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Almada Negreiros
José Sobral de Almada Negreiros, usually known as Almada Negreiros (7 April 1893 – 15 June 1970), was a Portuguese artist. He was born in the colony of Portuguese São Tomé and Príncipe, the son of a Portuguese father, António Lobo de Almada Negreiros, and a Santomean mother, Elvira Freire Sobral. Besides literature and painting, Almada developed ballet choreographies, and worked on tapestry, engraving, murals, caricature, mosaic, azulejo and stained glass.
His mother died in 1896. In 1900 he entered a Jesuit boarding school in Campolide, Lisbon. After the October 1910 republican revolution the school was closed and Almada entered the Escola Internacional, also in Lisbon.
In 1913 he had his first individual exhibition, showing 90 drawings. In 1915, along with Fernando Pessoa and Mário de Sá-Carneiro, he published poems and texts in the Orpheu artistic magazine, which would introduce modernist literature and art in Portugal. This same year Almada Negreiros wrote the famous Manifesto Anti-Dantas e por extenso, a humorous attack against a more traditionalist and bourgeois older generation. In 1915 the artist also conceived the O Sonho da Rosa ballet.
In 1917, with the aim of introducing the Portuguese public to Futuristic aesthetics, Almada Negreiros published, together with Santa-Rita Pintor, the Portugal Futurista magazine, writing the Ultimatum Futurista, às gerações portuguezas do século XX ("Futurist ultimatum to the Portuguese generations of the 20th century"). He promoted a conference, the Sessão Futurista ("Futurist Session"), where he appeared wearing a flight suit.
Between the years 1918–20 Almada lived in Paris. To support himself, he worked as a dancer and as a factory worker. In 1920 he returned to Lisbon. In 1925 he produced two paintings for one of the most famous cafés in Lisbon, A Brasileira and in 1926-27 a nude for the Bristol Club, a nightclub with a modernist design. In 1927 he went to Madrid where he wrote for several Spanish publications, including Cronica and La Farsa. Around this same time he wrote El Uno, tragédia de la Unidad.
Back in Portugal, in the following years his artistic production were wide and prolific as he became a key artist in Portuguese modern art, influenced by Cubism and, mainly, by Futurism. His role during António de Oliveira Salazar's authoritarian regime was however ambiguous, acting both as an "aligned" artist (doing public mural paintings or propaganda posters) and a provocative critic of Portuguese society of the time.
In 1934 he married painter Sarah Afonso (13 May 1899 – 14 December 1983). Re-settled for good in Portugal, he would continue in his role as "artistic agitator" within the oppressed society that was Portugal until the time of his death. In 1934 the couple had their only son, José Afonso de Almada Negreiros.
He was also, if only occasionally, an actor and a dancer, understanding that all forms of art are intimately linked.
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Almada Negreiros
José Sobral de Almada Negreiros, usually known as Almada Negreiros (7 April 1893 – 15 June 1970), was a Portuguese artist. He was born in the colony of Portuguese São Tomé and Príncipe, the son of a Portuguese father, António Lobo de Almada Negreiros, and a Santomean mother, Elvira Freire Sobral. Besides literature and painting, Almada developed ballet choreographies, and worked on tapestry, engraving, murals, caricature, mosaic, azulejo and stained glass.
His mother died in 1896. In 1900 he entered a Jesuit boarding school in Campolide, Lisbon. After the October 1910 republican revolution the school was closed and Almada entered the Escola Internacional, also in Lisbon.
In 1913 he had his first individual exhibition, showing 90 drawings. In 1915, along with Fernando Pessoa and Mário de Sá-Carneiro, he published poems and texts in the Orpheu artistic magazine, which would introduce modernist literature and art in Portugal. This same year Almada Negreiros wrote the famous Manifesto Anti-Dantas e por extenso, a humorous attack against a more traditionalist and bourgeois older generation. In 1915 the artist also conceived the O Sonho da Rosa ballet.
In 1917, with the aim of introducing the Portuguese public to Futuristic aesthetics, Almada Negreiros published, together with Santa-Rita Pintor, the Portugal Futurista magazine, writing the Ultimatum Futurista, às gerações portuguezas do século XX ("Futurist ultimatum to the Portuguese generations of the 20th century"). He promoted a conference, the Sessão Futurista ("Futurist Session"), where he appeared wearing a flight suit.
Between the years 1918–20 Almada lived in Paris. To support himself, he worked as a dancer and as a factory worker. In 1920 he returned to Lisbon. In 1925 he produced two paintings for one of the most famous cafés in Lisbon, A Brasileira and in 1926-27 a nude for the Bristol Club, a nightclub with a modernist design. In 1927 he went to Madrid where he wrote for several Spanish publications, including Cronica and La Farsa. Around this same time he wrote El Uno, tragédia de la Unidad.
Back in Portugal, in the following years his artistic production were wide and prolific as he became a key artist in Portuguese modern art, influenced by Cubism and, mainly, by Futurism. His role during António de Oliveira Salazar's authoritarian regime was however ambiguous, acting both as an "aligned" artist (doing public mural paintings or propaganda posters) and a provocative critic of Portuguese society of the time.
In 1934 he married painter Sarah Afonso (13 May 1899 – 14 December 1983). Re-settled for good in Portugal, he would continue in his role as "artistic agitator" within the oppressed society that was Portugal until the time of his death. In 1934 the couple had their only son, José Afonso de Almada Negreiros.
He was also, if only occasionally, an actor and a dancer, understanding that all forms of art are intimately linked.
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