Artistic Emigration From Portugal To Paris In The First ...

Artl@s Bulletin Artl@s Bulletin

Volume 6 Issue 2 Migrations, Transfers, and Resemanticization

Article 8

2017

Artistic Emigration From Portugal To Paris In The First Half Of The Artistic Emigration From Portugal To Paris In The First Half Of The

1960s: Six Portuguese Painters From Paris Revisited 1960s: Six Portuguese Painters From Paris Revisited

Joana Baião IHA, FCSH, Universidade Nova de Lisboa, [email protected]

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Recommended Citation Recommended Citation Baião, Joana. "Artistic Emigration From Portugal To Paris In The First Half Of The 1960s: Six Portuguese Painters From Paris Revisited." Artl@s Bulletin 6, no. 2 (2017): Article 8.

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112

Migrations,Transfers,andResemantization

ARTL@SBULLETIN,Vol.6,Issue2(Summer2017)

SixPortuguesePaintersfromParis Revisited:ArtisticEmigrationfromLisbontoParisintheFirstHalfofthe1960s

AbstractThispaperproposestorevisitsomeissuesrelatedtotheimpactofemigrationonthepaths followed by a group of six Portuguese painters who settled in Paris between1958and1961.Todothat,itwillanalyzeandcontextualizetheevolutionoftheirworkin the first half of the 1960’s, and it will recall the small exhibitionSeis PintoresPortuguesesdeParisthatopened in1966 inLisbonwith thepurposeofhighlight theparticularities of the artistic research that was being developed by those artists inParis,integratingthemintotheinternationalartisticmovementsoftheperiod.

JoanaBaião*UniversidadeNovadeLisboa

*JoanaBaiãocompletedherPhDinArtHistory– specializationinMuseologyandArtisticHeritagein2014andiscurrentlydevelopingherpost‐doctoralprojectattheInstitutodeHistóriadaArtedaUniversidade Nova de Lisboa and at the Institut d’Histoire Moderne et Contemporaine (ÉcoleNormaleSupérieure,Paris),supportedbyaFCTgrant.

ResumoNesteartigosãoabordadasalgumasquestõesrelacionadascomoimpactodaemigraçãonospercursosdeseispintoresportuguesesqueseestabeleceramemParisentre1958e1961. Será então analisada e contextualizada a evolução do seu trabalho durante aprimeira metade da década de 1960, e evocada a pequena exposição Seis PintoresPortugueses de Paris, inaugurada em Lisboa em 1966 com o objetivo de realçar asparticularidades da investigação artística que estava a ser desenvolvida por cada umdestes artistas na capital francesa, integrando‐os nos movimentos artísticosinternacionaisdaépoca.

Baião– SixPortuguesePaintersfromParisRevisited

113 ARTL@SBULLETIN,Vol.6,Issue 2 (Summer2017)Migrations,Transfers,andResemantization

Wecertainlyalreadyhaveamongusartistsofmindfulmodernity.Buttheyshouldbeadvisedtourgentlygoto

ParisorLondon(…).Andstayingwillonlybeworthwhileforthoselackingthecourage

ormeanstoleave.‐FernandoPernes,1966

Introduction

In this article Iwill approach thephenomenonofartisticemigrationfromPortugaltoParisbetween1958and1965usingasabasis thecareersofsixPortuguese painters who settled in the Frenchcapitalbetween1958and1961andwhoseworkswere displayed in Lisbon (Buchholz Gallery) in1966, in the exhibition Six Portuguese Paintersfrom Lisbon: René Bertholo (1935‐2005), ManuelCargaleiro(b.1927),LourdesCastro(b.1930),JoséEscada (1934‐1980), Eduardo Luiz (1932‐1988)and Jorge Martins (b.1940). Although thisexhibition isn’t thecentral focusofthisarticle, itsintroduction to establish a theme comes from atwo‐foldperspective:

firstly, due to the fact that it was organizedwith the set purpose of exposing the visualstudiesthatwerebeingpioneeredbyseveralPortugueseartistsbasedinParis;

secondly, because thedates correspond to aperiodofincreasedmovementofPortugueseartists in Europe, stimulated by initiativessuch as grants offered by the CalousteGulbenkianFoundation1startingin1957andwhichtookplaceinthecontextofthecountryundergoing important social, political andculturalchange,asweshallexaminelateron.

Usingthese ideasasastartingpointandwiththeunderstandingofthemigratoryphenomenonas“acatalyst not only of social encounters and changebut also for the generation of new aesthetic and

1TheCalousteGulbenkianFoundationwascreatedin1956,bequeathedbythelastwillandtestamentofthepetrolmagnateandartcollectorCalousteSarkisGulbenkian(1869‐1955).TheFoundation’sstatutesfocusedonfosteringknowledgeandraisingthequalityoflifeofpersonsthroughoutthefieldsofthearts,charity,scienceandeducation.ItsactivitiesarestructuredarounditsheadquartersinLisbonanditsdelegationsinParisandLondon.TheCalousteGulbenkianFoundationintegratestheCalousteGulbenkianMuseum–Founder’sCollectionandModernCollection,theArtLibrary,theGulbenkianMusicServiceandtheGulbenkianScienceInstitute.Accessedon4May2017atURL:https://gulbenkian.pt/en/.

cultural phenomena and structures,”2 throughoutthis article I will single out the contexts of theartistic migration between Portugal and Parisbetween1958and1965.I’llreiteratesomeoftheideas put forth by the art critic Rui MárioGonçalves (1934‐2014) in the Six PortuguesePainters fromLisbon exhibitioncatalogue,which Iwill tie together with the evolution of thesepainters’worksduringthisperiodandwhichIwillalsoattempt toplace in thecontextof theartists’own words as well as those of some Portuguesehistoriansandartcriticsofthetime.

Related to my ongoing post‐doctoral research,3this article is intended to integrate theinternational debates about the centre/peripherydichotomies (because Portugal can beunequivocally included within the group ofcountries which “if only for reasons of linguisticignoranceonthepartofarthistorianselsewhere,havemaintainedafrequentlyisolatedpresenceonthe landscape of art history in Europe”4), and tocontributetoahistoriographythatisinterestedinpromoting a global and transnational art historywhich emphasizes questions of transculturalencounters and circulations through an approachtothemessuchas“culturalinterchanges,”“culturalmixing,” “national artistic identity” or“decentering.”5

Portugal Undergoing Change –BriefContextualization

Despite the fact that moments of migration byPortuguese artists are in no way unusual—fromthe18thcenturyPortugalhadseenseveralflowsof

2“Introduction”inThecultureofmigration.Politics,aestheticsandhistories,ed.StenPultzMoslund,AnneRingPetersenandMoritzSchramm(London/NewYork:I.B.Tauris,2015),1.3Post‐doctoralproject“Studytripsandartisticemigration:PortugueseartistsinParis(1929‐1976),”foundedbytheFoundationforScienceandTechnology,Portugal.ThisprojectisbeingdevelopedintheInstitutodeHistóriadaArte(UniversidadeNovadeLisboa)andintheInstitutd’artmoderneetcontemporaine(Écolenormalesupérieure,Paris).ItaimsatanalyzingthePortugueseartists’trainingandactivitiesinParis,from1929to1976,focusingoncultural,social,politicalandinstitutionalcontexts.4MathewRampley,“Introduction,”inArtHistoryandVisualStudiesinEurope.TransnationalDiscoursesandNationalFrameworks,ed.ThierryLenain,HubertLocher,AndreaPinotti,CharlotteSchoel‐Glass,MathewRampleyandKittyZiljmans(Leiden/Boston:Brill,2012),2.5SeeCirculationsintheGlobalHistoryofArt,ed.ThomasDacostaKaufmann,CatherineDossinandBéatriceJoyeux‐Prunel(Farnham/Burlington:Ashgate,2015).


114 Migrations,Transfers,andResemantization


culturalmigrationwhich,indifferentperiods,hadLondon, Rome, and Paris as their maindestinations—,6artisticmobilityat theendof the1950s and beginning of the 1960s was part of anew context, marked by significant changes inpolitical,socialandculturallifeinPortugal.

At thesocialandpolitical level,wemust first calltomind the severe socio‐political crisis arising in1958whichwas soonworsened by new troublesstemming from colonial policy. After a period ofpolitical stability within the Estado Novo7 in theyears followingtheWorldWar II, towardtheendof the 1950s the dictatorship led by António deOliveira Salazar faced growing internal andexternal opposition and increased action byrepressive police forces, censorship andauthoritarian practices, and the use of coercivemeasures against public opinion and citizens. Atthe same time, Portugal struggled with aweakening of its international positions, due to astaunch pro‐colonial policy marked by armedconflict against the liberation movements inAngola,Guinea‐Bissau,andMozambique(ColonialWar, 1961 to 1974), added to the already fragilestateof theoverseasprovincesof thePortugueseStateofIndia(Goa,Daman,andDiu)andTimor.

The national situation eventually hadrepercussionsintheculturalandartisticfields.Asalready noted by the historian and art critic JoãoPinharanda, after theworldwide conflict “Salazarno longer considered necessary (or secure) theconnection with and support for artists in theconstruction of the regime,”8 as its image wasalready consolidated through the propagandaactionsledbythedirectoroftheNationalOfficeofInformation, Popular Culture and Tourism,AntónioFerro (1895‐1956).As thementorof the“policy of spirit,” throughout the 1930s and the 6SeeFernandoRosaDias,“AarteportuguesaeosciclosdemigraçãoartísticaparaParis,”inChiado,Baixaeoconfrontocomofrancesismonasartesenaliteratura,coord.EditedbyJoséQuaresma(Lisbon:FaculdadedeBelas‐ArtesdaUniversidadedeLisboa,2013),48.7EstadoNovoisthedesignationfortheautocratic,authoritarianandcorporatistpoliticalregimewhichrulesPortugalbetween1933and1974.TheEstadoNovohadasitsfounderandleaderAntóniodeOliveiraSalazar(1889‐1970),whoruledthecountrybetween1933and1968.8JoãoPinharanda,“Odeclíniodasvanguardas:dosanos50aofimdomilénio”inHistóriadaArtePortuguesa,editedbyPauloPereira.Vol.3(Lisbon:TemaseDebates,1995),594.Unlessotherwiseindicated,translationsfromPortuguesetoEnglisharemadebytheauthor,whoalsooptedtokeepFrenchquotationsintheoriginallanguage.

1940sFerrohadencouragedseveral initiativesofsupport fornationalartists.Hisdismissal in1950was the starting point for changes to theinstitutional framework of artistic activity,including a significant lack of investment insupport for the plastic arts, a situationworsenedby the absence of cultural policies, shortage ofpublic and private commissions, and lack of anartistic market or an enlightened privatecollectionism.9

Despite this far‐from‐stimulating panorama, thewindsofchangewereonthehorizon.Ononehand,anewgenerationofartistssoughttorevitalizethecultural scene through initiatives outside theofficial channels. At the same time, they werereceptive to internationalization experiences andwere accompanied by a group of enlightenedcritics who, from the end of the 1950s, wereequally committed to pursuing their educationabroad (mainly in France) and were able toconscientiously analyze the evolution ofWesterncontemporary art.10 On the other hand, severalprivate institutions began to promote extra‐regime artistic activities. These included theSociedade Nacional de Belas‐Artes (NationalSociety of FineArts),which began to “modernizeits programs and became an anti‐fascist culturalresistance center;”11 and the CalousteGulbenkianFoundation (CGF), which just after itsestablishment in 1956 assumed the role of a“ministry of arts, although without a State,”12implementing a supportive action for Portugueseartists by organizing exhibitions, promotingpublishing,acquiringartworks—ararestimulusinanationalartmarketthatnearly inexistent inthelate 1950s—and attributing travel and studygrants to go abroad. These grants were distinctfrom the artistic grants laiddownby the State inlegislation,whichwere rarely attributed and had

9Ibid.,594.10ParticularlyJosé‐AugustoFrança,FernandoPernes,RuiMárioGonçalvesandAlfredoMargarido,whostudiedinParisbetweenthelate1950sandthemiddleofthenextdecade,attendingtheÉcolePratiquedesHautesÉtudes,theÉcoleduLouvre,theCollègedeFrance,andtheInstitutd’Artetd’Archéologie.11RuiMárioGonçalves,AarteportuguesadoséculoXX(Lisbon:TemaseDebates,1998),64.12LeonordeOliveira,FundaçãoCalousteGulbenkian:estratégiasdeapoioeinternacionalizaçãodaarteportuguesa1957‐1969.PhDDissertation,unpublished(Lisbon:FaculdadedeCiênciasSociaiseHumanasdaUniversidadeNovadeLisboa,2013),420.



quitedifferentcriteria,astheywereonlydestinedfor professors, those with higher education, orthose under public employment who wereconnectedtothefinearts,settingapartartistsnotyet graduated, in training or at the beginning oftheir careers.13 Consequently, the CGF’s grantprogram,wellstructured,consistentandavailableto different generations of artists, would play acentralroleininfluencingtheindividualcareersofseveralartistsresulting innotableeffects inpost‐1960Portuguesearthistory.

Stayorgo?

TheopportunitiestogoabroadencouragedbythegrantsattributedbytherecentlycreatedCGFwereseenindifferentwaysbyartistsandcritics.Whiletherewerethose,suchasMárioDionísio(painter,essayist and critic, 1916‐1993), who in partregretted the fact that young artists only caredabout“Paris,orRome,LondonorNewYork,whilepainting.It isperhapstheirdefense, it iscertainlyourmisery,”14forthemostpartgeneralopinion

13SeeDecree‐LawNo38.680,DiáriodoGoverno,SeriesI,No61(17March1952),415‐419.ThestudyandtravelartgrantspromotedbybothpublicandprivatePortugueseinstitutionsarecurrentlybeingstudiedbytheauthorinthecontextofheralreadymentionedpostdoctoralproject.14MárioDionísio,answertothequestionnaire“Aarteeavida,”DiáriodeLisboa(7April1957):7.

alignedwith theposition takenby thecritic José‐Augusto França (b.1922)who did not hesitate todefend emigration as the only way out,recommending “painters who really want to bepainters,leaveherewhileyoucan,”15andinsisting:“Our painters must belong [to Europe]—or theywill die.”16 And such was his conviction in thismatter that in1958hewouldbecaricaturizedbythe painter Benjamim Marques (1938‐2013),pointingthedirectionofParistoagroupofartists(Fig.1).

Asignificantnumberofartistswhosecareersweretakingoff at that timedid in fact feel theneed toleave.TheelecteddestinationwasParis,andeventhough other European cities had begun toestablish themselves as centers of artisticemigration for Portuguese artists—among themMunich,Berlin and,more significantly, London—,the French capital maintained its unquestionedposition as the heart of European culture,attracting artists of diverse provenance. As José‐AugustoFrançaobserved,inakindofassessmentofthe1960s,

15José‐AugustoFrança,OComérciodoPorto(23October1956),6.16José‐AugustoFrança,PinturadeLourdesCastroeRenéBèrtholo,exh.cat.(Lisbon:GaleriadeExposiçõesdoDiáriodeNotícias,1957),n.p.

Figure 1. Caricature of José‐Augusto França by Benjamim Marques, published in Diário de Lisboa (6 November 1958): 16. Source: Publicly accessible image located at URL:http://www.fmsoares.pt/aeb_online/visualizador.php?bd=IMPRENSA&nome_da_pasta=06533.071.16022&numero_da_pagina=16(Accessedon3March2017).




Acenterisacomplexphenomenonproducedbythegathering of the possibilities of a random futurewithahistoricallyandaccomplishedpast.SoitisinParis—where, beside these artists of Frenchnationality,many others, from the four corners oftheworld,cometogether.17

Furthermore,PariswasseenbyPortugueseartistsas a logical destination due to its relativeproximity(notsomuch in thephysicalsense,butin the psychological), in a period in which“Portugal spoke French,” an expression I borrowfrom a recent essay by the historian Rui Ramos,which communicates the importance andinfluenceofFrancophilecultureinPortugallastinguntil the early second half of the twentiethcentury.18As such, itwas to this city that severalPortugueseartiststravelledfrom1957throughallof the 1960s,19 among them the six paintersevoked in this article: René Bertholo, ManuelCargaleiro, Lourdes Castro, José Escada, EduardoLuiz,andJorgeMartins.

Six Portuguese Painters fromParis

TheartistswhocametogetherattheexhibitionSixPortuguese Painters from Paris had severalcommon elements: they had all crossed paths inPortugal and belonged to roughly the samegeneration,havingstarted toproduceandexhibitin the 1950s;20 all had received grants from theCalouste Gulbenkian Foundation,21 with theexceptionofJorgeMartinswhoneverreceivedanytype of financial support due to his militaryunsolvedsituation;andallhademigratedtoParisbetween 1958 and 1961,22 integrating into theParisian art scene with the assistance of the 17José‐AugustoFrança,“Ideiaseinteligênciasnapinturafrancesacontemporânea,”Colóquio.RevistadeArteseLetras,N.º54(June1969),22.18RuiRamos,QuandoPortugalfalavafrancês(Paris:FondationCalousteGulbenkian–DélégationenFrance,2015),15‐16.19Accordingtodataalreadycollectedinmyresearch,duringthe1950sand1960s,around80Portugueseartists,withorwithoutstateorprivatesupport,passedthroughParis,inmoreorlessprolongedstays.20Theoldestofthisgroup,ManuelCargaleiro,beganexhibitingearlier,inthe1940s,asaceramistartist.Asapainter,heexhibitedforthefirsttimein1953attheSalãodaJovemPintura(GaleriadeMarço,Lisbon).21CGFGrants:RenéBertholo,1960‐1961;ManuelCargaleiro,1958;LourdesCastro,1958‐1959;JoséEscada,1960‐1961;EduardoLuiz,1958‐1960.22LourdesCastro,RenéBertholo,ManuelCargaleiroandEduardoLuizwerethefirsttosettleinParis,in1958.JoséEscadawouldsettleintheFrenchcapitalin1959andJorgeMartinsonlyin1961.

painterMariaHelenaVieiradaSilva (1908‐1992)andherhusband,thepainterArpadSzenes(1897‐1885),individualswhorepresented,intheeyesofyoung Portuguese, the greatest expression of thesuccessParisianexilecouldprovide,asVieirahadbeenthefirstartistofPortugueseorigintoattainarecognizable international success built firstly inParis, and Arpad sharedwith these young artiststhe fact of coming from an equally peripheralcountry,Hungary.23Otherimportantintersectionsbetweentheseartistsmustbementioned:LourdesCastro and René Bertholo were married and,alreadylivinginParis,foundedthemagazineKWY(1958‐1964),apublicationnamedafterthegroup,whose core was formed by the Portuguese JoséEscada, João Vieira (1934‐2009), Costa Pinheiro(1932‐2915)andGonçaloDuarte(1935‐1986),theGerman Jan Voss (b.1936) and the BulgarianChristo(b.1935),thenjoinedbyalargenumberofplastic artists and contemporary poets, includingManuel Cargaleiro (who collaborated in issue 4)and Jorge Martins (who collaborated in issues 5and 8). It is interesting to note that KWY is anindispensableresource towardunderstanding thePortuguese artistic emigration in this period,insofar as it reveals a group of artists whowereopen to (and looking for) influences by culturalenvironmentsdifferent fromtheirownthatcouldserve them as factors of instigation andmaturationfor their individualprojects.TheKWYexperienceisalivingtestamenttothewideningofgeographical partnerships as the magazinefunctioned as a sort of platform for contactbetweenartistsofdifferingnationalitiesforwhomcirculation and emigration became a workingtactictostimulateartisticcreation.24

WhilestillinPortugal,throughoutthe1950s,theseartists witnessed the debates inherited from thepreviousdecennium,centeredonthedialecticsoffigurativeartversusabstractart.25Bytheendof

23SeeAnaVasconceloseMeloeMarinaBairrãoRuivo,AmigosdeParis,exh.brochure(Lisbon:FundaçãoArpadSzenes‐VieiradaSilva,2012),4.24SeeAnaFilipaCandeias,RevistaKWY:daabstracçãolíricaànovafiguração(1958‐1964).Master’sthesis,unpublished(Lisbon:FaculdadedeCiênciasSociaiseHumanasdaUniversidadeNovadeLisboa,1996);andKWYParis1958‐1968,coord.MargaridaAcciaiuoli,exh.cat.(Lisbon:CentroCulturaldeBelém/Assírio&Alvim,2001).25SeeAlexandreMelo,“Osanos60,”inArteeartistasemPortugal(Lisbon:CírculodeLeitores,2007),16‐17.



the decade, the argument seemed to relent andabstractionismclearlywon,receivingtheattentionof a significant group of critics and artists whowere particularly attentive to the artistic andtheoreticalproposalsoftheÉcoledeParis.InParis,the Portuguese artists were exposed not only tothe vitality stemming from contemporary socialandculturaldynamics,butalsotoacitythatwasaplaceofmemoryofanartisticallyrichpast,whereit was possible to visit a significant number ofmonuments, museums and galleries, and tocontact with master artworks from differentperiodsandproveniences—theFrenchcapitalwasan international crossroads of places, times andcultures which would be absorbed in differentwaysbyeachartistandwhichwouldbereflectedwithgreaterorlesserexpressionineachonepath.

Six Portuguese painters, fromPortugaltoParis

The beginning of Lourdes Castro’s career wasmarked by an interest in figuration, materializedin works taking as models the human figure orvegetable motifs and that announce themes andresearch directions that would later be resumedanddeveloped.However,inthelate1950s,stillinPortugal, andafterwardsduringher firstyears inParis, the artist would experience a “necessaryabstraction”26 characterized by the art historianFernando Rosa Dias as the result of a desire toovercome the academic period at the School ofFineArtsofLisbonandalso theneed for culturalupdating,tunedinwiththeinternationalcontext.

26FernandoRosaDias,ANova‐FiguraçãonasartesplásticasemPortugal.Vol.I.PhDDissertation,unpublished(Lisbon:FaculdadedeBelas‐ArtesdaUniversidadedeLisboa,2008),329‐330.

Figure2. Lourdes Castro, Sombra Projectada deRenéBertholo [René Bertholo’s projected shadow], 1965. Glyceroftalic paint, plexiglas, 71 x 116 x 4,5 cm. Calouste GulbenkianMuseum—ModernCollection,Lisbon.Source:https://gulbenkian.pt/museu/collection‐item/sombra‐projectada‐de‐rene‐bertholo‐156602/(Accessedon8May2017).




From 1961, already in Paris, a new direction inCastro’sworkwouldleadhertoabandonabstractpainting—and traditional painting media ingeneral. She then began to collectmaterials fromthe most diverse origins and objects from dailylife,usingthemtomakeassemblagesandcollagesthat questioned the role of art and sought toapproximate it to life. Those works evoked thememories still present in eachobject, bringing tolightanunderstandingofanartisticaura:objectsthat nobody was concerned with were madeobjectswithaprivilegedappeal.

From1963Castro’sartisticresearchwouldreflecther increasing interest for figurativerepresentation (of objects, people or plants),through the exploration of light and subsequent(de)materialization of forms, expressed by their‘silhouettes’ and ‘projected shadows,’ throughwhichshereflectsontherelationshipbetweentheimmaterial and the necessary materiality of theartisticspace27(Fig.2).Asshewouldadmitinthatperiod,“Ashadowismoremeaningfultomethanasimply described object. It is a way ofcontemplating things and people around me(…).”28

Thework of José Escada also evolved during thesame period following an interest in alternativematerials and reflectingon the relationsbetweenabstract and figurative art. Still in Portugal, thepainter displayed a clear preference forabstraction, commenting: “We must, at everyopportunity, reconquer thesenseof sight (…)Letus foramomentabandon theneed to identify, torecognize, so that the form that also exists in usmaybeunveiled.”29InParis,afteraphaseinwhichheproducesabstractwatercolorsandoilpaintingsthat “asmuch incompositionas in technique (…)in no way draw away from my previous worksproduced in Portugal,”30 Escada’s interest

27SeeBernardoPintodeAlmeida,“Osanossessenta,ouoprincípiodofimdoprocessodamodernidade,”inPanoramaArtePortuguesanoSéculoXX,editedbyFernandoPernes(Oporto:FundaçãodeSerralves/CampodeLetras,1999),217.28LourdesCastro,“Serigrafias,”196‐?,quotedinLourdesCastro.AlémdaSombra,exh.cat.(Oporto:FundaçãodeSerralves,1992),n.p.29JoséEscada(n.d.)apudRuiMárioGonçalves,PinturaeesculturaemPortugal–1940/1980.3rded.(Lisbon:InstitutodeCulturaPortuguesaeLínguaPortuguesa,1991),78.30JoséEscada,ReportsenttotheCGF(January‐March1960).GulbenkianArchives,SBA00262.

progressively turned to figuration, rejectinghowever its descriptive potential (refusing, thus,any return to naturalism), opting instead toexplore“apaintingthatusesthefigure, insofarasthis figure does not destroy the ambiguityachieved by abstraction” 31 (Fig. 3). This interestwas accompanied by the exploration of newtechnical processes, initially still on canvas “towhich are added other supports of transparentpaper that can be called complementary,”32 andthen in other materials, such as aluminum orPlexiglas.

Figure3.JoséEscada.Semtítulo[Untitled],1965.Oiloncanvas,65x99cm.CalousteGulbenkianMuseum—ModernCollection,Lisbon.Source: https://gulbenkian.pt/museu/collection‐item/s‐titulo‐138864/ (Accessedon8May2017).

31JoséEscada,interviewedbyAlfredoMargaridoandRuiMárioGonçalvesinJornaldeLetraseArtes(25August1965):15.32JoséEscada,ReportsenttotheCGF(January‐June1961).GulbenkianArchives,SBA00262.



In a similar movement, the first works of RenéBertholo also stand on ambiguous territorybetween abstraction and figuration,33 and, in thelate1950s,atietoabstractartwithexpressionistfeatureswasprogressivelyassumed,developedbyexploring gestures andmaterial virtualities. OnceinParis,afteraninformalistphasematerializedinpaintings“alongthelinesofStäel,”34created“withatachisteattitude,withprojectionandpaintingonthefloor,alwaysradicallyabandoningdrawing,”35Bertholoreturned to figuration, clearlyevident intheworkscreatedbetween1962and1966.

Figure4.RenéBertholo,Semtítulo[Untitled],1964.Crayon,graphiteandcolouredpencil, 56,8 x 35,5 cm. Calouste Gulbenkian Museum—Modern Collection, Lisbon.Source: https://gulbenkian.pt/museu/collection‐item/sem‐titulo‐156790//(Accessedon8May2017).

33ThishesitationwasevidentinBertholo’sfirstindividualexhibitionin1953,inwhichheexposedbothabstractandfigurativepaintings.SeeFernandodePamplona,“Críticadeexposições.OsjovensartistasLopesAlveseRenéBértholoexpõemnaPenhadeFrança,”DiáriodaManhã(14July1953):3.34RenéBertholoin“Quebraroisolamentodeveseroobjectivoessencialdospintoresportugueses–pensamLourdesCastroeRenéBértholo,”JornaldeLetraseArtes(31July1963):10.35Ibid.,10.

This phasewould be remembered by the painteras the result of the “need to cut away from theabstraction in vogue at the time (…). Iwanted tofightthepreconceivednotionthatabstractionwasmoremodernthanfiguration(…)”36(Fig.4).

Along another line of work, closely connected tohis activity as a ceramics artist, is the work ofManuel Cargaleiro.After an initial pictorial phasecharacterizedbyaproximityto theFrench lyricalabstraction in which he produced works definedby thick brushstrokes, expressive areas of mixedcolorandgamesoflightthroughtheuseofvibranttones,Cargaleiroprogressivelyexploredtheuseofplain colors and simple shapes in paintings thatowe something to “Matisse’s lesson inrationalization.”37 Thus, by the mid‐1960s, heconceivedpaintingswithirregularandcurvilinearshapesbasedonbiomorphicstructures,simplifiedrepresentations of natural elements. Swingingbetween figuration and non‐figuration—in 1994,recallingCargaleiro’sartisticcareer,thepoetAlainBosquet referred all his paintings as “semifigurative,leavingthemomentofinterpretationtothe viewer’s imagination”38—, the works of thisperiodmayalsorefertothegeometrizedvegetablemotifs used in the decoration of popular anderuditeceramicart39(Fig.5).

In an artistic journey that also “breaks theboundaries placed between abstraction andfigurativeart”40 istheworkof JorgeMartinswho,consciously “influenced by a certain School ofParis, Vieira da Silva, Poliakoff, Manessier…,”41developedaninitialphaseofworkscharacterizedby approximations of calligraphy, streaks,transparencies,suggestionsofpurespace.

36RenéBertholointerviewedbyBernardMonitotinRenéBertholo,exh.cat.(Paris:GalerieduDragon,1985),n.p.37FernandoPernes,“SeispintoresportuguesesdeParis,”Colóquio.RevistadeArteseLetras,No.41(December1966):70.38AlainBosquet,“ManuelCargaleiro:oobjecto,afestaeosonho,”inManuelCargaleiro.Exposiçãodepintura.exh.cat.(Seixal:CâmaraMunicipaldoSeixal,1994),4.39Itmustbementionedthatin1958CargaleirohadagrantfromCGFinthisarea,developinghisresearchesintheFaienceriedeGien,undertheguidanceofRogerBernard.40RuiMárioGonçalves,“JorgeMartinsexpõe,”JornaldeLetraseArtes(11April1962):13.41JorgeMartinsinterviewedbyRobyRolimin“JorgeMartins:umpintorportuguêsnoCentroGeorgesPompidou,”JornalNovo(7June1978):9.




Figure5.ManuelCargaleiro,Semtítulo[Untitled],1967.Oiloncanvas,53x74,7cm.CalousteGulbenkianMuseum—ModernCollection,Lisbon.Source:https://gulbenkian.pt/museu/collection‐item/stitulo‐156172/(Accessedon8May2017).

However, maintaining the same conceptualconcerns on reflection about space, in the 1960shis painting would evolve toward a kind offiguration focusedon studyingman’s relationshipwith objects (Fig. 6). In 1970, the artist himselfwouldcommentonthisevolution:

(…)whatinterestsmeispreciselygivinganimageoftherelationshipbetweenpeopleandobjects.AndI am convinced that is one of the functions ofpainting: to place man in nature, so to speak. Tocreate an image ofman’s circumstance in relationtotheobjectsthatsurroundhim.42

Finally,EduardoLuiz,theonlyoneofthisgroupofpainterswho,althoughconsciousof thehistoricalimportance of abstraction, opted from thebeginning to remain formally distant from thatlanguage: before leaving for France, his paintingswere founded on figurative ground, even thoughshapeswereautonomousfromdescriptionandtheallusions to concrete aspects of reality worked 42JorgeMartinsinterviewedbyRamiroOsórioin“JorgeMartins.PintoremParis.Bisontinice,”ACapital.SuplementodeDomingo(22Novembrer1970):16.

mainlyasindicatorsofformalinteractions.43Inthe1966 exhibition, Luiz displayed works thatreflectedthedirectionhecametodefine inParis:“fromabstractart,makingapaintingwhichisnotabstract.”44 In other words, in a very personalmanner, his research would eventually approachthe same issues explored by the other painterswhoexhibitedwithhim in1966,even thoughhispath would lead him to an almost extremefiguration—although far from hyperrealism—inwhich the elements represented in the paintingexisted as figurative indicators of the themes hewas interested in (science and art as areas ofknowledge),metaphorsofabeginningmomentinapathoflearning,orevenare‐beginning(Fig.7).45

Figure 6. Jorge Martins, Precious stones, 1965.Oil on canvas, 115,5 x 89 cm cm.CalousteGulbenkianMuseum—ModernCollection,Lisbon.Source:https://gulbenkian.pt/museu/collection‐item/precious‐stones‐139422/(Accessedon8May2017).

43SeeMariaBarbosaSoares,“EduardoLuiz:naordemadesordem:ampliandoaexperiênciadarepresentaçãoempintura,”CiênciaseTécnicasdoPatrimónio.RevistadaFaculdadedeLetras.Vol.3(2004):111.Accessedon15November2016atURL:http://hdl.handle.net/10216/8698.44EduardoLuizinterviewedbyFernandoGilinEduardoLuízexpõenaGaleria111,exh.cat.(Lisbon:Galeria111,1973),9.45SeeSoares,“EduardoLuiz.Naordem,adesordem…,”113.



Continuity and Change: AbstractArt–FigurativeArt

One of the more evident aspects in the paths ofthese “sixPortuguesepainters fromParis”duringthe period in question is the generalized andrenewed interest in figurative language,approached and interpreted in different ways byeachartistandwhichexistsinageneralcontextofshared reflection regarding the relationshipbetween abstraction and figurative art. Thus, RuiMário Gonçalves would include these painters’researcheswithin international development of a“New Figuration” which was understood by thecriticastheresultofacrisisofgeometricand

informalabstractionthatendedupstimulating“anewartisticinterestinthefigurativeelementsandthe object that entails it.”46 It must be noted,however, that this phenomenondid not imply anabruptbreakawaywithabstractionorassertitselfasareturntopastmethods;onthecontrary,asthecritic Fernando Pernes then observed, this newtendencycouldonlydevelopinan“anti‐naturalistclimate of abstractionist endeavor,” not implying“any return to the purposes of traditionalfiguration.”47AndevenGonçalvesstatedthat

46RuiMárioGonçalves,SeispintoresportuguesesdeParis,exh.cat.(Lisbon:GaleriaBuchholz,1966),n.p.47FernandoPernes,“Dasartesplásticas.EuricoGonçalves.LourdesCastro.RenéBertholo,”JornaldeLetraseArtes(4November1964):12.

Figure7.EduardoLuiz,L’ardoiseàl’artichaud,1965.Oiloncanvas,73x92cm.CalousteGulbenkianMuseum–ModernCollection,Lisbon.Source:https://gulbenkian.pt/museu/collection‐item/lardoise‐a‐lartichaud‐138886/(Accessedon8May2017).




Neo‐figurative art corresponds to a new artisticinterest in the figurativeelementand intheobjectthat the figure represents. In the case of the purefigure, the object doesn’t exist in the painter’sconsciousness before the creation of the painting.(...) The difference between this kind of paintingand traditional figurative painting is that for theformer, the object comes to consciousness as aconsequenceofthefreeuseofpictorialmaterials–itappearswiththefigure,thatis,thefigureandtheobjectaretoeachother;inthelatter,theobjectpre‐existsandthematerialsuseddependonitandthedescriptionofit.48

Associatedwith the desire to overcome previousabstract experiences and the effort to reinventfigurative traditions, neo‐figurative art resumedtraditional motifs which had been dominant innineteenth‐centurypainting,withoutthetechnicaland conceptual concerns related to mimeticrepresentation, even subverting the verystructures on which these were founded, andsimultaneously taking an interest in new culturaliconography, both popular and erudite, “in atendency toward fragmentation and de‐contextualizationthroughreferenceandcollage.”49Exploring a new concept of figure‐object andproposinganewobjectualdimension inpainting,whether through the process of fusing artisticmaterials or through pictorial research on theconstruction of a new “narrative” time, neo‐figurative art is tied to the debates andexperiments that took place in the 1950s and1960s based around new artistic tendencies.Among these new trends, British and AmericanPop‐art(whichPortugueseartistswereabletoseein Paris from 1963, mainly in the exhibitsorganized by the Sonnabend Gallery50) and theFrench movements of nouveau réalisme andfiguration narrative, which also appropriatedobjects and iconographyof industrial culture, theformer with a neo‐dada attitude which exploredthe problematics of the object, the latter more

48RuiMárioGonçalves,“LourdesCastroeRenéBértholo‐GaleriaDivulgação”,Colóquio.RevistadeArteseLetras,No.31(December1964):39‐40.49Dias,ANova‐FiguraçãonasartesplásticasemPortugal,927‐928.50JorgeMartinsmentionsinaninterviewthatinthe1960s“IalreadyfollowedtheevolutionofAmericanpaintingthroughtheSonnabendGallery,inParis.”JorgeMartins[interview]inRodriguesdaSilva,“JorgeMartins.Dorigoràsíntese”:26.

focused on reflections around figuration and theexerciseofpainting.

The Portuguese artists who had emigrated toParis—especially the founders of KWY—werenaturally attentive to all these tendencies,watchingandparticipatingintheirmanifestationsand debates, and interacting with theirprotagonists. An example of this contact is RenéBertholo, who in 1964 participated in thefiguration narrative turning point exhibition (LesMythologies Quotidiennes, Paris, 196451) andwhoseworks had already garnered the attentionoftheFrenchcritique:concerningtheexhibitionofhisworksatGalerieDuDragonin196352,thecriticJean‐JacquesLévêquestatedthat

Les thèmes, la mythologie de René Bertholo sontceux du “pop‐art”: inventaire des objets quifaçonnent notre quotidienneté. Toutefois, grâce àun certain parti humoristique, il parvient àdébarrasser l’objet de son aspect utilie et à lefondredansun“magma”remuant.C’esticil’ombredurirequidéformeleréel.53

Pierre Restany, mentor of the Nouveau réalisme,also commented that the KWY artists knew fromthe beginning “to place themselves in the eye ofthetornado,atthecenterofthecreativeadventurethat would dominate the rest of the twentiethcentury:theNouveauRéalismeandtheexpressiveadventure of the object,” recognizing their meritfor “having been able to anticipate the greatbreadth of the concept of modern natureassociated with urban culture and its globalizingpower.”54

Despite thiseffective integration intotheParisianart scene and the awareness of the artisticmovementsoftheirtime,onecanobservethatthePortuguese painters mentioned would choose toadopt an attitude of detachment from them:Bertholo, regarding his relationship with artistsand theorists of the Nouveau réalisme, wouldcomment that “We used to get along well. The 51SeeJean‐PaulAmeline,“Auxsourcesdelafigurationnarrative,”inFigurationnarrative.Paris1960‐1972,exh.cat.(Paris:Réuniondesmuséesnationaux/CentrePompidou,2008),17‐32.52SeeBertholo.Chemay,exh.cat.(Paris:GalerieduDragon,1963).53Jean‐JacquesLévêque,“Chemay–Bertholo.Uneèrebaroque,”Arts.N.º934(Paris,30Octobre‐5Novembre1963).54PierreRestany,“Paris,1958‐1963”inKWYParis1958‐1968,49and51.



proof is that in one ofmy catalogues there is aninterviewwith Restany, although he had nothingtodowiththekindofartisticworkImade.”55JoséEscada would comment that he did not identifywith pop art and similar tendencies, consideringthem hostages of “an episodic and sensationalistvisionofthereal,”56withoutconcreteproposalsofvisual reflection; and Lourdes Castro wouldmentionthat

Whoever looks at them [my works] superficiallytalksabout‘nouveauréalisme,’althoughIdon’tfeelat all connected to the movement. In ‘nouveauréalisme’(...) there isnoartist intervention,realityisshownasitis,and,forme,theobjectsintegratedinto works are merely means and not ends inthemselves(…).57

It should be noted that, in this sentence, Castroreveals herself somewhat mistaken in herinterpretation of Nouveau réalisme, as thismovement clamored specifically for “nouvellesapproches perceptives du reel,”58 for which theartist’sinterventionwasindeedcrucial.

The critical and sometimes misguided outlookwith which the emigrant Portuguese artistsobserved the tendencies they had contact withabroad demonstrates that there was a desire toaffirm a visual autonomy in the development oftheir artistic paths, which they didn’t intend toassociatetocollectivemovements.However,theirworks reveals that the contact with the multipleresearches that dominated international art—especially those related to the Pop canon,articulated with references from the previousdecades (such as informalism or gesturalism)—had more or less profound, but inevitable,consequences.ThesefactorswouldleadRuiMárioGonçalves to observe that each artist’s evolutionwas due to personal, complex aspects that wentbeyondthecontextofemigrationandconsequent

55RenéBertholointerviewedbyPaulaMirandaBritoinJuly1999,inPaulaMirandaRito,Teoriadearteportuguesanosescritosdeartistasplásticosdosanos60.Vol.II.Master’sThesis,unpublished(Lisbon:FaculdadedeBelas‐ArtesdaUniversidadedeLisboa,2000),5.56JoséEscadainterviewedbyAlfredoMargaridoandRuiMárioGonçalvesinJornaldeLetraseArtes(25August1965):16.57LourdesCastroin“Quebraroisolamento…”:10.58DéclarationconstitutiveduNouveauRéalisme(27October1960).ThisstatementwaswrittenbyPierreRestanyandsubscribedbyArman,Dufrêne,Hains,Klein,Raysse,Spoerri,TinguelyandVilleglé.

international contacts, despite the clearmarks oftheseexperiences:

For each of them, their career has suffered sometwists. But it is usually due to their personaldevelopment.Theycarrywiththemsomethingtheydo not find in Paris and, likewise, that they couldnothavedevelopedinPortugal.59

Portugal–Paris–Portugal:SomeRepercussions

When asked about their emigration experiences,the “Portuguese painters from Paris” wereunanimous in recognizing their importance. Asearly as 1962, for example, Manuel Cargaleirohighlighted the advantages of the multipleopportunitiesforcontactwithavisualculturethatcould only be obtained “in that city with themagical name: Paris,” through “assiduousattendance of ateliers, museums and galleries,impossible inourcountry.”60 In thesameperiod,René Bertholo and Lourdes Castro alsoencouraged Portuguese artists to seek effectivecontact with international contexts, since “only aconfrontation would enable progress” and, inaddition to contributing to the “loss of thecomplexes” of national artists and critics, thiswouldbetheonlywayto“modifythetendencyofconcentration of Portuguese society.”61 Later,Jorge Martins would also emphasize theimportance that the living abroad had had in hisartisticcareer,rememberingthat“after1961,withmy coming to Paris, the influences and theadmirations multiplied and while they weren’tneutralized, theywere reduced; I couldno longertalk about influences but instead of digestion ofdisparateelementsandintellectualadherencethatconvergesfromeachartisttomypainting(...).”62

Inadditionitseducationalimportance,thepositiveviewthattheseartistshadofemigrationwasalsoduetothefactthatthisexperiencehadopenedthe 59Gonçalves,SeispintoresportuguesesdeParis,n.p.60ManuelCargaleirointerviewedbyFernandoPernesin“DiálogocomManuelCargaleiro,”JornaldeLetraseArtes(3January1962):11.61“Quebraroisolamento…,”10.62JorgeMartinsinterviewedbyInêsPedrosain“Acoréinvisível,”JLJornaldeLetras,ArteseIdeias(10‐16March1986):19.




possibilitiesofcollaborationwithotherartistsandof disseminating their work in the circuit ofexhibits and awards, in a strongly competitivemarket,howeverwithagrowingvitalitypromotedby gallerists and marchands looking for newproposals.TheseinteractionswereexpressivenotonlyintheKWYartists(Castro,Bertholo,Escada),who fostered relations with artists of variousnationalities through the magazine, and whoregularlyparticipatedinParisianevents,63butalsoin thecareersof theothermentionedPortugueseartists(Cargaleiro,Luiz,Martins).64

Theactivityof theseartists inFrancealsoechoedin Portugal where, in the early 1960s, the artmarket started tobecomemoredynamic throughthe action of new galleries and the emergence ofan attentiveprivate collectionismwhichbegan tobuy their works.65 These painters (as well asotherssettledinParisorinotherEuropeancities)didnotceasetoexhibitinPortugalduringthetimetheystayedabroad,beingaregularpresenceinthePortuguesepress,throughinterviewsandthroughthe critiques of their works. In this way, and inspite of the distance, the emigrant artistscontributed to thedebates regarding the changesthat were felt in international art and itsrepercussions in Portuguese art, subject thatwillbetheobjectoffutureanalysis.

Finally, it is important tohighlight another factorrelated to the migratory phenomenon: theimportanceofbeing“outthere”inordertobetterunderstandtherealityofthecountryoforiginandto contribute to its social and cultural evolution.

63InadditiontotheexhibitionoftheKWYgroupinParisin1961(GalerieSoleildanslaTête),itshouldbementionedtheexhibitionactivityoftheseindividualartistsintheFrenchcapital:LourdesCastro‐BiennialofParis(1959),SalonComparaisons(1963),SalondelaJeunePeinture(1964),individualexhibitionintheGalerieÉdouardLoeb(1966).RenéBertholo‐exhibition“Imagesàcinqbranches”inGalerieMathiasFels(1963);exhibitionwithChemayinGalerieduDragon(1963);MythologiesQuotidiennes(1964);individualexhibitioninGalerieMathiasFels(1965);collectiveexhibition“Brusse,Bertholo,Camacho,Dietmann,Klasen,Kudo,TelemaqueAdami,DelPezzo,Schifano,Tadini”inMilanandParis(1966);exhibition“PrixMarzoto”attheMuséeGalliera(1966‐1967).JoséEscadawouldnotbesoprofitableinthistypeofactions.Itshouldbenotedhoweverthatin1960hewasselectedtomakealargepaintingfortheTurmacTobaccofactoryinZevenaar(Netherlands).64Iwouldevokeonlyafewexamples:ManuelCargaleiroexhibitedindividuallyforthefirsttimeinParisinFebruary1963attheGalerieValérieSchmidtandthefollowingyearheillustratedthebookPassagesofSilencebytheFrenchpoetBernardMazo(1939‐2012);EduardoLuizmadedrawingsandpaintingsfortheanimatedfilmLaBrûluredeMilleSoleils,directedbyPierreKastin1965(whichwonfourinternationalprizes),andexhibitedindividuallyforthefirsttimein1970,intheGalerieBellechasse;JorgeMartinsparticipatedintheIVBiennialofParisin1965.65SeeAdelaideDuarte,DaColeçãoaoMuseu:OColecionismoPrivadodeArteModernaeContemporâneaemPortugal(Lisbon:Caleidoscópio,2016).

ManuelCargaleirohaspaidparticularattentiontothis issue, recognizing that the set of experiencesbetween “here” and “there” stimulated by thebonds that the majority of Portuguese artists inParismaintainedwith their homelandwould notonlycontributetotheevolutionofthePortugueseart panorama, butwould also be reflected in thesingular development of their own production. Itcould include more or less subtle references totheir original cultures, such as happened withVieira da Silva who, once settled in Paris,“rediscovered a past of her land.”66 In this way,“Paris, gathering artists from all nationalities,wouldhighlightthemevenbetter.”67

Conclusion

Inthelate1950s,inapolitically,economicallyandculturally isolated Portugal, young artists sawemigration as a gateway for “accomplishing theirvocation”68 and for personal and professionaldevelopmentatdiverse levels—bywideningtheirvisual culture in visits to exhibitions andmuseums; by attending schools and ateliers andhaving access to specialized publications; byacquiring a greater proximity with the currentdiscussions in the field of artistic practice andtheory;byinteractingwithdifferentartistsandartcritics; and by exploring the possibilities ofintegration into a dynamic market of art. Thus,althoughincludedinthegeneralemigrationwaveofthe1960s,thePortugueseartisticemigrationofthisperiodshouldnotbeinterpretedinthelightofstrictly economic, social or political motivations:althoughthesemotivationsexisted, thedepartureof Portuguese artists included a vast range ofexpectations related to the possibility ofparticipating in the activity of centers where oldand new forms of artistic expression wereproduced and discussed, and to promote theirworks there, as the prime evidence of thesecontexts. The phenomenon of Portuguese artistic

66ManuelCargaleirointerviewedbyFernandoPernesin“DiálogocomManuelCargaleiro,”11.67Ibid.,11.68Gonçalves,SeispintoresportuguesesdeParis,n.p.



emigrationatthetransitionfromthe1950stothe1960s,whichoccurred systematically rather thansporadically,andlasteddifferentamountsoftime,hasservedasarealstimulusforthepracticesand(self‐)knowledgeofPortugueseartists.

The “Six Portuguese Painters from Paris”highlighted in this text are thus part of thismobilityphenomenon,whichimpactwasnotonlyindividual—insofar as circulation allowed eachartist to understand their own work as an openprocess, in interaction with the history oftopicality (“of successive internal and externaltopicalities”69) anddialoguingwith all later timesthrough their anchorages topersonal imaginariesand themes—, but also had repercussionswithinthe Portuguese socio‐cultural context, since themovement Lisbon – Paris – Lisbon gave thePortuguese cultural milieu a wider cosmopolitandimension that, as already noted by the arthistorianFernandoRosaDias,beginstoattenuate(but not canceling out) the tensions betweencenterandperiphery,inaprogressiveaffirmationthat would evolve until the beginning of thetwenty‐firstcentury.70

69Pinharanda,“Odeclíniodasvanguardas:dosanos50aofimdomilénio,”603.70Dias,ANova‐FiguraçãonasartesplásticasemPortugal,945.

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