The 50th anniversary of the Arrábida Bridge was the pretext for a retrospective of the representation of bridges in Portuguese art, featuring great names in 19th and 20th century painting. An exhibition co-organized by the Faculty of Engineering of the University of Porto, Faculty of Fine Arts of the University of Porto and MNSR, bringing together works by 64 of the main Portuguese artists of the 19th, 20th and 21st centuries, selected by Manuel Matos Fernandes and Bernardo Pinto de Almeida.

Among the various facets of Rafael Bordalo Pinheiro’s artistic activity, one of the highlights is the design of a silver plate made up of 300 pieces for the 3rd Viscount of São João da Pesqueira, Luís Maria de Sousa Vahia Rebelo de Morais.

The execution took place between 1900 and 1904, under the direction of master goldsmith Guilherme Soares, head of the Casa Reis & Filhos workshops in Porto, with the collaboration of Bordalo Pinheiro in monitoring the work.

The Manuelina Plate is exhibited to the public for the first time by Casa Reis & Filhos in 1904. The exhibition is held in the context of the IV Congress Silver in Iberoamerica, organized by the Universidade Católica Portuguesa – Escola das Artes.

This itinerant exhibition featuring contemporary Polish graphic arts was curated by artist, Halina Chrostowska (1929-1990) and organised by the Ministry of Culture and Art of the People’s Republic of Poland. The exhibition included a total of 212 prints, using a wide variety of techniques, made by 36 Polish artists between 1956 and 1980.

The exhibition now presented was born from an initiative carried out by a group of former students of António Cardoso and aims to be a tribute to his art: an art that is fully realized in the reinvention of a humanism that resists and subsists, when It does not grow stronger in its own adversity.

This exhibition is the result of a proposal from the Portuguese Camélia Association, which has been generously contributing for some years to the maintenance of the centenary Jardim das Camélias at Palácio dos Carrancas, where the MNSR is located.

In this city where Camellias or Japanese trees, as they are often referred to, have such a strong presence, it has particular meaning to make this presentation of art objects and curiosities that intend to relate the collections of the MNSR and some individuals with the strong presence of the motif of camellia in art and culture in Portugal.

In his 50 years of artistic activity, Jorge de Oliveira participated, in the first line and in the first hour, in all the significant changes of his generation, always in a unique way and the result of an individualism and an independence that resulted in oblivion. generalization of his figure and his work from the 1960s onwards. The anthological exhibition – repeating, in a unique space, the exhibition organized in 2013 at the Chiado Museum and the Arpad Szenes Vieira da Silva Foundation – aims to repair a long oblivion by bringing his work back to the present day.

Created in 1980, the collective of Árvore’s members has become one of the Cooperative’s most emblematic events, where countless artists, established and emerging, and countless works of art in their most varied expressions have passed. This year the exhibition takes place at MNSR.

The exhibition presents works on 15×15 cm tiles, which reproduce the sensations that a group of artists experienced when visiting the Peneda Gerês National Park, artistically characterizing the flora, fauna and ethnography of the only National Park in the country.

The exhibition is promoted by ATAHCA – Local Development Association, in partnership with the MNSR, the Hospital de Magalhães Lemos and the host entities in the municipalities of Vila Verde, Braga, Terras de Bouro and Barcelos.

Sculptor, jeweler and object creator Ana Fernandes exhibits for the first time at MNSR some of her pieces inspired by everyday elements that the artist collected throughout her life. The artist composes pieces of sculpture that reflect an atmosphere of affections and places, ensuring that their previous utilitarian function is not lost during the process. Abstract combinations function as memory echoes that interact in the present. The pieces, created from materials such as steel, aluminum, galvanized sheet metal or steel mesh, subvert the content of the work and elevate the everyday object to an artistic and museum object, similar to the Duchampian work that influences it.

Collective exhibition at MNSR, result of artistic residencies at Fábrica de Cerâmica S. Bernardo – Alcobaça with the artists: Albuquerque Mendes, Beatriz Sanchez Horta Correia, Bela Silva, Catarina Branco, Carolina Paz, Estela Sokol, Fábio Carvalho, Gabriela Machado, Graça Pereira Coutinho, Isaque Pinheiro, Jorge Abade, Luís Nobre, Maria Pia Oliveira, Sofia Castro and Susana Clemente Piteira.

Naturalist painting exhibition with 50 works by more than 15 authors who left a mark on Portuguese art. Painting outdoors and capturing outside light were some of the challenges faced by naturalist painters who maintained a commitment to ethnography, as they favored scenes from popular life, habits from village life, riverside or seascapes.

This is a polynuclear exhibition, which is on display in 4 spaces associated with D. Pedro or the Siege of Porto: the Serra do Pilar Monastery, the Porto Military Museum, the MNSR and the Lapa Church. After 180 years, We remember the figure of the so-called Soldier King and the circumstances that led to this special connection to the city, in 4 places that symbolize his daily life and the aforementioned military episode.

This exhibition comes as part of an internship project at the Faculty of Arts of the University of Porto, by master’s student Carlos Furtado.

António Drumond, Carlos Valente Eduardo Martinho, João Menéres, João Paulo Sotto Mayor, Joaquim Soares, J Viana Basto, J C Matias Serra, Manuel Magalhães, Miguel Louro, Óscar Saraiva and Ricardo Fonseca were the 12 members of the AFP (former Porto Photographic Association) who organised this exhibition.

Like many other photographers who were associated with AFP, they continue to photograph with their own cultural stamp, created in the heart of their shared apprenticeship. The images presented, having photographic art as their common denominator, aim to show the AFP’s contemporary expressions as well as current aesthetic interpretations, proving that ideas do not grow old.

This exhibition takes place within the scope of the second edition of the Outro Prisma photography competition and is part of the celebrations of World Architecture Day. The jury for this edition, responsible for selecting the 49 best photographs, was made up of Bernardino Castro, Director of the Portuguese Center for Photography, by photographers José Campos and Inês D’Orey and architects Pedro da Rocha Vinagreiro and Renato Costa, representing the Order of Architects Northern Regional Section (OASRN) and published the winning photograph on the opening day.

The MNSR hosts the exhibition commemorating the 30th anniversary of the creation of the Instituto Politécnico do Porto (IPP), with works of great interest for the knowledge of contemporary artistic activity, opportunely brought together by the IPP to form part of its collection.

This exhibition takes as its starting point Lígia Afonso’s doctoral research on Portuguese representation at the São Paulo Biennale, since its 1st edition, in 1951.

The Portuguese works and artists presented offer an overview of the art produced in Portugal since the beginning of the 20th century, built in real time, every 2 years, and determined by the institutional, critical and artistic voices that were asserting themselves at each moment and time. .

Artist Mafalda Santos was invited to produce a second iteration of the large panel CARTAS DE S. PAULO produced in 2014 for the biennial. The artist composes a detailed visual chronology where institutions, artists and works are recorded, mapping an entire network of connections and offering an integrated reading of the Portuguese presence at the São Paulo Biennale.

This exhibition is articulated and dialogues with HOW(…) THINGS THAT DON’T EXIST – AN EXHIBITION DEVELOPED FROM THE 31st S PAULO BIENAL, currently on view at the Serralves Museum of Contemporary Art.

This audiovisual exhibition celebrates the 8th Centenary of the Pilgrimage of Saint Francis of Assisi to Santiago de Compostela. It is the result of the journey taken by photographer Manuel Valcárcel and musician Alexandro González through Italy, France, northern Spain and Galicia, following the same route taken by Saint Francis in 1214, from Assisi to Compostela. The 2 young Galician artists took on the role of pilgrims and captured the essence of this unique phenomenon.

Tile in Portugal, due to its abundance and artistic richness, is an internationally recognized symbol. In the first half of the 20th century, the walls of a large number of churches, palaces, public and private buildings, factories, markets or train stations were covered with panels of varied iconography, from landscapes and monuments, to images of peasant and prehistoric life. -industrial. An entire country shaped by this original medium with a long tradition, which finds its sources in photographic copying in its different supports: illustrated books, magazines or postcards.

These iconographic sources are the central motif of the exhibition, which places originals and copies in parallel, with the dual purpose of showing the modern version of the ancient way of working of tile painters – who replaced engravings with photographs –, as should be noted the weight of graphic modernity that marks the entire 20th century.

This exhibition takes place as part of the 2015 Spanish Exhibition.

The United Nations General Assembly, in its session on November 25, 2013, proclaimed 2015 as the International Year of Light and Light-based Technologies (AIL2015). The University of Porto, through the Science Museum, joins this global celebration, with the Lux Mirabilis exhibition. The exhibition includes pieces from the collections of the Science Museum of the University of Porto and other institutions such as the Natural History Museum, the Museum of the Faculty of Engineering and the Ancient Fund of the University of Porto, the Museum of the Instituto Superior de Engenharia do Porto and the MNSR itself, as well as modules that highlight the current importance of light in science, technology and society.

Collective exhibition of artists invited to illustrate traditional tales based on a first systematic collection of Portuguese folk tales, organized by Adolfo Coelho as Os Contos Populares Portugueses, from 1879, or the collection published in 1910 by Consieglieri Pedroso. The pieces in the exhibition reflect the use of various artistic techniques of printing (engraving, woodcut, linoleum), drawing, painting, sculpture and ceramics.

This exhibition appears as a desire to affirm and testify to the sketch, its importance and multidisciplinary impact on the built work and its validation as a fundamental tool in the architect’s creative process.

The exhibition presents, among others, works by professors from the Faculty of Architecture of the University of Porto such as Alexandre Alves Costa, Álvaro Siza, Adalberto Dias, João Pedro Xavier (Vice-Director), Marta Rocha, Sérgio Fernandez and, also, alumni Álvaro Leite Siza Vieira, Camilo Rebelo, Fátima Fernandes, Francisco Vieira de Campos, João Mendes Ribeiro, João Paulo Rapagão, José Paulo dos Santos. The installation also includes works by António Cerejeira Fontes, Henrique Marques, Raúl Hestnes Ferreira, Telmo Castro, Gonçalo Byrne, João Luís Carrilho da Graça, José Mateus, Manuel Aires Mateus.

Recreation of the only exhibition by Amadeo de Souza Cardoso in Portugal, in 1916, initially opened at Jardim Passos Manuel, in Porto, and later at the Liga Naval Portuguesa, in Lisbon.
A century after these exhibitions, the MNSR and the National Museum of Contemporary Art – Museu do Chiado mark the anniversary by bringing together a significant part of the pieces previously exhibited.
The first and only exhibitions in Portugal were also the first and only solo exhibitions he held in his short life. The context was the beginning of the First World War, when Amadeo de Souza-Cardoso returned to Portugal and was already a recognized painter among the avant-garde. Before exhibiting in his country, he had already participated in group exhibitions in Paris, Berlin, New York, Chicago, Boston and London.

The exhibition, curated by Annemarie Jordan Gschwens and Kate Lowe, comes from the National Museum of Ancient Art and opens today at the MNSR, on the eve of International Museum Day. The global city represents the era of Portuguese discoveries, in the 16th century, where the import and sale of merchandise was intense. The exhibition has around 200 pieces and aims to take visitors to discover the Renaissance period in Portugal.

The exhibition took around 100 pieces from the MNSR’s painting, sculpture, drawing and engraving collections across borders, in a joint initiative with the Secretariat of Culture of the State of São Paulo, through the Pinacoteca de São Paulo. The meeting allowed exploring the construction of art in Portugal and Brazil – a theme that mobilized artists, institutions and those interested in Fine Arts throughout the 19th century.
The exhibition was sponsored by EDP and Cisa Trading and had the support of the Consulate General of Portugal and Experimenta Portugal 2017.

This temporary exhibition brings to public enjoyment a set of pieces from the collection of the Venerable Third Order of Our Lady of Mount Carmel with the purpose of publicizing its artistic heritage, thus promoting what will be its future museum.

The MNSR, in collaboration with the Calouste Gulbenkian Foundation, hosts the exhibition JOSÉ DE ALMADA NEGREIROS: DRAWING IN MOTION, which brings together 90 works that highlight the importance of cinematographic language in the visual work of this unique figure of Portuguese modernism.
In this exhibition, several works that were exhibited at the Gulbenkian Foundation, in Lisbon, and new works will be presented. In a large part of Almada’s work, his desire to tell stories with images is clearly visible, many of which contain hints of humor, both in series of drawings and in works integrated into buildings and even tapestries. Fascinated with the possibility of bringing the drawing to life and setting it in motion, Almada had the intention of experimenting with animation several times, but he never made his wish come true.

The 22 portraits that we present at MNSR were created by Ricardo Leite based on a choice of personalities made by Professor José Augusto França. The knowledge that this notable art historian has of the works in the museum’s collection adds to the tribute of those portrayed a happy encounter and elevates the portrait, a genre represented in the permanent exhibition.
The visit to this exhibition is therefore an opportunity to tour the museum to discover these works from the 16th to the 20th century and to look at them in the light of the suggestions that Mário Cláudio makes in his timely observations about the portrait.

The exhibited buckles, pins and threaders are part of the collection of over 300 pieces gathered by the architect, José Carlos Loureiro, a major figure in the Porto School of Architecture. In 2017, when it was deposited in its entirety at the Soares dos Reis National Museum for public enjoyment, it achieved museum status and later became part of the permanent exhibition.
Underlining the unusual fact of focusing on this particular type of everyday object, such a natural part of all our lives, the collection is outstanding for the quantity and functional variety of such pieces. It thus provides a vast chronological reading closely linked to the progress of clothing and fashion.

The works that Regina Brito exhibits for the first time appear accompanied by some other works from the MNSR collection and one by Albuquerque Mendes. This proximity allows us to reflect on the dimensions of a form of expression that Regina Brito presents, from 1993 onwards, beginning to paint sometimes with paint and sometimes with lines. Without any project, without anything previously considered and defined.