo comprises a valuable group of 19th and 20th-century works,
including painting, sculpture, ceramics and tapestry, that make it possible to
enjoy a detailed look at the development of Portuguese contemporary art,
punctuated here and there with some excellent international examples.

Romeo and Juliet (1870) by Eduardo RosalesMuseu do Caramulo

Fishing village (Unknown) by Jules NöelMuseu do Caramulo

Boat run aground (Unknown) by Jules NöelMuseu do Caramulo

Girl (Unknown) by Daniel ZuloagaMuseu do Caramulo

Stable with calves (Unknown) by Tomás da AnunciaçãoMuseu do Caramulo

Faithful to his creed (Unknown) by Severo Portela JúniorMuseu do Caramulo

Death of a horse (Unknown) by Francisco AriasMuseu do Caramulo

Haystacks (1880) by Artur LoureiroMuseu do Caramulo

Naturalism in Portuguese painting is represented here by the remarkable example of “Haystacks”. Painted in 1880 by Artur Loureiro, this work marked the early days of the movement in Portugal, which was imported rather belatedly from France. The quality and sensitivity of this work highlight the importance of a painter who has since come to be regarded as a relatively secondary artist in relation to the guiding figures of Silva Porto, Columbano, Marques de Oliveira and, inevitably, Malhoa. This latter figure was perhaps the artist who was mainly responsible for the excessively long duration of the movement in this country, resulting essentially from the fact that the seal of approval of both official and private taste was given to his anecdotal tics of including an increasingly rural content in his painting and his clear attempts to please all and sundry.

Home (1864) by António Carvalho da Silva PortoMuseu do Caramulo

Portrait (1907) by Columbano Bordalo PinheiroMuseu do Caramulo

Portrait of Mestre Luciano Freire (1913) by Luís de Ortigão BurnayMuseu do Caramulo

Sewing in the sun (Unknown) by Aurélia de SousaMuseu do Caramulo

One exception to this evident stereotyping, not only of the accepted style of painting, but also of the general taste, was undoubtedly the end-of-century oeuvre of Aurélia de Souza. She provides one of the finest examples of a particular kind of female sensitivity that is closely correlated with the practice of António Carneiro, represented here by one of his later works. Both artists remained aloof and isolated in their artistic strongholds in Porto, and their reflections on the nature of painting were later continued through the work of Carlos Carneiro, the son of the latter artist, and his peculiar form of meditative sensitivity.

Portrait of Maria Carneiro (1920) by António CarneiroMuseu do Caramulo

Portrait of Nuno Carneiro (1927) by António CarneiroMuseu do Caramulo

General Carmona (1934) by Carlos CarneiroMuseu do Caramulo

The artist's studio (1949) by Carlos CarneiroMuseu do Caramulo

Couple by Auguste RodinMuseu do Caramulo

There is no doubt that the work of Rodin was known to these artists, through their apprenticeships or periods of residence in Paris, but perhaps they were unaware of the tellurian force of his eroticising drawings, which the Museu do Caramulo also presents here.

The two sisters (1914) by Eduardo VianaMuseu do Caramulo

The possibilities of the Portuguese avant-garde artists are also shown in this collection, timidly at the internal level by Eduardo Viana, in his “fauve” remembrance of Matisse or Dufy, and internationally through the unique and meteoric work of Amadeo de Souza-Cardoso, who founded himself caught between the assimilation of the “analytical” Cubist influence of Picasso and Braque and the Orphic influence of Delaunay. All of these influences were fused together in a singular style of painting that, in 1913, the precise year of the work exhibited here at the museum, encouraged the artist to pour all of his pioneering energies into abstraction.

Still life (1947) by Pablo PicassoMuseu do Caramulo

Picasso himself is represented at the Museu do Caramulo by an excellent still life, a painful testimony to the troubled period of the Second World War. For almost five decades, this was the only work of the great painter to be publicly exhibited in Portugal. Dufy is also represented by a painting that clearly illustrates his great elegance and joie de vivre, qualities that are also expressed in ceramic form.

Model in the studio (1942) by Raoul DufyMuseu do Caramulo

"Dame" (the carnation girl) (1913) by Amadeo de Souza-CardosoMuseu do Caramulo

Once the tumultuous impetus of early Portuguese Modernism had faded, largely because of the premature deaths of Amadeo and Santa-Rita, the movement was given a second wind, this time somewhat weaker, with paintings of a more mundane content that exhibited an inevitable Parisian influence.

Portrait of Gualdino Gomes (1925) by António SoaresMuseu do Caramulo

In the 1920s, António Soares was the great interpreter of these elegant refinements with cosmopolitan aspirations, clearly represented by the intellectual gatherings at “A Brasileira”, the café where Gualdino Gomes was such a charismatic figure.

Pierrot (1944) by António SoaresMuseu do Caramulo

The painting of this work clearly lingered in the artist’s memory, amidst the “fauve” remembrances of a work by Dufy or one by Van Dongen, as illustrated by a quite remarkable “Pierrot” dating from 1944, the sudden inspiration of a painter who was gradually becoming more and more academic and losing his modernist touch. The same “fauve” influence became linked to a deliberate primitivism in the work of Francisco Smith, an artist with a long Parisian career.

Fishermen's Wives (Unknown) by Francisco SmithMuseu do Caramulo

Faith and empire (1931) by Henrique MedinaMuseu do Caramulo

The model (1933) by João ReisMuseu do Caramulo

Nude (1934) by Henrique MedinaMuseu do Caramulo

Old man's head (Unknown) by Luciano FreireMuseu do Caramulo

Portrait of Professor António de Oliveira Salazar (1933) by Eduardo MaltaMuseu do Caramulo

Soares’s style was undoubtedly much more valid than the cold academic style of Eduardo Malta, officially demonstrated in the “Portrait of Salazar”. This painting is, however, of great sociological interest, and clearly representative of the dictator’s artistic preferences and complicities, equally pursued by the mundane national elite.

Portrait of Amália Rodrigues (1949) by Eduardo MaltaMuseu do Caramulo

Portrait of Abel de Lacerda (1958) by Eduardo MaltaMuseu do Caramulo

Portrait of Luísa Maria (1953) by Eduardo MaltaMuseu do Caramulo

Portrait of José de Figueiredo (1937) by Eduardo MaltaMuseu do Caramulo

Ria de Aveiro (Unknown) by Fausto GonçalvesMuseu do Caramulo

The excavation (1943) by Gisello Santo TulioMuseu do Caramulo

Still life (1945) by Pedro LeitãoMuseu do Caramulo

Demolition at the university - Coimbra (1947) by Thomaz de MelloMuseu do Caramulo

The shrine of Jerez at the sunrise (1951) by Frei MiguelMuseu do Caramulo

Interior of the Charity Hospital in Seville (1955) by Alfonso GrossoMuseu do Caramulo

Roman horseman in Iberia (1954) by Salvador DalíMuseu do Caramulo

At that time, the Surrealist vanguard movement was unknown in Portugal – but one of Dali’s late works has remained at the Museu do Caramulo.

Drawing (1947) by Barata FeyoMuseu do Caramulo

Man and woman (1956) by Martins CorreiaMuseu do Caramulo

Man's trunk (1956) by Martins CorreiaMuseu do Caramulo

Female nude by Georg KolbeMuseu do Caramulo

Drawings for ceramic plates by Othon FrieszMuseu do Caramulo

Study for the "Great Parade" (1954) by Fernand LégerMuseu do Caramulo

Cathedral (Unknown) by Pierre BoscoMuseu do Caramulo

City in ruins (1955) by Maria Helena Vieira da SilvaMuseu do Caramulo

The work of the “Paris School” is superbly demonstrated in the oil painting by Vieira da Silva, displaying her lyrical abstractionist sensitivity.

Palisade (1956) by Maria Helena Vieira da SilvaMuseu do Caramulo

City of towers (1956) by Maria Helena Vieira da SilvaMuseu do Caramulo

Cock's Head (1956) by Jean LurçatMuseu do Caramulo

Small head (1956) by Jean FautrierMuseu do Caramulo

Póvoa (1955) by Júlio ResendeMuseu do Caramulo

Portuguese-British alliance (1957) by Graham SutherlandMuseu do Caramulo

Sigma (1965) by João VieiraMuseu do Caramulo

Study for the Sigma's book cover (1965) by João VieiraMuseu do Caramulo

Untitled (1970) by Manuel BaptistaMuseu do Caramulo

Illusory space (1970) by Eduardo NeryMuseu do Caramulo

Boat (1973) by Armínio Moura PascualMuseu do Caramulo

Composition (1973) by José de GuimarãesMuseu do Caramulo

Untitled (1980) by Ana HatherlyMuseu do Caramulo

Untitled (1970) by Ana HatherlyMuseu do Caramulo

Untitled (1997) by Ana HatherlyMuseu do Caramulo

From the series "Dark Peacock" (1999) by Ana HatherlyMuseu do Caramulo

From the series "Dark Peacock" (1999) by Ana HatherlyMuseu do Caramulo

From the series "Dark Peacock" (1999) by Ana HatherlyMuseu do Caramulo

From the series "Dark Peacock" (1999) by Ana HatherlyMuseu do Caramulo

Credits: Story
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.
Explore more
Related theme
Wonders of Portugal
By train or by coach, discover Portugal's wonders and hidden gems
View theme
Google apps