In 1965, 1967 and 1968 he took part in group exhibitions in Porto, Amarante and Lisbon, Rio de Janeiro, Brussels, Paris, Madrid and Luanda.

Some of his artworks are in private collections in Portugal and abroad and can also be seen in the Soares dos Reis National Museum (Porto), the Chiado Museum, the Calouste Gulbenkian Foundation Museum (both in Lisbon) and the Museum of Modern Art (São Paulo).

Lagoa Henriques is represented in the Soares dos Reis National Museum’s long-term exhibition with Cabeça de Rapariga (Head of a Girl), dated 1953 (pictured). This is a portrait of a girl, cast in bronze and fixed to a cylindrical granite base. Front pose, smooth-skinned face, well-defined contours of the mouth, correct nose and eyes facing the viewer, outlined by thin eyebrows. There appears to be a small beret on his head and his hair, cut at chin height, is styled in two tufts, seen from the front.

A master and motivator of successive generations of artistic creators, Lagoa Henriques is responsible for the sculpture depicting the poet Fernando Pessoa on the terrace of the Café Brasileira in Lisbon’s Chiado district. He was also the author of notable drawings and sculptures, a poet, lecturer and collector of items as diverse as paintings, shells, books and tree trunks.

The aim is also to encourage students’ knowledge of and interest in various artistic and cultural expressions; to illustrate different visions of art and culture on themes of medicine and the life and health sciences and to promote new and diversified readings of the collections of the Soares dos Reis National Museum.

For the Director of the Soares dos Reis National Museum, António Ponte, this initiative “reinforces the institutional partnership with the Institute of Porto University, following on from the activity carried out in 2021/2022. As part of the “Other Places” programme, based on the Four Seasons allegory, the Soares dos Reis National Museum brought a series of four 17th century paintings to the Abel Salazar Biomedical Sciences Institute, which establishes a relationship with the different stages of the human being’s life. We are now opening the doors of the Museum to welcome the entire community for a cycle of visits that will certainly open up new horizons.”

Allowing cross-fertilisation between art and medicine, the cycle of visits now on offer will make it possible to see how art and science, two areas of knowledge often seen as distinct, can be allied and contribute to a better quality of life.

For the Director of Abel Salazar Biomedical Sciences Institute, Henrique Cyrne Carvalho, this is a proposal that “seeks to give continuity to a project that began in 2021, when we opened the doors to the Museum for the ‘Cycle of Life’ painting exhibition, but it is also the reaffirmation of our vision for an integrated and broad training of our students, where art plays a fundamental role in their development as professionals and as people”.

‘Fountains and Fountains – water and the city’, ‘Man, Animals and the Environment – from work, companionship to subsistence’; ‘Soares dos Reis and the Relation to Human Anatomy’, ‘Between Journeys, Portuguese and Genes’ are the themes of the visits to be made during the months of March and April.

Eugénio Moreira was born in Porto in 1871. He attended the Oporto Medical and Surgical School (1892-1895) and then transferred to the Faculty of Medicine at the University of Coimbra. In this city he socialised with the Boémia Nova group, maintaining friendly relations with the Porto writers António Nobre (1867-1900), Alberto de Oliveira (1873-1940) and, in particular, with Agostinho de Campos (1870-1944). He returned to Porto without having finished his degree, enrolling at the Academia Portuense de Belas Artes, where he never graduated.

He lived in Paris for a few years, where he attended the Julien Academy and the Décluse Academy. He was a disciple of Jean Paul Laurens (1838-1921) and Benjamin Constant (1845-1902) and was influenced by painters from the Impressionist, Fauvist and Nabis movements. He visited Italian museums and temples, recording his impressions in travel guides.

Back in Portugal, he studied Portuguese landscapes and figures. He travelled through Minho, especially the Vila Praia de Âncora area, and Vale de Penacova in Beira, stopping off in the lands of the Mondego. In 1907 he exhibited at the studio of the sculptor Fernandes de Sá, his friend.

In 1955, Abel Salazar referred to the painter in this way: “Eugénio Moreira, the unsuccessful author of “Vale de Penacova” is, with Henrique Pousão, the greatest of Portuguese landscape painters. Between the two there are differences in quality, not in value: they are two visions, but equally elevated.”

Documentary source

Wine & Travel Week, a gathering that brings together professionals from all over the world, counts in this second edition with a delegation of over 100 buyers and specialized journalists in enotourism, joined by members from the capitals of the world’s major wine regions, the Great Wine Capitals (GWC). South Africa, Spain, France, India, England, Israel, Japan, Nigeria, and Portugal are some of the countries represented.

Among the event’s many parallel activities, the lunch on February 20^th stands out, crafted by chef Rui Paula (holder of two Michelin stars at the Casa de Chá – Paço da Boa Nova restaurant), to be served at the Soares dos Reis National Museum.

It’s important to emphasise that, for the first time, Wine &Travel Week will have a guest region: Castile and León (Spain), which will take advantage of its presence at the initiative to stage the world premiere of the show “Merina: the Spanish gold. Oteiza”. The stage will be the Coliseum of Porto, in the late afternoon of February 20^th.

Wine & Travel Week is an organisation of Essência Company.

In 1913 he took part in the Salon of French Artists and held his first solo exhibition in Porto. In 1915 he took part in the 1st Porto Humourists’ Salon, with drawings signed under the pseudonym “Maria Clara”.

In the following years, he divided his activities between Porto, Lisbon and Paris and, in 1921, settled in the French capital. This phase was marked by an intense social life and professional activity, sculpting, writing and organising exhibitions.

His Parisian phase includes the sculptural group L’Adieu ou Le pardon (1920), a gestural static work that combines a neo-romantic sensibility and a symbolist connotation with a cosmopolitan and modern formal and plastic dimension.

In 1926 he settled in Lisbon and in 1930 published his first work (14, Cité Falguière, memórias dos tempos de Paris). In the following years he continued to produce art, responding to private and official commissions.

In 1941, now widowed, he gave up sculpture and devoted himself to literary activity. He published biographies of artists, studies, booklets and prefaces to exhibition catalogues.

In 1944 he was invited to head the National Museum of Contemporary Art, a post he held until the end of his life. In 1946 he remarried and, two years later, he was commissioned by the Ministry of the Colonies to direct and accompany a travelling art exhibition in Angola and Mozambique.

In the 1950s, he was invited to organise the classification of properties of public interest, an activity he continued alongside participating in art exhibitions and writing reviews and essays on art and museology.

Source: National Museum of Contemporary Art in Chiado

Photo: Sculpture Cabeça de Rapaz (Head of a boy), by Diogo de Macedo, collection of the Soares dos Reis National Museum

Cover Photo: Diogo de Macedo @Fundação Calouste Gulbenkian

In 1897 he left for Paris, where he stayed until 1900, the year of the Universal Exhibition in Paris, to which he was invited and took part in decorating the Portuguese pavilion.

It wasn’t by learning at the Academy that the young man found answers to his questions: although he wasn’t indifferent to Impressionist aesthetics in particular, he identified more with Symbolist sensibilities.

António Carneiro was a mystical, melancholic and solitary man, a character not unrelated to the deprivations and difficulties of all kinds that he experienced. Filled with existential questions, he found in Paris, in that fin-de-siècle of great reflection and spiritual crisis, the ideal place to problematise his issues. It was in this context that the triptych “A Vida, feito Esperança, Amor e Saudade” (Life, made of Hope, Love and Longing) emerged, an emblematic work by Carneiro and Portuguese art, begun in Paris and presented for the first time in Porto in 1901 at the Misericórdia Gallery.

In Porto, his artistic career would develop in a very particular cultural context, and it was only in this context that his career could be understood. Painter and poet, “the most intellectual artist of his time”, he lived surrounded by a group of thinkers, poets, politicians and cultured men associated around the magazine “A Águia”. Founded in 1910, from 1912 it was the publication of the literary and cultural movement, the “Portuguese Renaissance”, set up in Porto. António Carneiro was artistic director of the magazine from its foundation until 1927, when it ceased publication. From 1918 he was a professor at the Porto School of Fine Arts and was appointed its director in 1929, a position he never held.

Throughout his career, António Carneiro mainly practised two genres of painting – portraits and landscapes – and made a living out of illustrations. He reluctantly accepted commissions for portraits of people with whom he had no affinity or simply didn’t know. Although he was referred to as a “portrait painter”, it was the landscape that attracted him most and which, in his work as a whole, best demonstrates the innovative potential of the artist who gave Portuguese art new values of modernity.

Between 1925 and 1927, he concentrated on a very intimate genre of painting: a series of church interiors that reflect his innermost feelings as a man torn apart by the death of his daughter (1925).

In 1929 he produced a composition, Camões reading the Lusiads to the friars of St Dominic’s, a work of synthesis that he completed towards the end of his life and sold in Brazil that same year.

As for the illustrations, the 42 drawings of the illustration of Dante’s Inferno, which are in the Soares dos Reis National Museum, reveal the best of his talent as a visionary poet.

On this subject, the Inferno – Dante’s Journey by the hand of António Carneiro exhibition is on display at the Lionesa Business Hub, as a result of a partnership between the Lionesa Business Hub, the Lionesa Group, the Soares dos Reis National Museum and ASCIPDA – Associazione Socio-Culturale Italiana del Portogallo Dante Alighieri.

The exhibition is free of charge and will be open until 30 March 2024, from 09h00 to 18h00.

In 1499, by decision of Bishop D. Diogo de Sousa, the relics were transferred to Sé Catedral do Porto. A fragment of Saint Pantaleon’s skull was kept in the reliquary bust, which was used when visiting the sick.

This devotional object, which has been part of the Soares dos Reis National Museum collection since 1941, is one of the oldest reliquary busts known in Portugal. Due to the lack of similar objects, it is difficult to establish an exact chronology for its execution and to define the origin of its manufacture.

Throughout its existence in this institution, it has a long bibliography, having been the subject of multidisciplinary studies after its opening in 1999, materialised in 2003 in an exhibition at the Soares dos Reis Museum and in the catalogue that supported it, with the title “Esta é a cabeça de São Pantaleão” (This is the head of Saint Pantaleon).

With no known authorship, crafted in white and gilded and painted silver, enamels, gold and smoky quartz, the reliquary bust of Saint Pantaleon dates back to the 15^th and 16^th centuries. It is classified as a National Treasure, due to its cultural value and significance for history and collective memory.

In 1884, physically weakened, he emigrated to Australia, settling in Melbourne. Only in the beginning of the 20^th century did he permanently return to Porto, dedicating himself to the promotion of the arts. In his hometown, he set up a studio school in a wing of the now-vanished Palácio de Cristal, which became a space of reference, sought after by aspiring artists and admirers of the painter. There, he taught, painted, and exhibited.

He spent some time in Vila do Conde, where he produced several works. This fact is reinforced by the fact that, in 1933, the painting “Tio Francisco” (Uncle Francisco) was exhibited as part of the collection that, years later, was bequeathed to the Soares dos Reis National Museum and from which this figure of a man (Cabeça de velho – Old man’s head in the image) originates from. The background landscape of this painting places the representation in Vila do Conde, identified by the unmistakable presence of the dome of the Chapel of Nossa Senhora do Socorro, located in the riverside houses of that city.

In this regard, we recall the article by António de Lemos, in which he writes:

«Artur Loureiro, that great artist who for so many years lived away from us, in that beautiful country, Australia, and who once here, a son of Porto, loving his nest with a special artist’s love, after his first exposition where he showed us that he was a delicate figure painter, with his portraits and admirably executed types, goes very close to Porto, to Vila do Conde and full of desire and filled with savoir faire, launches beautiful paintings on canvas that are like filigrees of painterly art. (…)

Our painters have been sketching landscapes all over the country and none, as far as I remember, had been painting to Vila do Conde. Perhaps because they thought there was nothing to paint there, and Artur Loureiro, who had been away from his country for twenty years, arrived and to settle down from his schoolwork went to that beautiful beach to rest, and what a rest it was, he returned carrying in his luggage delightful canvases, extremely beautiful. To want to mention the best would be to mention them all, however, I will note as primarily – A Senhora da Guia – then, the Azenhas, and of these, I don’t know if one gleams in the sun or the other, and which one was made by a sad morning of rain.

The main church, I also mention for its beautiful effect. Like a resounding stain, in that softness of colour, the curtains of the church make the painting stand out (here is where I am certainly mistaken, in having had a beautiful impression from the red that stands out from the painting, but that’s just me and there is nothing that bothers me).

The general Landscape of Vila do Conde, with its convent and its white houses, is beautiful.

The Past, a picture full of poetry and candour. Loke a poem of love, of pain and misery, that old woman sitting at the church door, where perhaps she was baptised, married, and her companion of many years was buried, perhaps a fisherman, whom she now mourns, begging for alms, in her miserable and anguished widowhood.

But let’s close this article, which is already too long. Before that, however, we’ll note two paintings, one of which is titled – Não voltará mais (He will never return), which is another poem of pain. Next to a beautiful tree in bloom, a rhododendron, a widow and a child gaze at the sea.

That gigantic and barbaric sea that has surely forever subdued the loved one of these two figures, insinuatingly beautiful in their silhouettes». [1]

[1] In «Notas d’arte», António de Lemos, 1906

In Paris, he settled in Rue Denfert-Rochereau, where other Portuguese artists such as Teixeira Lopes son resided. He came into contact with the Parisian artist Alexandre Falguière (1831-1900) and several compatriots, including the writers Eça de Queiroz (1845-1900) and António Nobre (1867-1900), the painters Carlos Reis (1863-1940) and Amadeo de Souza-Cardoso (1887-1918), and the art historian and critic José de Figueiredo (1872-1937).

In 1893, with the end of financial support and a lack of results, Augusto Santo was forced to return to Portugal. He then began working in his studio in Coimbrões and frequenting the Porto cafés of Praça Nova, where he met intellectuals such as Pádua Correia and Manuel Laranjeira, who described him as having a sad face, like a misanthrope sleepwalking through the crowd.

Among the few works that survived the destruction, the sculpture Ismael stands out, final course proof at the Academia Portuense de Belas Artes, dated 1889. The original, in plaster, is preserved at the Soares dos Reis National Museum, where the bronze cast of the artwork is exhibited.

Romero Vila, a priest and researcher, wrote about this sculpture in 1963:

“Ismael, the final statue in Augusto Santo’s course, has its prosaically sad story as it could have euphorically happy, because it came from an inner effort and human consecration. They compare it to the famous “O Desterrado” (The Exiled) by Soares dos Reis, for the immense desolation and psychic torture that both sculptures depict of their authors. Diogo de Macedo dares to say that they are autobiographies of bitterness kneaded into clay with their own blood.”

Augusto Santo died at the Santo António Hospital, in Porto, on September 26^th 1907, victim of tuberculosis.

At the end of the 19th century, he witnessed the introduction of naturalist painting in Porto and, unlike other romantic artists, decided to follow the example of the new generation.

António José da Costa helped create the Centro Artístico Portuense. He collaborated with Arte Portuguesa, the first national magazine dedicated exclusively to the fine arts, for which he produced illustrations. He was one of the promoters of the Exposições d’Arte held in Porto between 1887 and 1895, together with Marques de Oliveira, Marques Guimarães and Júlio Costa.

In 1921, and in fulfilment of a personal vow, he produced a panel for the church in Ramalde depicting the Adoração do Santíssimo Sacramento (Adoration of the Blessed Sacrament). In his later years, he continued to receive drawing and painting students as well as being visited by former disciples such as Artur Loureiro.

António José da Costa died in Porto in August 1929. Several of his works are part of the collection of the Soares dos Reis National Museum.

Image text: Oil on wood Lilacs and roses (1920), António José da Costa @Museu Nacional Soares dos Reis

Cover image: Portrait of António José da Costa (1921), by Júlio Costa @Museu Nacional Soares dos Reis

Choosing the landscape as a theme by excellence, he interprets it exhaust and obsessively during five decades: “My landscape is born within and beneath the earth. The sky never interested me, and sometimes I even cut it off” (João Hogan, 1985). In the 1930s he learnt lessons from first generation Portuguese naturalists and from Cézanne’s constructed painting.

Painting outdoors on the outskirts of Lisbon and later on the Portuguese Beira Baixa region, he soon created his own style, marking his isolated course on the national artistic scene. With solid and rigorous forms, built during the search for synthesis, his unmistakable landscapes show a deep interest in the vastness and rudeness of the earth. Representing uninhabited places, they exude a silence full of meanings, emphasized by the absence of the human figure.

In 1957, he started working on engraving, under the influence of William Hayter, of whom he was a student. If the first engravings, made on wood, still have a realistic nature, the engravings on copper – including the chance provided by acid and the influences of surrealism – reach an enormous level of unreality, fantasy and even humour. Dedicating himself to this technique until 1975, he created an extremely lyrical work, of enormous diversity, truly autonomous from the work of a painter.

Founding member of the Sociedade Cooperativa de Gravadores Portugueses in 1957, he later directed engraving courses there. He created illustrations for books from 1960 onwards.

Chosen in 1971 to make one of the paintings that decorate the café A Brasileira, in Chiado, in Lisbon, he created a group 5 + 1 in 1976, which he exhibited the same year in Lisbon and Vienna, with the painters Teresa Magalhães, Júlio Pereira, Sérgio Pombo, Guilherme Parente and the sculptor Virgílio Domingues.

Image Text: Oil on canvas Alto dos sete moinhos (High of the Seven Mills,1954) by João Hogan @Museu Nacional Soares dos Reis

Cover Image: Oil on canvas Self-Portrait (1959) by João Hogan @Centro de Arte Moderna de Lisboa

In 1947, his son Norberto, as a testament to his appreciation for his father’s work, compiled reproductions of his best photographs in two albums. All the works that make up this retrospective exhibition are the result of a selection from volume 2, exclusively dedicated to Paisagem (Landscape), whose photographs were printed at the Bazar Foto-Amador in Porto, on February, 1945.

This is the first ever exhibition of José Zagalo Ilharco’s photographic work, presenting a significant part of the works and documents from his estate.

Photographic Credits José Zagalo Ilharco @Private Collection

Domingos Sequeira, Augusto Roquemont, Francisca Almeida Furtado, Francisco José Resende and João António Correia will be some of the highlighted artists during this visit, in which themes represented in romanticism will be addressed.

There follows a pedestrian route around the romantic figure of Carlos Alberto de Savoia-Carignano, Italian king, that arrived in Porto on April 19^th, 1849, choosing this City to live during his exile.

The route will be done between his 2^nd residence on a building next to the Palácio dos Carrancas (now Soares dos Reis National Museum) and the house on Quinta da Macieirinha (Romantic Museum) that hosted him until his death, on July 27^th, 1849. In this house now museum, will be highlighted elements of the king’s presence.

Teresa Gonçalves Lobo was born in 1968 in Funchal. She lives and works in Lisbon and Funchal. She studied drawing, painting, engraving and photography at the Ar.Co Centro de Comunicação Visual and at Cenjor, respectively.

Teresa Gonçalves Lobo, whose work began almost two decades ago, from the beginning focussed on drawing, an expressive field in which she has developed remarkable research. Having exhibited in various spaces in Portugal and internationally, she is currently represented in England by the prestigious London gallery WATERHOUSE &DODD, where she has exhibited both individually and collectively.

Her work has received significant critical attention and has been subject of monographic essays by various Portuguese critics and curators such as Nuno Faria, João Pinharanda and Bernardo Pinto de Almeida.

Teresa Gonçalves Lobo is represented in several collections, both private and institutional, in Portugal and abroad.

Every year since 2020, the International Museum Day has supported a set of United Nations Sustainable Development Goals. In 2024, the activities to be promote will focus on Goal 4: Quality Education – Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all; and Goal 9: Industry, Innovation and Infrastructure – Build resilient infrastructure, promote inclusive and sustainable industrialization and foster innovation.

Celebrated annually on May 18^th, International Museum Day was created in 1977 by ICOM, with the aim of promoting reflection, among society, on the role of museums in its development.

More and more museums around the world are taking part in this global celebration. Last year, 37 000 museums in 158 countries and territories joined the event.

‘Azul no Azul’ is an experimental short film created by Italian filmmaker Gianmarco Donaggio and Portuguese painter Nelson Ferreira.

The film was produced and distributed in collaboration with the National Museum of Contemporary Art, and a second version was created for the Soares dos Reis National Museum as part of the celebration of the 150^th anniversary of the sculpture O Desterrado (The Exiled) by António Soares dos Reis.

The ‘Azul no Azul’ exhibition was on display at the Soares dos Reis National Museum from December 2022 to March 2023. The exhibition brings together watercolour by artist Nelson Ferreira and the film by Italian filmmaker Gianmarco Donaggio, allowing young artists to demonstrate how classical masters influence the creation of contemporary artists with their timeless works.

It’s worth noting that the Berlin International Film Festival takes place between February 15^th and 25^th, while Berlinale Talents will occur between February 17^th and 22^nd.

In addition to being a writer, Maria Henrique Oswald was also a translator and an active collaborator to various publications of the time, such as Mocidade Portuguesa Feminina. It was a monthly bulletin, the organ of the Mocidade Portuguesa Feminina, founded by the New State (Estado Novo), and published monthly between 1939 and 1947, with the aim of affiliating the nationalist and Christian ideology to the “mentality of Portuguese girls”, as well as creating a “new woman”, emphasising the Christian sense in her life, namely in the household, family and society.

This publication featured several notable collaborations, including the names of Maria Guardiola, Maria Henriques Oswald, António Correia de Oliveira, Cottinelli Telmo, Diogo de Macedo, Fernanda de Castro and Domitila Carvalho.

Irene Vilar was born on December 11^th 1930 in Matosinhos. Although she worked in different areas, it was sculptureing the field that Irene Vilar dedicated most of her life to.

She is the author of a varied, wide-ranging and rich body of work in the fields of sculpture, medal-making, numismatic, goldsmithing and painting, showcased in countless exhibitions (both solo and collective) and distinguished with several awards.

The celebration of International Conservator-Restorer Day is, therefore, an opportunity to sensitise the population, especially the younger generations, to the valuable outcomes that conservation and restoration can bring to cultural heritage and society.

The respect for history and the values present in the interventions stand out, as well as the artists and crafts, which guarantee the integrity of the European material testimony and the authenticity of cultural heritage, that are crucial for the process of individual and collective identification.

The conserver-restorer is a highly qualified professional who studies interdisciplinary subjects, from chemistry to biology, through art history, archaeology and museology. This professional is responsible for tasks of high complexity and responsibility and often works in multidisciplinary networks.

At the Soares dos Reis National Museum, continuous work is carried out in the areas of conservation and restauration, within the context of managing and monitoring the different collections.

The team of conservators and restorers also takes part in research projects with the aim of contributing to new studies on conservation and restoration techniques and procedures.

Apparently, from this portrait, several others were made in which the Empress is depicted in exactly the same pose, with the same garments and accessories and with the same elements as scenery, but alone, that is, without the figure of her daughter, D. Maria Amélia.

These portraits are distributed among various collections in Europe and Brazil (Paço Ducal de Vila Viçosa, Museu Militar de Lisboa, Fundação Maria Luisa e Oscar Americano, São Paulo, Museu Imperial de Petropolis, Royal Palace of Stockholm, as well as others in private collections in Brazil and Germany).

Tose versions however have been attributed to Friedrich Dürk, disciple and nephew of Stieler, who allegedly prepared a portrait of D. Amélia for an engraving edition, in which his name appears as the author of the original painting. However, the source of all these portraits, even the one executed by Stieler, may in fact be a triple portrait, depicting D. Pedro IV, D. Maria III and D. Amélia (now in the Cultural Center of Casa Pia de Lisboa), dated 183 and signed by Maurício do Carmo Sendim (1786-1870).

In that portrait, D. Amélia is depicted with her face in the same position and wearing exactly the same hairstyle and jewellery. The twist of the torso and the colour of the dress differ (which, incidentally, is of the same cut as the dress depicted in the portraits attributed to Stieler and Dürck).

The portrait of D. Amélia in the collection of the Soares dos Reis National Museum differs from all the others in that the Empress is depicted wearing a blue, green and white fabric sash, crossed over her torso.

Wine & Travel Week, a gathering that brings together professionals from all over the world, counts in this second edition with a delegation of over 100 buyers and specialized journalists in enotourism, joined by members from the capitals of the world’s major wine regions, the Great Wine Capitals (GWC). South Africa, Spain, France, India, England, Israel, Japan, Nigeria, and Portugal are some of the countries represented.

Among the event’s many parallel activities, the lunch on February 20^th stands out, crafted by chef Rui Paula (holder of two Michelin stars at the Casa de Chá – Paço da Boa Nova restaurant), to be served at the Soares dos Reis National Museum.

It’s important to emphasise that, for the first time, Wine &Travel Week will have a guest region: Castile and León (Spain), which will take advantage of its presence at the initiative to stage the world premiere of the show “Merina: the Spanish gold. Oteiza”. The stage will be the Coliseum of Porto, in the late afternoon of February 20^th.

Wine & Travel Week is an organisation of Essência Company.

Part of the hull, a barrel of mineral oil and an oar were all that was found. Paintings by Malhoa; Columbano; Carlos Reis; Alfredo Keil; Alberto Pinto; Sousa Pinto; Veloso Salgado; Carneiro Júnior, among others, were lost.

Sculptures, ceramics and tiles of great quality and beauty, namely form Real Fábrica Vista Alegre, Fábrica das Devesas (Vila Nova de Gaia); Cerâmica do Carvalhinho (Porto), Faianças das Caldas da Rainha, Fábrica de Louça de Avelino António Soares Belo and also old tiles belonging to private collections.

As a whole, these treasures were part of the proud Portuguese representation and some were even distinguished by the Parisian jury, seeing their artistic value recognised with the award of medals.

Only the few that went to Portugal by other routes– train and three more vessels – or deviated from their destructive route – such as José Malhoas’s painting “As padeiras” – were saved, because they were headed to other exhibitions, in Russia and Germany.

The shipwreck also led to the loss of another precious cargo on board the Saint-Andre, that was lost forever: Eça de Queirós’s personal documents and the furniture from the house in where he died in Neuilly-sur-Seine, on the outskirts of Paris, on the 16^th of August 1900. His widow had asked for them to be transported on the ship that the government had chartered for the return of some of the works exhibited in Paris.

The 1900 Universal Paris Exhibition welcomed around 51 million visitors, occupying an area of 216 hectares spread throughout the centre of Paris, along the river banks of the Seine, and Bois de Vincennes, leaving iconic structures that still stand today: the Alexandre III Bridge, the Grand and Petit Palais, the Gare d’Orsay (now a museum) and the Paris Metro, whose first line was inaugurated for the Exposition.

Sources: Blog O Sal da História and Tribunal de Contas

Photographic credits: Lucien Baylac (1851-1913) – Image available on the Photos, Prints and Drawings Division on the Library of Congress of the United States of America

There are more uncertainties than certainties about his life’s journey, but it is believed that he had Lisbon as the main city of his life, as well as the presence of Coimbra, in which he learnt Latin, and what had been lived and written in the centuries before his life.

He was a court member, in the position of lyrical poet, although he took on an incautious life, that led him to a self-exile in Africa. It was there, as a Portuguese military officer, that Camões lost his right eye, ending up returning to Portugal. However, he would travel again, this time to the East, where he wrote Os Lusíadas, a masterpiece that he almost lost in the high seas.

Camões, whose bust is part of the long-term exhibition, dedicated Os Lusíadas to to King D. Sebastião, who would secure him a pension for his previous presence in the crown, even though he died in a depleted way, before the disappearance of the monarch in in the battle of Alcácer-Quibir. His poetry would endure in “Rimas”, as well as some plays, which would foster a prestigious legacy, not only in Portugal, but also in other countries, inspiring a series of literary currents and romantic authors.

Apart from Os Lusíadas, Camões wrote three comic plays, as he frequently complained, that his oeuvre was never truly appreciated for those who he wrote them for: the Portuguese.

The true recognition would only arrive after his death, having 55 years old at the time. His mortal remains can be found buried in the Jerónimos’ Monestry.

The Soares dos Reis National Museum, housed in an 18th-century building known as Carrancas Palace, was the object of a thorough renovation and expansion, according to a project by architect Fernando Távora.

Fernando Távora started the remodeling projects and works in 1988, divided into seven phases and each covering different wings of the Museum: the permanent exhibition galleries, the management building, the educational service, the cafeteria, the Noble Floor, the reserves, the extension for temporary exhibitions, the auditorium and the Rainha Dona Amélia Garden.

“Fernando Távora. Pensamento Livre (Free Thought)” is an initiative from the Marques da Silva Foundation and the Faculty of Architecture of the University of Porto. Curated by Alexandre Alves Costa (coordinator), Ana Alves Costa, Jorge Figueira, José António Bandeirinha, Luís Martinho Urbano, Maria Manuel Oliveira, the exhibition proposes a journey through the life and works by the Architect Fernando Távora.

The exhibition is the central activity of the Távora 100. This celebration program for the Centenary of Fernando Távora is part of a common proposition by the Order of the Architects, the Marques da Silva Foundation and the three School of Architecture where his innovative vision was felt and, even, (re)foundational, the Faculty of Architecture of the University of Porto, the Department of Architecture of the University of Coimbra and the School of Architecture, Art and Design of the University of Minho.

The program Távora 100 counts with the institutional support of Soares dos Reis National Museum.

Settled in a 18^th century building, called Palácio dos Carrancas, the Soares dos Reis National Museum was the object of a deep remodulation and amplification, according to the project of the architect Fernando Távora.

Fernando Távora begins his projects and works of remodulation in 1988, divided into seven phases and contemplating each one of the different Museum’s wings: the permanent exhibitions rooms, the direction’s office, the educational services, the cafeteria, the Noble Floor, the stocks, the extension for temporary exhibitions and the auditorium, and the garden fence outside.

He worked at the Porto’s Municipal Museum (1922-1938), where he held the positions of conservator and Deputy director, however he left this institution in 1938 to take over the position of chief of the Radiology Services of the Faculty of Medicine of the University of Porto.

He travelled through various European countries, such as Spain, France, Belgium and Switzerland and took part in archaeological and artistic journeys around the country, drawing, painting and taking photographs.

Owner of a large iconographic patrimony and an extensive library, which is being preserved by the Municipal Public Library of Porto, Pedro Vitorino lived with his brother, in Contumil, in a house that belonged to their father and ended up turning into the House-Museum Vitorino Ribeiro.

He passed away in Vila Nova de Gaia, on November 10^th, 1944.

Photo credits: Porto Municipal Archive

Canto da Maya reduces bodies to their basic form, modelling in clay the figures embracing each other, sitting on the ground; the dense volume shows smooth surfaces and curved lines. This technique is suggestive from his vision of Sculpture as a Primitive Art.

“Ernesto do Canto Faria e Maia was born in Ponta Delgada, in 1890. With artistic training in Lisbon, Paris, Geneva and Madrid, and the most consecrated and international career of a Portuguese sculpture in the first half of the century, Canto da Maya stands out among the figurative modernism percussors with an original decorative aesthetic.

Between Paris and Lisbon, he created sculptures – large sets, little figures of terracotta or plaster, busts, bas-reliefs, metaphorical figures of the circles of life or femininity – whose anatomical expressiveness and poetic ideality were highly awarded, and chosen to represent the French art (Tokyo and Osaka, 1926), and Portugal, in multiple universal exhibitions (Paris, 1937; New York, San Francisco, 1939) and in the São Paulo’s Biennial (1957).

He also played a central role in the art deco’s exploration, collaborating in projects with famous architects. A mid-career turn takes him from the pioneering reinvention of figurative sculpture to the nationalist academism, in a long official campaign of monumental sculptures aimed to praise the patriotic propaganda of the New State (Estado Novo), earning him the Degree of Officer of the Military Order of Sant’Iago da Espada (1941).

Despite the different phases and faces, the work of Canto da Maya keeps on attracting successive honors and retrospectives since the 1930s, in Portugal and in France. Canto da Maya died in Ponta Delgada, in 1981”.

The sculpture stayed in the family’s possession for more than 50 years, having been sold to Soares dos Reis National Museum, in 1940, by Tomás Archer de Carvalho, father of José Archer de Carvalho.

Vasco Valente, Maria Francisca Archer de Carvalho’s grandson, was the artistic director of the Fábrica Vista Alegre when it was produced the biscuit version of Flor Agreste. Having been director of the Soares dos Reis National Museum, between 1932-1950, “he had great influence on the movement created for the Flor Agreste to go to that Museum”.

Notable historian of Portuguese glass and ceramics, Vasco Valente was also responsible for the creation of Vista Alegre’s ceramics museum and author of the medal award of length of service provided by the company’s staff.

About Vista Alegre

The Vista Alegre porcelain factory was founded in 1824, in Ílhavo, in the district of Aveiro. Throughout its journey, the brand was always intimately associated with the Portuguese history and cultural life and acquired a grand international notoriety. In 2001, the Vista Alegre Group (porcelain, earthenware, and stoneware) merged with the Atlantis Group (handmade crystal and glass and of high quality), originating one of the biggest tableware and giftware groups of Europe: the Vista Alegre Atlantis Group.

In 2009, the Vista Alegre Atlantis Group became part of the Visabeira Group’s brands portfolio.

Every year, the design of the Portuguese’s porcelain, crystal and glass brand catches the eye of the most prestigious awards of international design, in countries such as Germany, United States of America and Italy, thus counting with a considerable number of awards in the brand’s history.

Manoel da Silva Passos (Passos Manuel) was born on January 5^th, 1805, in S. Martinho de Guifões, in the old Bouças district (Matosinhos), and died on January 18^th, 1862, in Santarém.

He was one of the most important governors of the first Portuguese Liberalism in the 19^th century.

He was the principal enhancer of masculine high school education in Portugal. This school was destined to the creation of a population scientifically and technically prepared, which would materialise, ten years later, with the creation of high school in the district’s capitals.

By decree of October 25^th, 1836, he created the Academia Portuense de Belas-Artes and, on January 11^th, 1837, founded the Porto Polytechnic Academy and the Lisbon Polytechnic School (the latter took over the Real de Marinha Academy’s functions). Through the decree of December 29^th, 1836, he organised the medical-surgical schools in Lisbon and in Porto.

Every now and then I lose my head, mess up the timetable and go to the Soares dos Reis Museum to see Pousão, pass by the church of S. Francisco, or get on a tram and go round the world, down to Foz via the Marginal and up via Boavista (…)
Miguel Torga, Portugal (1950)

Adolfo Correia da Rocha was born in 1907 in S. Martinho de Anta, Sabrosa, where he completed his primary education with honours.

Coming from a humble peasant family with few economic resources, he worked in Porto, attended the Lamego Seminary and emigrated to Brazil as a teenager. On his return to Portugal, he studied medicine in Coimbra, where he lived and died in 1995.

A vehement and uncompromising personality, he was a poet, initially associated with the Presença group, which he soon abandoned.

He adopted the pseudonym Miguel Torga, in honour of two great figures of Iberian culture, Miguel de Cervantes and Miguel de Unamuno, and also the torga (calluna vulgaris), a wild mountain plant with strong roots.

His extensive oeuvre deals, among other themes, with the drama of poetic creation, humanist despair, telluric feeling, religious issues, Iberianism and the universal.

A defender of freedom and justice, his works were censored, he suffered political persecution and was imprisoned, although he never joined any political party.

He was honoured with numerous national and international literary prizes and was a candidate for the Nobel Prize for Literature.

José Zagalo Ilharco (Lamego, 1860 – Porto, 1910), an amateur photographer who won an international award for his image of the Souza River, devoted himself primarily to landscape photography, but also to the anthropology of spaces, an example of which are the images now unveiled of Porto and Matosinhos.

The reproductions of the best images he produced were put together in an album by his son Norberto de Melo Zagalo Ilharco in two volumes (1947) and, being the property of his heirs, are being made public in recognition of his legacy.

The selection presented at the Soares dos Reis National Museum includes, among originals and reproductions, mainly landscapes of Matosinhos, Leça da Palmeira, Porto and the Douro.

Also noteworthy among the images presented is a group of photographs taken in 1893 of the Maria Amélia velodrome, produced before its inauguration at the back of the Royal Palace of Porto, where the Soares dos Reis National Museum is currently located.

The exhibition will also include a copy of the magazine O Tripeiro (May 1946), signed with a dedication by Vasco Valente, in which an article by the then Director of the Soares dos Reis National Museum is published about the Real Velo Club do Porto, of which José Zagalo Ilharco was a founding member.

Also on 25 January, the Museum opens the exhibition Teresa Gonçalves Lobo and Domingos Sequeira: a dialogue in time.