http://www.authorstream.

com/Presentation/sandamichaela-2006806-almada-negreiros1/
José Sobral de Almada-Negreiros was a Portuguese painter and writer, born in the then
colony of São Tomé e Príncipe. Besides literature and painting, Almada composed ballet
choreographies, and worked on tapestry, engraving, murals, caricature, mosaic, azulejo and
stained glass. Having drawn inspiration from Cubism and Futurist movements, Almada-
Negreiros is considered one of the pivotal figures of the Modernist movement in Portugal.
Following the lead of other European vanguard movements of the early 20th century,
Almada-Negreiros, along with writers Fernando Pessoa, Mário de Sá-Carneiro and painters
such as Amadeo de Souza-Cardoso and Santa Rita Pintor, formed a group named "Orpheu’s
generation". Intent on agitating, subverting and scandalizing the Portuguese conservative
bourgeoisie and, by extension, all social conventions, the group launched a magazine –
"Orpheu" – a journal of art and literature. Essentially, their aim was to produce a shift in the
society’s mind frame, urging people to look to the future and to believe in their Man’s
capacities.

Between the years of 1918-20 Almada-Negreiros lived in Paris, working as a dancer and as a factory worker to earn a
living. Although he led a relatively isolated life, he established acquaintance with some of the most prominent artists
of 20th century modern art
The Bathers (1925)
 Untitled, 1948

Figurinos Para Cunha Taylors 1913

Study for a theatre
decoration (Teatro
Muñoz Seca de Madrid)
1929
Untitled, 1930
Sinceridade
Acrobatas
Bailarina
Homenagem a Lucca Signorelli (1942)
1941 nude painting
Female nude (for the decoration of Bristol club), 1926
1940 Familia
 Lendo Orpheu 2, colecção privada, Lisboa

Artista e Modelo, 1953 Leitura

 Double
portrait 1936
Maternity, 1935
The fisherman - tapestry

fisherwoman
Desenho de Almada Negreiros
 This exhibition
features tapestries
designed in
Portalegre which
recreate the works
of Almada
Negreiros. The
fresh paintings of
the Gare de
Alcântara and the
Gare da Rocha are
present in these
tapestries works.
 The Portalegre
Tapestries, which
claim the status of a
work of art, are the
result of a division
between the painter
and the craftsmen
who recreates the
narrative of the first
artist.
Integração racial, 1948
Tapestry
Auto-retrato com o grupo
da Brasileira (1925)
Três poemas desenhados
 Tapestry
called "O
Número"
(The
Number) in
the Tribunal
de Contas
building,
Lisbon, 1958
Tapestry called "O Número" (The
Number) in the Tribunal de Contas
building, Lisbon, 1958.
'A sentença de Salomão', tapeçaria de Almada Negreiros (1962)

Azulejos de Almada
Negreiros
Tapestry called "Lenda do
Lethes”

According to the legend,

when the Romans reached Rio
Lima on their march through
Iberia they had a great deal of
trouble leaving because the
soldiers were convinced the
Rio Lima was the River
Lethes - the mythical river of
oblivion - and that if they
crossed it they would forget
everything. It was only after
their leader, Decimus Junius
Brutus, plunged ahead and
shouted back their legionaries'
names that they braved the
waters
Tapestry called "Lenda do Lethes”
 Tapestry called
"Lenda do Lethes”

Decimus Iunius
Brutus near river
Lima- Tapestry
Pousada de Santa
Luzia, Viana do
Castelo
Painel de Azulejos "Lenda do Lethes” in Ponte de Lima
Painel de Azulejos
in Ponte de Lima:
Decimus Iunius
Brutus near Lima
river
Luís Vaz de Camões
 Retrato de Fernando Pessoa, 1954.

Retrato de Fernando Pessoa, 1964.

Hall, wall panel Começar
The lobby of the headquarters of the Calouste Gulbenkian Foundation in Lisbon
Fundação Calouste
Gulbenkian
 Text and pictures: Internet
Copyright: All the images belong to their authors Presentation: Sanda
Foişoreanu
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