THE ONLY WORD I HAVE FOR THIS IS WOWWWWW
I was deep in thought coming out of « Empires ». What invariably happens after an exhibition, my mind races with ideas and how l will write the blog chapter. I didn’t get too far as looking up as l turned the corner, presumably going to the metro, I saw this.
The exhibition was on my list, so why not give it a go? I knew absolutely nothing about Amadeo de Souza-Cardoso. Not even what nationality he was. The short article in one of my art magazines had wetted my appetite. Here I was, so off I went. Apart from a couple of very chatty groups of women, it looked as if the inside was relatively quiet.
The first things l saw were...
and without even thinking my voice said - aloud « Wowwww ». Quite a few heads turned.
He is a multifaceted artist whose work lies at the crossroads of all the artistic movements of the twentieth century. Amedeo (as I shall call him), refused all labels. Was he an Impressionist, Fauvist, Cubist or did follow Futurist influences? The little that l saw in the first few minutes seemed to place him between tradition and modernity, between Portugal and Paris. There were hundred and fifty works to be seen and by the end of my couple of hours, I could see the influence of his friends Modigliani, Brancusi and the Delaunay.
He lived in Paris between 1906 and 1914 then returned to Portugal from 1914-1918. Right throughout his life he « shared » his time between the two poles. A rural one in his own country and then city and sophistication. There were many major exhibitions in France, the Armory Show in New York and the first Autumn Salon in Berlin. It was during the war and back in Portugal so no longer influenced by his friends that his work became « dazzling » Born in 1887 he fell very ill with the Spanish influenza and died when he was only 31. Even so, he left behind an extraordinary heritage of his work which covered all the movements of his time- cubism, futurism, expressionism, orphisme (derived from Cubism and gave priority to light and colour) and yet his work was unique even if you saw at once which period he was working in.
« The Rabbit’s Jump » which was shown (with 8 other of his works) at the Armory Show in New York, in 1913 had a huge success with journalists, critics and collectors. It’s interesting to add that the title is the name of a traditional dance of Gascogne or Gascony. I guess in English. (Gascony is an area of southwest France that was part of the "Province of Guyenne and Gascony" prior to the French Revolution). The movement, sense of color and construction of this work was quite surprising. It maybe a hunting scene but from a few yards off, I thought it was a fish.
There were many other works of this period, around 1911. Enchanting.
Some outstanding paintings of nature completed the period - although there were others on women « Women in mouvement » Was there a little of Modigliani? The two artists were close friends and shared the same artistic sensibility. Both of them enjoyed primitif art. Modigliani created ideals of bliss, static, timeless while Amadeo was woking with volumes and everything seems to be in movement.
With other styles used a little later which had a resonnance of cubic, Delaunay ...
His book designs left me wide-eyed too. Pictures for Flaubert (« The Legend of Saint Julien ») is just an example.
Following his final return to Portugal in the summer of 1914, Amadeo began to explore popular iconography and landscapes in which is was rooted.
When Sonia and Robert Delaunay were in Portugal in 1915-1916, other techniques and « styles » appeared in his work.
Then there was a
« Tête-Negre » period. Here a dramatic inclination and intense spirituality come across very strongly. There were certain similarities to the Blue Rider movement in German expressionism which l like so much.
« Ocean Heads » may have come from an African mask period but once again, they changed. Full of color and are a move away from his previous work.
and at the same time...
And we move on into « Zig-Zag arabesque dynamique » . So much of his
work is not titled and yet here, he includes a title between
parenthesis. It could be cubic?
Sometimes even letters appear in the work.
Another period again with a set of watercolors presented alongside paintings of musical instruments. These are really the basic elements of Cubist experimental painting. The instruments seem to have a life of their own and establish a dialogue with Amadeo’s favorite motifs.
Finally we come to the last period which could provide an overview of
his work. They are big bright colors and all have a visual impact. It
could just be possible that if he had lived longer the next experiment
could have been collage, advertising - but then we will never know.
The exhibition was on my list, so why not give it a go? I knew absolutely nothing about Amadeo de Souza-Cardoso. Not even what nationality he was. The short article in one of my art magazines had wetted my appetite. Here I was, so off I went. Apart from a couple of very chatty groups of women, it looked as if the inside was relatively quiet.
The first things l saw were...
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| Le Chateau Fort around 1913 |
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and without even thinking my voice said - aloud « Wowwww ». Quite a few heads turned.
He is a multifaceted artist whose work lies at the crossroads of all the artistic movements of the twentieth century. Amedeo (as I shall call him), refused all labels. Was he an Impressionist, Fauvist, Cubist or did follow Futurist influences? The little that l saw in the first few minutes seemed to place him between tradition and modernity, between Portugal and Paris. There were hundred and fifty works to be seen and by the end of my couple of hours, I could see the influence of his friends Modigliani, Brancusi and the Delaunay.
He lived in Paris between 1906 and 1914 then returned to Portugal from 1914-1918. Right throughout his life he « shared » his time between the two poles. A rural one in his own country and then city and sophistication. There were many major exhibitions in France, the Armory Show in New York and the first Autumn Salon in Berlin. It was during the war and back in Portugal so no longer influenced by his friends that his work became « dazzling » Born in 1887 he fell very ill with the Spanish influenza and died when he was only 31. Even so, he left behind an extraordinary heritage of his work which covered all the movements of his time- cubism, futurism, expressionism, orphisme (derived from Cubism and gave priority to light and colour) and yet his work was unique even if you saw at once which period he was working in.
« The Rabbit’s Jump » which was shown (with 8 other of his works) at the Armory Show in New York, in 1913 had a huge success with journalists, critics and collectors. It’s interesting to add that the title is the name of a traditional dance of Gascogne or Gascony. I guess in English. (Gascony is an area of southwest France that was part of the "Province of Guyenne and Gascony" prior to the French Revolution). The movement, sense of color and construction of this work was quite surprising. It maybe a hunting scene but from a few yards off, I thought it was a fish.
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| "Le Saut de lapin" - 1911 (The Rabbit's jump") |
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| Study for the "Le Saut de lapin"- 1911 |
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| Study for "The Fisherman' - 1911 |
There were many other works of this period, around 1911. Enchanting.
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| Greyhounds - 1911 |
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| The Prince and pack of dogs - 1912 |
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| Title unknown (Landscape with birds" 1911 |
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| Title unknown (Clown, Horse, salamander) 1911-1912 |
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| Casa do Ribeiro - 1913 |
Some outstanding paintings of nature completed the period - although there were others on women « Women in mouvement » Was there a little of Modigliani? The two artists were close friends and shared the same artistic sensibility. Both of them enjoyed primitif art. Modigliani created ideals of bliss, static, timeless while Amadeo was woking with volumes and everything seems to be in movement.
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| Title unknown - 1913 |
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| ??? |
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| Title unknown - 1910 |
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| Title unknown - 1910 |
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| Title unknown - 1910 |
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| Modigliani "Cariatide" 1911 |
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| Title unknown (Carnations or Lady or Lady with carnations) 1911 |
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| Title unknown - 1913 |
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| Title unknown - 1913 |
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| Title unknown - 1913 |
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| Painting G 1912 shown at the Salon d'Automne in Germany in 1913 |
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| Title unknown 1913 |
His book designs left me wide-eyed too. Pictures for Flaubert (« The Legend of Saint Julien ») is just an example.
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| The Black Amazon (one of 20 Sketches) no date |
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| Sketch (n°19) - 1912 |
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| The Marvelous Forest (N°2) 1912 |
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| The Falcons (N°12) 1912 |
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| The Deer resting (N°14) 1912 |
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| Mother and Child (N°5) 1912 |
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| Study or a nude (N°8) 1912 |
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| Title unknown ( Don Quichotte) 1914 |
Following his final return to Portugal in the summer of 1914, Amadeo began to explore popular iconography and landscapes in which is was rooted.
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| Title Unknown - 1915-1916 |
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| Popular song The Russian and the Figaro - 1916 |
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| Popular Song - around 1916 |
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| "Crime, blue abyss, physical remorse " Folk Song - around 1914-1916 |
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| Title unknown ("Strength, love, rage" )- around 1914-1916 |
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| Title unknown ("Broken crystal, heart diamond" )around 1914-1916 |
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| Ttitle Unknown - around 1914-1916 |
When Sonia and Robert Delaunay were in Portugal in 1915-1916, other techniques and « styles » appeared in his work.
Then there was a
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| Title Unknown (landscape and black figure) 1914-1915 |
« Tête-Negre » period. Here a dramatic inclination and intense spirituality come across very strongly. There were certain similarities to the Blue Rider movement in German expressionism which l like so much.
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| Title Unknown (Head) around 1914-15 |
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|
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| Title Unknown (Steel mask) around 1914-15 |
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| Title Unknown (The poor jester) around 1914-15 |
« Ocean Heads » may have come from an African mask period but once again, they changed. Full of color and are a move away from his previous work.
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| around 1915 |
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| around 1915 |
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| Mask from the Ivory Coast; 20th C |
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| Oceon- around 1915 |
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| Title Unknown - around 1915 |
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| Littoral head - around 1915 |
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| Even Uneven 1 2 1 |
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| Title Unknown (Water Mill) around 1914 |
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| The red square thief - around 1915-16 |
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| Windmills and telegraphic wires - around 1915-16 |
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| Unknown Title (Smoker's head with cigarette holder) around 1915-16 |
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| White glass and beauty of objects (or White glass red wings) around 1915-16 |
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| Mourning head cigarette holder - around 1914-15 |
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| Title unknown (Portrait of Paul Alexander?) around 1917 |
Sometimes even letters appear in the work.
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| Title Unknown - around 1915-16 |
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| Title Unknown (Voiceless consonants) around 191-15 |
Another period again with a set of watercolors presented alongside paintings of musical instruments. These are really the basic elements of Cubist experimental painting. The instruments seem to have a life of their own and establish a dialogue with Amadeo’s favorite motifs.
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| Birth of a guitar - around 1916 |
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| Duck, violin insect - around 1916 |
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| Life of Instruments - around 1916 |
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| Title Unknown- around 1917 |
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| The matches are the collage in left hand painting |
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| Title unknown (Coty) around 1917 |
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| (I don't belong to any school) |
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