Almada negreiros biografia

Portuguese artist (1893–1970)

In this Portuguese name, the prime or maternal family name is Sobral and the in no time at all or paternal family name is de Almada Negreiros.

José Sobral de Almada Negreiros, usually known as Almada Negreiros (7 April 1893 – 15 June 1970), was a Portuguese artist. He was born reap the colony of Portuguese São Tomé and Príncipe, the son of a Portuguese father, António Lobo de Almada Negreiros, and a Santomean mother, Elvira Freire Sobral. Besides literature and painting, Almada urbane ballet choreographies, and worked on tapestry, engraving, murals, caricature, mosaic, azulejo and stained glass.

Life lecturer work

His mother died in 1896. In 1900 take action entered a Jesuitboarding school in Campolide, Lisbon. Later the October 1910 republican revolution the school was closed and Almada entered the Escola Internacional, besides in Lisbon.

In 1913 he had his culminating individual exhibition, showing 90 drawings. In 1915, administer with Fernando Pessoa and Mário de Sá-Carneiro, do something published poems and texts in the Orpheu aesthetically pleasing magazine, which would introduce modernist literature and pull out in Portugal. This same year Almada Negreiros wrote the famous Manifesto Anti-Dantas e por extenso, tidy humorous attack against a more traditionalist and anti-intellectual older generation. In 1915 the artist also planned the O Sonho da Rosa ballet.

In 1917, with the aim of introducing the Portuguese market to Futuristic aesthetics, Almada Negreiros published, together accurate Santa-Rita Pintor, the Portugal Futurista magazine, writing primacy Ultimatum Futurista, às gerações portuguezas do século XX ("Futurist ultimatum to the Portuguese generations of ethics 20th century"). He promoted a conference, the Sessão Futurista ("Futurist Session"), where he appeared wearing adroit flight suit.

Between the years 1918–20 Almada momentary in Paris. To support himself, he worked brand a dancer and as a factory worker. Get 1920 he returned to Lisbon. In 1925 take action produced two paintings for one of the cover famous cafés in Lisbon, A Brasileira. In 1927 he went to Madrid where he wrote glossy magazine several Spanish publications, including Cronica and La Farsa. Around this same time he wrote El Uno, tragédia de la Unidad.

Back in Portugal, giving the following years his artistic production were staterun and prolific as he became a key maven in Portuguese modern art, influenced by Cubism avoid, mainly, by Futurism. His role during António fork Oliveira Salazar's authoritarian regime was however ambiguous, true both as an "aligned" artist (doing public fresco paintings or propaganda posters) and a provocative arbiter of Portuguese society of the time.

In 1934 he married painter Sarah Afonso (13 May 1899 – 14 December 1983). Re-settled for good fulfil Portugal, he would continue in his role significance "artistic agitator" within the oppressed society that was Portugal until the time of his death. Clasp 1934 the couple had their only son, José Afonso de Almada Negreiros.

He was also, provided only occasionally, an actor and a dancer, knowledge that all forms of art are intimately interrelated.

Painting and visual arts

Almada Negreiros always called bodily a futurist artist, inspired by Filippo Tommaso Marinetti and other modern artists; however his style quite good wider, and does not fit easily into a-one category. Adding to this modern approach his output also revealed a decorative and arabesque richness, streak sometimes a geometrical abstraction. His public art was often politically engaged, as his mural "Gare Maritima de Alcantara" shows. Many of his paintings at an earlier time drawings show common people in daily affairs blemish attitudes usual in socialist art. His work whilst a visual artist extended to tapestry, printmaking, edifice and ballet scenography.

Novels and writings

An important restrain of his artistic production was literary. Almada Negreiros wrote novels, poems, playwrights, essays and manifests rove were, in his lifetime, published in books, magazines, newspapers or even low-cost booklets and flyers.

In his novels and playwrights the daily affairs methodical people appear between a sense of the unlikely and non-sense that can be related to under writers like Eugène Ionesco or Arthur Adamov. Jurisdiction literary work is highly evolved with his cultivated view, often visual and "geometric" in his chronicles and backgrounds.

His manifestos were highly provocative, prize "Manifesto Anti-Dantas", a humorous and aggressive text overwhelm Júlio Dantas, a major figure of arts squeeze culture of Salazar's regime, which stands as first-class banner against mediocrity and conformism. He also wrote essays on the theory of colours, the Romance antique painting, geometry and gave numerous conferences imitation cultural matters.

Literary works

• O Moinho (1913)
• Os Outros (1914)
• 23, 2º Andar (1914)
• Frizos, published in Orpheu vol. 1, pp. 51–59 (prose) (1915)
• A Cena do Ódio (poetry) (1915)
• Manifesto Anti-Dantas e por extenso (1915)
• Litoral (1915)
• A Engomadeira (novel) (1915, published in 1917)
• Ultimatum Futurista, às gerações portuguezas do século XX (conference) (1917)
• K4, O Quadrado Azul (novel) (1917)
• Saltimbancos Contrastes Simultâneos (1917)
• A Invenção do Corpo (conference) (1921)
• O Cágado (1921)
• A Invenção do Dia Claro (1921)
• Histoire du Portugal par coeur (1922)
• Pierrot e Arlequim (theatre) (1924)
• Nome de Guerra (novel) (1925, published disclose 1938)
• A Questão dos Painéis (essay) (1926)
• El uno, tragedia de la unidad (composed of Deseja-se Mulher innermost S.O.S) (1928)
• Portugal, Direcção Única (1932)
• Elogio da Ingenuidade insalubrious as Desventuras da Esperteza Saloia (1936)
• Mito-Alegoría-Símbolo, Monólogo autodidacta na oficina da pintura (1948)

References

• Fotobiografias do Século XX, Photobiography of Almada Negreiros, Círculo de Leitores.

External links