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Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
Almada Negreiros
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Almada Negreiros

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  • Dear BiaEsteves, thank you very much for promoting my work on your Slidespace. Normally you must add it to your favorites not as your work, but Im happy you enjoy! I didn't know it until today. I am very honored.

    You can find the original here:
    http://www.slideshare.net/michaelasanda/almadanegreiros-1893-1970-portuguese-artist1

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    http://www.authorstream.com/Presentation/sandamichaela-2006806-almada-negreiros1/
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  • this great "wall", "Almada brings together the four areas supportive of their composition: a) a graphic scheme of 'list 9/10" with the pentagram inscribed in circumference and a set of rectangles in the' golden number b) 'Figure superfluous Exerrore »Leonardo da Vinci, the circumference divided by sixteen-pointed star, or half of it due to the cutting force that the wall composition, c) the boards of Pythagoras, the same center exact time and emblematic of the whole composition recorded d) the development of a complex network of paths that culminates in the determination of the 'point of Bahutte' point 'placed on the circle and found the square and the triangle', which had been subject one of the paintings of the series exposed in 1957
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    • 1. http://www.authorstream.com/Presentation/sandamichaela-2006806-almada-negreiros1/
    • 2. José Sobral de Almada-Negreiros was a Portuguese painter and writer, born in the then colony of São Tomé e Príncipe. Besides literature and painting, Almada composed ballet choreographies, and worked on tapestry, engraving, murals, caricature, mosaic, azulejo and stained glass. Having drawn inspiration from Cubism and Futurist movements, AlmadaNegreiros is considered one of the pivotal figures of the Modernist movement in Portugal. Following the lead of other European vanguard movements of the early 20th century, Almada-Negreiros, along with writers Fernando Pessoa, Mário de Sá-Carneiro and painters such as Amadeo de Souza-Cardoso and Santa Rita Pintor, formed a group named "Orpheu’s generation". Intent on agitating, subverting and scandalizing the Portuguese conservative bourgeoisie and, by extension, all social conventions, the group launched a magazine – "Orpheu" – a journal of art and literature. Essentially, their aim was to produce a shift in the society’s mind frame, urging people to look to the future and to believe in their Man’s capacities. Between the years of 1918-20 Almada-Negreiros lived in Paris, working as a dancer and as a factory worker to earn a living. Although he led a relatively isolated life, he established acquaintance with some of the most prominent artists of 20th century modern art
    • 3. The Bathers (1925)
    • 4. Untitled, 1948 Figurinos Para Cunha Taylors 1913
    • 5. Study for a theatre decoration (Teatro Muñoz Seca de Madrid) 1929
    • 6. Untitled, 1930
    • 7. Sinceridade
    • 8. Acrobatas
    • 9. Bailarina
    • 10. Homenagem a Lucca Signorelli (1942)
    • 11. 1941 nude painting
    • 12. Female nude (for the decoration of Bristol club), 1926
    • 13. 1940 Familia
    • 14. Lendo Orpheu 2, colecção privada, Lisboa Artista e Modelo, 1953 Leitura
    • 15. Double portrait 1936
    • 16. Maternity, 1935
    • 17. fisherwoman The fisherman - tapestry
    • 18. Desenho de Almada Negreiros
    • 19. This exhibition features tapestries designed in Portalegre which recreate the works of Almada Negreiros. The fresh paintings of the Gare de Alcântara and the Gare da Rocha are present in these tapestries works.
    • 20. The Portalegre Tapestries, which claim the status of a work of art, are the result of a division between the painter and the craftsmen who recreates the narrative of the first artist.
    • 21. Integração racial, 1948 Tapestry
    • 22. Auto-retrato com o grupo da Brasileira (1925)
    • 23. Três poemas desenhados
    • 24. Tapestry called "O Número" (The Number) in the Tribunal de Contas building, Lisbon, 1958
    • 25. Tapestry called "O Número" (The Number) in the Tribunal de Contas building, Lisbon, 1958.
    • 26. 'A sentença de Salomão', tapeçaria de Almada Negreiros (1962) Azulejos de Almada Negreiros
    • 27. Tapestry called "Lenda do Lethes” According to the legend, when the Romans reached Rio Lima on their march through Iberia they had a great deal of trouble leaving because the soldiers were convinced the Rio Lima was the River Lethes - the mythical river of oblivion - and that if they crossed it they would forget everything. It was only after their leader, Decimus Junius Brutus, plunged ahead and shouted back their legionaries' names that they braved the waters
    • 28. Tapestry called "Lenda do Lethes”
    • 29. Tapestry called "Lenda do Lethes” Decimus Iunius Brutus near river LimaTapestry Pousada de Santa Luzia, Viana do Castelo
    • 30. Painel de Azulejos "Lenda do Lethes” in Ponte de Lima
    • 31. Painel de Azulejos in Ponte de Lima: Decimus Iunius Brutus near Lima river
    • 32. Luís Vaz de Camões
    • 33. Retrato de Fernando Pessoa, 1954. Retrato de Fernando Pessoa, 1964.
    • 34. Hall, wall panel Começar The lobby of the headquarters of the Calouste Gulbenkian Foundation in Lisbon
    • 35. Fundação Calouste Gulbenkian
    • 36. Text and pictures: Internet Copyright: All the images belong to their authors Presentation: Sanda Foişoreanu www.slideshare.net/michaelasanda Sound: Miguel Poveda, Mariza y la ONE - Meu fado meu

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