The order comes into force on September 1, 2023, without prejudice to cases in which the purchase of admission tickets occurred on a previous date, provided they are duly proven, including the purchase of quantity packages.

Free access conditions on Sundays and public holidays continue to be guaranteed to all citizens residing in the national territory, which is why the rule on free access provided for in Order No. 5401/2017, published in the Diário da Republic of June 9th, not inhibiting the possibility of adopting a Special Ticket (“Donation Ticket”), becoming free all day long and not just until 2:00 pm.

Museums, Monuments and Palaces (MMP) under the supervision of the Directorate-General for Cultural Heritage (DGPC) are institutions responsible for safeguarding, valuing and disseminating the historical, archaeological and artistic heritage in their custody, which belongs to all Portuguese, constituting fundamental cultural equipment to ensure the effective exercise of the right to cultural enjoyment.

Workshop on preventive conservation of metal objectsstrong,
Trainer: Salomé Carvalho
9 agosto, 10h30-12h30
Value | Entrance ticket to the MNSR + 2 euros

Conservation and Restoration is an area in which qualified professionals work, however, it is extremely important to know how to prevent the degradation of objects – what we call Preventive Conservation. Acquiring this knowledge means knowing how to prevent damage to metal objects and thus prevent their degradation.

In this workshop we will cover the most relevant technical characteristics, to achieve this objective: getting to know the parts. We will also learn to identify the main pathologies that this family of materials suffers from, as well as the fundamental measures to prevent damage.

Creative and sustainable jewelry workshop
Trainer: Jorge Coutinho
19th and 26th August, 10:30am-12:30pm / 2:30pm-5pm
Entry | 25 euros

More and more waste is being produced due to excessive consumption of products and incorrect waste management. Every day, various materials are considered useless and thrown away, but there are several paths that each of us can take to find solutions to this problem. Reuse is one of the options, which means using a product giving it a new function.

In this workshop we propose the reuse of common materials such as soda cans (or part of them) transforming them, with a pinch of genius and creativity, into an object with a new function: a sustainable piece of jewelry. The entire process takes place in two sessions using different techniques and products.

It is present in practices, representations, expressions, knowledge and unique artifacts, both in the places of origin and throughout the world, in a reference to the practices and ways in which the past is preserved in the collective memory, establishing links between recognizing, safeguarding and promoting goods intangible cultural heritage, as well as transmitting them to future generations in a rapidly changing world.

All over the world, JEP 2023 challenges, through “Living Heritage”, a reflection on the responses to be given to the challenges posed by society.

European Heritage Days

The JEPs are a joint initiative of the Council of Europe and the European Commission and are the most widely celebrated and shared cultural event by Europe’s citizens.

More than 70,000 events are organized every year with the aim of raising awareness of Europe’s common heritage and the need for its continued protection, through the creation of experiences that promote inclusion and foster creativity and innovation.

The basic idea of the initiative is to promote access to heritage, inviting active participation in the discovery of a common cultural heritage, implying the involvement of European citizens with cultural heritage.

Reinforcing feelings of cultural identity, collective memory and the affirmation of a common heritage whose richness lies in its diversity are the main objectives of the JEPs, which therefore represent a celebration of international solidarity, dialogue and cultural diversity, constituting moments of reappropriation of the cultural remains of the past.

Consult the JEP 2023 Program always being updated

The clash between ideals, at the beginning of the 19th century, strongly marked Porto. From the Revolution of 1820 to the liberal victory in the Civil War of 1832-34, the city intensely experienced the confrontation between these two worlds, two forms of social, economic, religious organization and mentalities. In 1829, the absolutists in power ordered the men who became known as The Martyrs of Freedom to be hanged in a public square, displaying their severed heads, as a form of warning to other rebels.

Stage of clashes between the two fighting factions – Liberals and Absolutists –, led by the two brother princes, D. Pedro and D. Miguel, Porto suffered a 13-month siege (1832-33) that left deep marks on the city and led to to the atrocious suffering of its population. These marks persisted in urban memory, in its streets and places, but also in music, arts and architecture.

The Porto Liberal Route presents you with the challenge of discovering the places associated with this time of struggle and the heart of the Soldier King, also the liberator of Brazil and its first emperor, as an independent country.

One of the must-visit points is the Soares dos Reis National Museum, whose origin dates back to the Museum of Paintings and Prints and other objects of Fine Arts, created in 1833 by D. Pedro IV of Portugal, the first Emperor of Brazil, to safeguard property kidnapped from absolutists and convents abandoned in the civil war.

The Soares dos Reis National Museum has in its custody some pieces that made up the uniform of Coronel de Caçadores nº 5, worn by D. Pedro de Alcântara, Duke of Bragança, during the Siege of Porto: dolman, vest, cap, cocked hat, sword, lanyard, boldrié (belt with talim for hanging a sword) spectacle, map holder.

The first room of the new long-term exhibition at the Museu Nacional Soares dos Reis presents, in rotation, elements of the uniforms used by D. Pedro during the civil war.

It should be remembered that the Porto Liberal Route was created in 2017, bringing together several entities: Porto City Council, Regional Directorate of Culture of the North, Portuguese Army, Venerable Brotherhood of Nª Sª da Lapa, Museum and Church of Misericórdia do Porto and National Museum Soares dos Reis, in publicizing the places associated with that time of struggle and the contribution made by D. Pedro IV, also liberator of Brazil and its first emperor, as an independent country.

Discover the Route here

Sine Terra (variations in minor mode) is a video installation by José Carlos Teixeira, open to the public at the Soares dos Reis National Museum until August 27th, around the sculpture The Outcast, work of António Soares dos Reis, which explores concepts related to the fall, multiple and fragmented identity, exile and various displacements.

The artist proposes a new look at the emotions that The Outcast transmits to visitors and presents, simultaneously, a poetic record and a documentary record about the piece sculpted in Rome 150 years ago by the Museum’s patron.

José Carlos Teixeira speaks of the existence of two times: “a more objective and factual one in the recording of the sculpture in situ and in the investigation of Soares dos Reis, combined with another, more subjective and essayistic time – that of the creation and composition of this project, derived from the his own autobiographical motivations as an author, artist and person and/immigrant”.

The soundtrack of the video installation is performed on the harpsichord by Fernando Miguel Jalôto, with pieces by Domenico Scarlatti (1685-1757) and Vasco Negreiros (1965), and includes the recitation in Portuguese and English of poems by national and foreign authors such as Alexandre Herculano, author of the poem Tristezas do Desterro, which served as inspiration for Soares dos Reis to sculpt The Outcast

In all, 40 producers from the Demarcated Region of Vinhos Verdes will present the diversity of the offer currently available, from light and fresh white wines to the most complex, gastronomic and long-lived wines, native to unique grape varieties such as Alvarinho, Loureiro or Avesso, among many others. There will also be pleasure rosés, Atlantic reds and character reds, sparkling wines to toast to all occasions.

Five restaurants and five other food trucks will be in continuous operation at the festival, providing an eclectic list of gastronomic options, from grilled meats to flavors of the sea, from savory snacks to sweets.

The Gentlemen’s Market will bring together iconic brands, the “Mãos na Massa” sessions will challenge authentic cooking classes, there will be tastings led by experts, games and activities to share with the family, DJ’s performances and even the Banquet, where mastery from renowned chefs is harmonized with a refined selection of wines with the finger of a sommelier.

The daily schedule of concerts is already defined with performances by GNR, Os Azeitonas and Roda de Samba Cravo e Canela.

Program available for consultation.

Entrance at Rua de Adolfo Casais Monteiro, 47

Time
Friday | 17:00 – 00:00
Saturday | 12h00 – 00h00
Sunday | 12h00 – 22h00

Founded in the 11th century, obeying the Benedictine rule, the Monastery of Tibães became the Mother House of the Congregation of S. Bento dos Reinos de Portugal from 1567 onwards, a status it maintained until its extinction in 1834.

It reached its maximum splendor in the 17th and 18th centuries, emerging as an important center for disseminating Portuguese Education, Art and Culture.

After the closure of the monastery, religious activity continued until the present day, with the church, the sacristy and the cloister of the cemetery being used by the parish. The remaining areas of the building and the convent fence were sold to private parties.

In 1944 it was classified as a Property of Public Interest, with the Portuguese State acquiring the fence and the private part of the building in 1986.

It should be remembered that the initial nucleus of the collection of the Museu Nacional Soares dos Reis is mainly composed of works of Painting and Engraving taken in 1833 from the abandoned monasteries, hospices and convents of Porto.

With the promulgation of the decree of extinction of religious orders in 1834, the artistic assets of the monasteries of S. Martinho de Tibães and Santa Cruz de Coimbra were integrated into the Museum.

In 2001, 66 works from the collection of the Soares dos Reis National Museum were deposited at the Tibães Monastery, by authors such as Domingos Sequeira, Teixeira Barreto and Joaquim Rafael, among others. Other works were deposited in 2008, after undergoing restoration work.

This first public art museum in the country inventoried paintings, engravings and historical objects.

The Soares dos Reis National Museum thus originates from the Museum of Paintings and Prints and other objects of Fine Arts, created by D. Pedro IV of Portugal, the first Emperor of Brazil. Known as the Portuense Museum, it was housed in the extinct Convent of Santo António da Cidade, in S. Lázaro square. It was during the civil war between liberals and absolutists (1832-34) that D. Pedro ordered the painter João Batista Ribeiro to collect works of art from supporters of his opponent D. Miguel and from the abandoned convents of Porto – the nucleus that began the collection of Museum.

Thus, all volunteers and pilgrims registered for World Youth Day, duly accredited and regardless of age, have a 50% discount on the price of admission tickets to museums, monuments and palaces, under the supervision of the Directorate-General for Cultural Heritage.

Lisbon is preparing rigorously to welcome with open arms the biggest event for Catholic youth, which brings together thousands of young people from the four corners of the world for a moment of sharing, celebration and communion with Pope Francis, from 1 to 6 August.

During this week, the “Days in the Dioceses” (DND) are taking place in 17 dioceses in Algarve; Angra; Aveiro; Beja; Braga; Bragança-Miranda; Coimbra; Évora; Funchal; Guarda; Lamego; Leiria-Fátima; Portalegre-Castelo Branco; Porto; Viana do Castelo; Vila Real and Viseu.

“Days in the Dioceses” is a meeting that precedes the week of WYD Lisbon 2023 and consists of the integration of young people from all over the world in the parish communities of the various dioceses of the country.

During these days, participants can get to know better the region that welcomes them, as well as the local Church and its specificities, staying, as in the week of the Day, in family homes, parish or public facilities, in order to to be able to have a true experience of Church, evangelization and mission.

The list of nationalities that most visited the Soares dos Reis National Museum, during the first seven months of the year, is ordered as follows: France (27.4%), United Kingdom (26.5%), Spain (11.6%) , United States of America (9.4%), Brazil (4.6%) and China (3.2%), followed by other origins with less expression.

Statistical data from the Soares dos Reis National Museum confirm the information recently revealed by Tiqets, an online platform for booking and purchasing tickets for museums and attractions, that the French are leading the search for cultural and entertainment experiences in Portugal.

Between January and July 2023, the platform recorded a 42% increase in ticket bookings for museums and national attractions compared to the same period in 2022.

Currently, the Portuguese market is in the top 10 markets in which Tiqets operates, in terms of the number of tickets sold, ahead of countries such as the United Kingdom and the United Arab Emirates.

According to information released today, Portugal is the second country in the EU (after Greece) to recover tourists faster. Tourism in Portugal is thus preparing to break records, a journey that started in 2022 and which places the country in the world’s top 10 of those who recovered more quickly tourists lost during the pandemic context.

The first of the two paintings, entitled “Girls’ School in Rome”, reveals the interior of a girls’ school run by a religious congregation in Rome. It represents a vast illuminated hall, with almost 40 extras, including masters and disciples involved in women’s crafts.

The second canvas, “Choir of the Capuchins in Piazza Barberini, in Rome”, presents the interior of a conventual building representing the choir of the Capuchins in Piazza Barberini, in Rome.

Numerous extras in monastic habits are arranged in a choir surrounding the walls, next to the chairs and around a stand, next to which the priests and their two acolytes are located.

Both oil paintings, measuring approximately 170x137cm, come from the Allen Collection, acquired in 1850 by the Porto City Council. It is an extensive collection of 599 paintings by collector João Allen (1781-1848), contained in an evaluation document prepared on November 30, 1849 by the painter João Batista Ribeiro.

This collection formed the nucleus of the old Porto Municipal Museum (extinct in 1937) and is mostly included in the “Provisional Catalog of the Painting Gallery”, published by Eduardo Allen in 1853. The works have been stored at the National Museum of Soares dos Reis since 1940.

João Francisco Allen (1781-1848) was a businessman of English (more specifically Irish) origin, born in Viana do Castelo on May 1, 1781. Son of Duarte Guilherme Allen, Consul of England in Viana do Castelo, he was awarded the Order of the Tower and Sword for the courage shown in the Peninsular War, for which he volunteered.

He was one of the promoters of the creation of Palácio de Cristal, as well as the first bank in Porto, Banco Comercial.

He founded the Novo Museu Portuense or Museu Allen, the first to have printed catalogs in Portugal (the first was published in 1853), and was a renowned art critic.

The extraordinary collection assembled by João Allen was purchased after his death by the City Council, becoming part of the collection of the original Municipal Museum and today being integrated into the Soares dos Reis National Museum.

The literary festival will take place from the 25th of August to the 10th of September, in the gardens of the Palácio de Cristal, and will celebrate the author Manuel António Pina.

Manuel António Pina thus joins a range of authors honored at the literary festival, such as Ana Luísa Amaral, Vasco Graça Moura, Agustina Bessa-Luís, Mário Cláudio, Sophia de Mello Breyner Andresen, Leonor de Almeida, José Mário Branco , Júlio Dinis, with the attribution of a linden tree in the Crystal Palace Gardens.

The Soares dos Reis National Museum will be represented at the event, which is an excellent opportunity to purchase books with discounts on the cover price.

The artist proposes a new look at the emotions that The Outcast transmits to visitors and presents, simultaneously, a poetic record and a documentary record about the piece sculpted in Rome 150 years ago by the Museum’s patron.

José Carlos Teixeira speaks of the existence of two times: “a more objective and factual one in the recording of the sculpture in situ and in the investigation of Soares dos Reis, combined with another, more subjective and essayistic time – that of the creation and composition of this project, derived from the his own autobiographical motivations as an author, artist and person and/immigrant”.

The soundtrack of the video installation is performed on the harpsichord by Fernando Miguel Jalôto, with pieces by Domenico Scarlatti (1685-1757) and Vasco Negreiros (1965), and includes the recitation in Portuguese and English of poems by national and foreign authors such as Alexandre Herculano, author of the poem Tristezas do Desterro, which served as inspiration for Soares dos Reis to sculpt The Outcast

The exhibition includes one of the “founding” pieces of the Museum’s collection, a series of 26 enamel plaques painted in the 16th century, from the Monastery of Santa Cruz in Coimbra, to bring together and confront in an unprecedented way various enamel techniques applied to a sumptuous set of liturgical, devotional and apparel objects.

The pieces were produced between the 12th and 19th centuries, mainly in the workshops of the Limoges region, recognised as the most prestigious. There are many representations of this unique and demanding ornamentation technique, which is enamel. The exhibition presented several national treasures in Porto, including the triptych of the Passion of Christ from the Frei Manuel do Cenáculo National Museum, one of the most internationally recognised enamel pieces in Portugal.

The Blue and Gold exhibition also includes other pieces of great prestige such as two coffers from the Cathedral of Viseu, 12th century pieces coveted by the illicit antiques market, stolen in 1980 and found years later in Milan in a joint action by the Judicial Police and Interpol, or a bookbinding plate from the late 12th century, early 13th century, found accidentally in an excavation between Leiria and the Monastery of Batalha.

The last section of the exhibition is dedicated to the revivals, replicas and counterfeits that were produced on a large scale throughout Europe in the 19th and 20th centuries, enchanting and deceiving the eyes of museum conservators and private collectors in Europe and the United States.

The exhibition “Vida e Segredo” (Life and Secret), an evocation of the 1st centenary of the death of the Portuguese painter Aurélia de Souza (1866-1922), made up of 92 works, was open to the public in 2022 at the Soares dos Reis National Museum in Porto.

The conference takes place as part of the QuebraJazz Arts Festival, this year under the theme “Mornings of the Centuries”, with various classical and jazz concerts, as well as a vast complementary programme ranging from gastronomy, lecture series and educational services (guided tours, theatre for children, music for babies and deaf children).

About Aurélia de Souza

Aurélia de Souza (1866-1922) was one of the most striking figures in Portuguese art at the turn of the 19th to the 20th century. Her work takes on some of the great themes of European painting of the time, with a particular emphasis on the continued practice of self-portraiture and self-representation, which extends to the construction of pictorial narratives involving the family home and its people. Another original aspect of Aurélia’s work is the practice of photography as a component, with a notable degree of autonomy, of her painting.

Aurélia was a brilliant student at the Academy of Fine Arts in Porto and completed her training with a stay in Paris where she attended the Académie Julian (accompanied by her sister, also a painter, Sofia de Souza). ended the Académie Julian (accompanied by her sister, also a painter, Sofia de Souza). Well-connected to the artistic and cultural milieu of Porto, she also took part in exhibitions in Lisbon, with the determined attitude of asserting herself as a professional painter in a predominantly male milieu in which women artists were not supposed to aspire to anything more than the benevolent status of amateurs.

In 2011, she published the essay “Artur Loureiro, entre forma e ideia – um pintor português no encontro dos séculos” and, in partnership with Elisa Soares, coordinated the catalogue and exhibition “Artur Loureiro 1853-1932” at the Soares dos Reis National Museum that same year.

The Inter-County Library Days, in their 5th edition, are promoted by the municipal and school libraries of Amares, Terras de Bouro and Vila Verde, with the collaboration of the Municipal Councils of the three counties, in partnership with the School Library Network and the Alto Cávado Training Centre.

Inspired by the journey started by Jean Dubuffet, a pioneer in collecting these artistic productions, the two collectors have put together a set of works that become accounts of the unconscious and unintentionally take on subversive aspects in the face of the discourse of the norm and the established order. They question the limits of reason through different coded messages, formulae, invented figures and secret codes.

The exhibition “Portreto de la Animo” is a section of this magnificent collection that aims to bring together a group of works focused on the portrait and the self-portrait that will enter into confrontation or exhibition dialogue with other pieces from the collections of the Soares dos Reis National Museum.

The portraits painted by these artists reveal an inner figure, a particularly vivid creativity and invention, as can be seen in the works of Aloïse Corbaz, Ted Gordon, James Deed, Edemund Monsiel, Aleksander Lobanov, Alessandra Michelangelo or the Portuguese artist Jaime Fernandes, among others. Many of them appear to be self-portraits that claim an existence of which these artists were and felt deprived.

The Soares dos Reis National Museum is presenting an exhibition of portraits and self-portraits from the Treger Saint Silvestre collection, one of the most important and extensive private collections of Fine Art in the world.

The exhibition “Portreto de la Animo”, according to curator António Saint Silvestre considered “the largest exhibition of Art Brut ever held in the Iberian Peninsula”, is being promoted in partnership with the São João da Madeira City Council, the Oliva Art Centre and the collectors António Saint Silvestre and Richard Treger, with the patronage support of the Millennium bcp Foundation and Lusitânia Seguros and the institutional support of the Círculo Dr José de Figueiredo – Association of Friends of the MNSR.

Richard Treger and António Saint Silvestre began their collection inspired by the journey started by Jean Dubuffet, a pioneer in collecting artistic productions that become accounts of the unconscious. For the first time, they are presenting their Portrait Gallery at the Soares dos Reis National Museum.

This year’s evocation of the Landing will be centred on the Sword used by King Pedro during the Siege of Porto (1832 – 1833) – a landmark episode in the civil war between liberals and absolutists, which will be the pretext for a talk with Portuguese armoury researcher João Rato.

The initiative will also feature a performance by Rancho Folclórico do Porto, who will present Canções do Liberalismo (Songs of Liberalism).

Participation in the event is free, subject to prior registration, which must be done here: https://shorturl.at/fsOT4

The Soares dos Reis National Museum keeps some of the items that made up the uniform of Colonel of Hunters No. 5, worn by Pedro de Alcântara, Duke of Bragança, during the Siege of Oporto: dolman, waistcoat, cap, cocked hat, sword, lanyard, boldrié (belt with talim for suspending a sword), eyeglass, map holder.

The first room of the new long-term exhibition at the Soares dos Reis National Museum shows, in rotation, the elements of the uniforms worn by King Pedro during the civil war.

About the Soares dos Reis National Museum

The Soares dos Reis National Museum has its origins in the Museum of Paintings and Prints and other Fine Arts objects, created in 1833 by Pedro IV of Portugal, the first Emperor of Brazil, to safeguard the assets sequestered from the absolutists and convents abandoned during the civil war (1832-34).

With the extinction of the religious orders, works were collected, among others, from the monasteries of Tibães and Santa Cruz de Coimbra. Known as the Museu Portuense, it was housed in the now-defunct Convent of Santo António da Cidade, in Praça de S. Lázaro, and was formalised by decree in 1836 by King Maria II.

In 1839, it passed to the direction of the Academia Portuense de Belas Artes (Porto Academy of Fine Arts), which organised a series of exhibitions in which notable artists such as Soares dos Reis, Silva Porto, Marques de Oliveira and Henrique Pousão were honoured, in successive generations of masters and disciples.

With the proclamation of the Republic, it was renamed the Soares dos Reis Museum in memory of one of the most outstanding names in Portuguese art. In 1932, it was renamed the National Museum, a period marked by a significant reorganisation by Vasco Valente, through the incorporation of objects from the Episcopal Palace of Porto (Mitra) and the Industrial Museum, as well as the deposit of collections from the now-defunct Municipal Museum. This was followed, in 1940, by the installation of the Museum in the Carrancas Palace, where it still remains.

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