[Card Video game] (1947) – José de Almada Negreiro (1893-1970).

A couple of nice uncover card pictures I discovered:

[Card Game] (1947) – José de Almada Negreiro (1893-1970)
discover card
< img alt=" find card" src=" https://www.credit-report-online.net/wp-content/uploads/2017/03/33000689962_ba5a8e962e.jpg" size=" 400"/ > Photo by< a href= " http://www.flickr.com/photos/46944516@N00/33000689962" > pedrosimoes7 Calouste Gulbenkian Gallery, Modern Collection, Lisbon, Portugal

Product: Tempera theoretically
Collection: Dario Martins

BIO

José de Almada Negreiros initially debuts as a caricaturist, in 1911. He gets involved in the I and also II Exhibits of Portuguese Caricaturists, in 1912 and 1913. In 1913 he creates his first jobs in oil paint for the tailor residence Alfaiataria Cunha, and also holds his initial solo exhibition at the International Institution of Lisbon. In March 1914 he publishes his first poem. In 1915, he works together in the first issue of the literary publication Orpheu as well as shows the syllabus for the magazine Contemporânea.

That year likewise noted the arrival of Robert and Sonia Delaunay to Portugal, with whom Almada preserves close call.

Searching, among the European avant-garde movements, a program for his imaginative and literary uniqueness, deserving of the “Portuguese Fatherland of the Twentieth Century”, as he composed in his Demand Futurista às Gerações Portuguesas do Século XX [Futurist Final notice for the Portuguese Generations of the Twentieth Century] of 1917, Almada writes A Cena do Ódio [The Scene of Hate] (1915), Policy Anti-Dantas [Anti-Dantas Manifest] and also Litoral [Shoreline] (1916), A Engomadeira [The Ironing Lady] and K4 O Quadrado Azul [K4 Heaven Square] (1917). His second solo exhibition is held at Jose Pacheco’s Arts Gallery in September 1916, currently at a range from the earlier caricaturist shows.

The Futurist label which he thinks with Santa-Rita Pintor in 1917– the year of the First Futurist Conference and Futurist Portugal– is provocatively adopted as a banner for modernity as well as for the battle against fond memories.

The Lisbon representations of the Ballets Russes, in 1917 as well as 1918, impacted the artist deeply; urging the creation of a series of ballets stood for by novices and kids, specifically by the girls Lalá, Tareco, Tatão as well as Zeca, with which he formed the “Club das Cinco Cores” [Five Colors Club]

The poetics of “Almadian” resourcefulness, thoroughly related to this team, fully created in Paris, where the musician lived in between 1919 and also 1920. Right here, Almada rather isolated himself, seeking his instruction outside the ball of academies and workshops, just tangentially exposuring to the artistic leads.

Back in Lisbon, the artist held his 3rd solo exhibition at the Cinema São Carlos, providing a collection of illustrations developed in Paris. There he states his poem-conference A Invenção do Dia Claro [The Development of the Bright Day], a poetic show of resourcefulness, released in 1921. During the 1920’s he released Pierrot e Arlequim [Pierrot and also Arlequim] (1924) and also started to compose Nome de Guerra [Name of War] (1925); he additionally collaborated in several magazines, publishing jobs in Contemporânea, Athena, Presença, Diário de Lisboa, and Sempre Fixe.

He got involved in the Exposição dos Cinco Independentes [Exhibit of the 5 Independents] (1923) and in the I e II Autumn Exhibits (1925 and also 1926). He painted Auto-Retrato num Grupo [Self-Portrait in a Team] e Banhistas [Bathers] for the café Brasileira (1925), and also Nu Feminino [Female Nude] for the Bristol Club (1926), and belonged to the “modern” artists who, led by José Pacheco, tried, yet fell short, to enter the National Culture of Penalty Arts, in Lisbon. And, in addition, he discovers that “it is living which is impossible in Portugal” (Modernismo, 1926).

Therefore Almada went to Madrid, between 1927 as well as 1932. There, he ended up being proactively associated with the imaginative and literary scene, engaging as well as teaming up with lots of substantial musicians, designers as well as authors of Spanish Innovation. Back once more in Lisbon, he declares the meeting Direcção Única [Solitary Direction], protecting unity between the private as well as the cumulative, “these 2 equivalent, reciprocatory, worths which depend on each other as well as, when separated, eliminate themselves with their own hands.” This relationship was, therefore, hard, yet the I Oficial Exhibit of Modern Art in March 1935, a campaign of António Ferro, an individuality that had been close to the generation that had actually sprung from Orpheu and was currently director of the recently born National Publicity Secretary, offered him hope. “Being a musician is the straight outcome of the human race as well as society; it is a legitimate area for sure individuals”, “the duty of public authorities is simply not to overlook, and to identify particular worths shown to them by humanity and culture”, “it is with great respect that I see, for the very first time in my nation, public authorities together with Portugal’s youngest art”.

With a currently defined creative “character” and achieving an emotional (many thanks to his marriage to the painter Sarah Affonso in March 1934) as well as monetary stability (because of the public compensations he begins to get), Almada complied with alone through the path opened up by his past companions, moving towards hallowing. He is applauded as a writer, from the publication of Nome de Guerra in 1938 on, ushering in the collection of “Modern Portuguese Authors”, arranged by João Gaspar Simões for Edições Europa.

As a painter he has actually been rewarded in 1942 (the Columbano Award), 1946 (the Domingos Sequeira Award), 1957 (Calouste Gulbenkian Structure) and also 1966 (by the paper Diário de Notícias).

He was the writer of the fresco decorations for the Maritime Stations in Alcantara (1943 -1945) and Rocha Conde Óbidos (1946-1949), as well as the developer of portraits of Fernando Pessoa for the dining establishment Irmãos Unidos (1954) and for the Calouste Gulbenkian Structure (1964).

As an art theorist, he created Ver [Seeing] (1943), Mito– Alegoria– Símbolo [Myth– Allegory– Icon] (1948), and also A Chave Diz: Faltam Duas Tábuas e Meia no Todo da Obra de Nuno Gonçalves [The Secret States: Two and also a Fifty percent Panels Are Doing not have in the entire of Nuno Gonçalves’ Work] (1950). These messages think the relentless search of a canon, a structure for universal development, concerns which Almada discovered creatively in a collection of 4 abstract oil paints, revealed at the I Exhibition of the Calouste Gulbenkian Structure (1957) and later recapitulated in the wall panel Começar [Beginning] (1968-1969) for the Calouste Gulbenkian Foundation’s head office.

Sara Afonso-Ferreira

SOURCE: gulbenkian.pt/ cam/en/artist/ jose-de-almada-negreiros-2/

” Tickets” the Card-Dealer
discover card
< img alt=" uncover card" src=" https://www.credit-report-online.net/wp-content/uploads/2017/03/6056577306_1d7316b014.jpg" size=" 400"/ > Picture by< a href=" http://www.flickr.com/photos/35128489@N07/6056577306" >
LSE Library From ‘Street Life in London’, 1877, by John Thomson and Adolphe Smith. This chapter tells of the life of a male nicknamed “” Tickets”:.

“” Regarding this time around “” Tickets” made the colleague of a Frenchman that had significant skill as a sign-painter; as well as both forthwith became part of collaboration. The one paints, the various other took on to travel. “” Tickets ” “is the tourist. From morning t unwell evening he roams about, checking into the home windows of tiny shops, till he discovers a ticket of dingy appearance, discolored in colour, pet dog’s eared, bent, and altogether dishonest. With eagle eye all these issues are determined, and also “” Tickets” goes into boldly right into the shop, to continue the tradesperson the advisability of acquiring a new ticket. He undertakes to supply a specific duplicate of the old and used statement on a much better item of cardboard, newly paintinged, or, possibly, more elaborately garnished.
[…] He really hopes that the number of his clients will progressively enhance, which he will certainly be able to save on his revenues. After that, like a real Frenchman, he will go back to France, and buy the a good reputation of some small shop. Meantime he observes the strictest economic situation. He never consumes alcohol. His bed costs him 2 shillings a week. His morning meal includes cocoa as well as bread, and also butter, the previous being a lot more healthy than tea. For dinner he normally eats a pennyworth of potatoes, with a herring or a haddock as well as a favorite, while his dinner is composed of bread and also cheese to the value of twopence. I t is only on days of outstanding good ton of money that he delights in a little meat.””

. For the complete story, and also other photos and discourses, follow this web link and click with to the PDF data below the summary.
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