{"id":10105,"date":"2024-05-23T14:22:34","date_gmt":"2024-05-23T14:22:34","guid":{"rendered":"https:\/\/avliberdade.com\/?p=10105"},"modified":"2024-05-28T14:15:42","modified_gmt":"2024-05-28T14:15:42","slug":"sociedade-nacional-de-belas-artes-an-institution-at-the-service-of-the-arts","status":"publish","type":"post","link":"https:\/\/avliberdade.com\/en\/sociedade-nacional-de-belas-artes-an-institution-at-the-service-of-the-arts\/","title":{"rendered":"Sociedade Nacional de Belas Artes an institution at the service of the arts"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” z_index=””][vc_column width=”3\/4″][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner][vc_column_text el_class=”titulo_blog”]<\/p>\n

\u00a0Sociedade Nacional de Belas Artes an institution at the service of the arts<\/h1>\n

\u00a0<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”10106″ img_size=”full” qode_css_animation=””][vc_column_text css=”.vc_custom_1716474144309{padding-top: 20px !important;padding-bottom: 20px !important;}”]The Sociedade Nacional de Belas-Artes<\/strong> is the oldest and most representative artistic association in Portugal. Founded in 1901, it had previous origins, in the merger of Gr\u00e9mio Art\u00edstico, de Silva Porto and his Grupo do Le\u00e3o (from 1891), with the Sociedade Promotora de Belas Artes, originating, in turn, in the Academy, in 1861, and first presided over by Marquis Sousa Holstein. Its headquarters, designed by architect \u00c1lvaro Machado, opened in 1913, offers a large French-style \u201cSalon\u201d, measuring 50m by 15m, unique in the Iberian peninsula, and the fulfillment of the dream of the first booksellers who returned from Paris and Barbizon, at the end of the 19th century.<\/p>\n

Successive generations asserted themselves here, from the representatives of romanticism – Tom\u00e1s da Anuncia\u00e7\u00e3o, Visconde de Menezes, Assis Rodrigues, Victor Bastos, Jo\u00e3o Cristino, Miguel Lupi, Alfredo Keil, and then landscapers, led by the example of Silva Porto: Columbano, Jos\u00e9 Malhoa, Jo\u00e3o Vaz, Rafael Bordalo Pinheiro, Ant\u00f3nio Ramalho.<\/p>\n

The immediate generation, of Veloso Salgado, Ressano Garcia, Alves Cardoso, Benvindo Ceia, Costa Mota (uncle), Rosendo Carvalheira, will be joined by Carlos Reis, Roque Gameiro, Jorge Cola\u00e7o, Teixeira Lopes, Jo\u00e3o da Silva, and others. In 1920, the SNBA also had many non-artist members: traders, musicians, poets, and art enthusiasts. The atmosphere is eclectic, where day and night classes run alongside the pool tables and alternate with dances and festive events. Here masters such as Malhoa, Veloso Salgado, Columbano, Carlos Reis, Condeixa, Roque Gameiro, and M\u00e1rio Augusto, offer their classes to members, in a tradition maintained without interruption to this day, in the SNBA Artistic Training Courses.<\/p>\n

In 1920 the \u201cquestion of the new people\u201d arose, a new generation whose entry as members was barred. There are more than 100 including the \u201cFive Independents,\u201d who will finally be able to exhibit in 1923 (Dordio Gomes, Henrique Franco, Francisco Franco, Diogo de Macedo, Alfredo Migueis) and who will leave the invitation to Eduardo Viana, Almada Negreiros, Milly Possoz, to try to alleviate the blockade of Ad\u00e3es Bermudes and his management. M\u00e1rio Eloy, Lino Ant\u00f3nio and even publicists such as Ant\u00f3nio Ferro, among many others who were rejected, can also join this current of new people. As a commitment and innovation, in 1925, Eduardo Viana organized the 1st Sal\u00e3o D\u2019Outono, as opposed to the traditional annual Spring Salon, which remains the most academic. This is what Francis Smith, Em\u00e9rico Nunes, Ant\u00f3nio Soares, Jorge Barradas, Clementina Carneiro de Moura, Manoel Jardim, S\u00e1ra Affonso and many others exhibit, including architects with their projects (such as Carlos Ramos, Cristino da Silva, Jos\u00e9 Pacheco, Jorge Segurado).<\/p>\n

In 1930 and 1931, the two Independent Salons took place, by Ant\u00f3nio Pedro, with Arlindo Vicente, M\u00e1rio Eloy, M\u00e1rio Novais, Carlos Botelho and joined by Leopoldo de Almeida, Canto da Maia, Barata Feyo, Ant\u00f3nio Duarte, Roque Gameiro, Jo\u00e3o Carlos, Hein Semke, Clementina Carneiro de Moura, J\u00falio Reis Pereira, the architects. Jorge Segurado, Carlos Ramos – and Maria Helena Vieira da Silva. The \u201cFree and Preparatory Course\u201d classes are held during this period, aiming to expand access to Fine Arts Schools.<\/p>\n

In the Estado Novo, in parallel, the first two exhibitions of the National Information Secretariat, directed by Ant\u00f3nio Ferro, in 1935 and 1936 were also held at the SNBA.<\/p>\n

The then minister of propaganda here announces, at a dinner for artists, the new \u201cPolitics of the Spirit.\u201d<\/p>\n

But soon the alternative manifested itself and, in 1940, Abel Salazar’s great exhibition was received and, in 1945, the foundations for a platform of civic and artistic intervention were established here: CEJAD \/ MUD, which provided the renewing structure of the famous General Exhibitions of Plastic Arts, self-organized annually between 1946 and 1956, in a total of 10, every year – except 1952, the year in which the SNBA was closed by the Estado Novo – opening many of them symbolically on May 1st. Messages combating illiteracy, calling for registration and voting are displayed on graphic arts posters, and the aesthetic and programmatic denunciation contained in neo-realism – systematized by J\u00falio Pomar, is launched in painting and drawing. M\u00e1rio Dion\u00edsio, Manuel Filipe, Ribeiro de Pavia, Arco, \u00c1lvaro Perdig\u00e3o, Maria Keil, Keil do Amaral, Vespeira, Ant\u00f3nio Domingues, Jos\u00e9 Dias Coelho, Huertas Lobo, J\u00falio, Dourdil, Rudy, Manuel Filipe, Manuel Mendes, Ribeiro de Pavia, Bet\u00e2mio, Vasco da Concei\u00e7\u00e3o, Maria Barreira, Louro de Almeida, Clementina Carneiro de Moura, joined by Arlindo Vicente, Sena da Silva, Euclides Vaz, Augusto Gomes, C\u00e2ndido Costa Pinto, Carlos Botelho, Celestino de Castro, Avelino Cunhal, Domingos Saraiva, and also the former republicans who have always been linked to the SNBA: Jo\u00e3o da Silva, Falc\u00e3o Trigoso, Ant\u00f3nio Sa\u00fade, Ant\u00f3nio Concei\u00e7\u00e3o Silva, Anjos Teixeira, and to which they will be added over the years, many other artists and architects, such as Francisco Castro Rodrigues, Francisco Keil, both of great importance in this movement. Also participating in EGAP are architects Alberto Pessoa, Ern\u00e2ni Soares Nunes, Daciano, Francisco da Concei\u00e7\u00e3o Silva, Frederico George, Manuel Tainha, Formosinho Sanchez, and younger artists, such as Nikias Skapinakis, Charrua, Hogan, Rog\u00e9rio Ribeiro, Jo\u00e3o Abel Manta, Victor Mana\u00e7as, V\u00edtor Palla, S\u00e1 Nogueira, Lima de Freitas, Jos\u00e9 Viana, Frederico George, Carlos Calvet, Tossan, Sebasti\u00e3o Rodrigues, Ant\u00f3nio Alfredo, Ant\u00f3nio Quadros, Artur Bual, Fernando Lanhas, Bartolomeu Cid, Eduardo Lu\u00eds, Rel\u00f3gio, Lagoa Henriques, Leopoldo de Almeida, Lourdes Castro, M\u00e1rio Henrique Leiria, Dem\u00e9e, Nuno San Payo, Paulo D’E\u00e7a Leal, Querubim Lapa, among a whole generation of sculptors, painters, architects, photographers and graphic designers.<\/p>\n

In January 1947, the National Council of Portuguese Women, led by Maria Lamas, organized at SNBA an \u201cExhibition Hall of Books Written by Women,\u201d with 3,000 books from all over the world, films and conferences \u2013 the exhibition that in a certain way preluded the extinction of this movement by the Estado Novo, and founded more than thirty years earlier by Adelaide Cabete (in 1914).<\/p>\n

Still in 1947, at the II General Exhibition of Plastic Arts, the Ministry of the Interior selected and seized 11 neo-realist paintings by 10 artists, considered politically unacceptable by the regime.<\/p>\n

At EGAP, preparations were made for what would be the first National Architecture Congress, in 1948, with Cotinelli Telmo, Pardal Monteiro, Miguel Jacobetty and the contribution of the new ones, and the signing of Le Corbusier’s Charter of Athens.<\/p>\n

Also in the SNBA, surrealist groups originated and split, the first, from 1948, with Ant\u00f3nio Pedro, Ant\u00f3nio Dacosta, Alexandre O’Neil, Fernando de Azevedo, Vespeira, Moniz Pereira and Jos\u00e9-Augusto Fran\u00e7a, and the second, from Cesariny, Cruzeiro Seixas, M\u00e1rio Henrique Leiria, Ant\u00f3nio Maria Lisboa, Carlos Calvet.<\/p>\n

In April 1952, the SNBA was closed sine die by the Estado Novo, the result of Eduardo Malta’s confrontation with the young sculptor Jos\u00e9 Dias Coelho, – the latter would later be murdered in the street, by PIDE, in 1961. He managed to rescue and reopen the SNBA after the intervention of the painter Ant\u00f3nio Concei\u00e7\u00e3o Silva, now 83 years old, and some founding members who are still alive and involved.<\/p>\n

In 1956 Jos\u00e9-Augusto Fran\u00e7a organized the 1st Sal\u00e3o dos Artistas Hoje, beginning a unique journey as a critic and historian. In 1959, the exhibition ’50 Independent Artists’ by Concei\u00e7\u00e3o Silva, Fernando Azevedo, Jo\u00e3o Abel Manta, Jorge Vieira, J\u00falio Pomar, and Vespeira was held, in the context of Humberto Delgado’s candidacy for the presidency of the Republic, and brought together the next generation: Alice Jorge, Ant\u00f3nio Charrua, Ant\u00f3nio Areal, Bartolomeu Cid dos Santos, Carlos Calvet, Fernando Azevedo, Francisco Rel\u00f3gio, Jo\u00e3o Abel Manta, Jo\u00e3o Cutileiro, Jo\u00e3o Hogan, Joaquim Rodrigo, Jorge Vieira, Jos\u00e9 Escada, Jos\u00e9 J\u00falio, J\u00falio Pomar, Lima de Freitas, Manuel Baptista, Menez, Nikias Skapinakis, Querubim Lapa, S\u00e1 Nogueira, Rui Filipe, Vespeira.<\/p>\n

Also here, in 1957, the 1st exhibition of the new Gulbenkian Foundation took place, with great impact on the press and society in general (\u201c345 contos de prizes\u201d). The exhibition \u201cBritish Art of the 20th Century\u201d (1962) will also be notable when opening to the outside.<\/p>\n

The KWY group of Lourdes Castro, Ren\u00e9 Bertholo, Costa Pinheiro, Escada and Jo\u00e3o Vieira, with Christo and Jan Voss, he exhibited in 1960. In 1965, the Artistic Training Courses were renewing, starting the teaching of Design and Sociology of Art, for example, with the participation of notable personalities from our artistic environment such as Rolando S\u00e1 Nogueira, Manuel Tainha, Sena da Silva, Daciano Costa, Jos\u00e9 C\u00e2ndido, Fernando Conduto, Rocha de Sousa, Quintino Sebasti\u00e3o, and the historians and essayists Jos\u00e9-Augusto Fran\u00e7a, Ferreira de Almeida, Jos\u00e9 Blanc de Portugal, Ernesto de Sousa, Adriano de Gusm\u00e3o, Santos Sim\u00f5es, Rui M\u00e1rio Gon\u00e7alves, and other values of national art and culture.<\/p>\n

Here the Association of Portuguese Architects and the future Order of Architects, the Association of Designers, and the Portuguese Section of AICA originated, which can be referred to as also the Cineclubes (the Jardim Universit\u00e1rio de Belas Artes \u2013 JUBA \u2013 by Guilherme Filipe and Jos\u00e9-Augusto Fran\u00e7a), the musical sessions of Fernando Lopes Gra\u00e7a, and the groups of theater that was recovered here. Also in 1965, under the Presidency of Arch. Concei\u00e7\u00e3o Silva, created in the small Gallery of Modern Art, in the cave, the experimental room where many international values will be revealed: Arshile Gorky, Paula Rego, Hogan, Nikias, Victor Bel\u00e9m, Helena Almeida, Charrua, Espiga Pinto, Maria Velez, Eduardo Nery, Jo\u00e3o Fragoso, MAN, Nuno de Siqueira, Ant\u00f3nio Sena, Fernando Calhau, Carlos Ferreiro, Miguel Arruda, Guilherme Parente, Isabel Laginhas, Gra\u00e7a Antunes, Eduardo Gageiro, Noronha da Costa, Artur Rosa, Rocha de Sousa, Hil\u00e1rio, Pires Vieira, followed by M\u00e1rio Botas, Maria Gabriel, Manuel Casimiro, Teresa Magalh\u00e3es, Raul Perez, Ana Marchand, Carlos Carreiro, Ant\u00f3nio Viana, Cutileiro, Gra\u00e7a Morais, Jorge Molder, Jaime Silva, Lu\u00eds Camacho, Rocha Pinto, Quadros Ferreira, Pedro Chor\u00e3o, Jo\u00e3o Duarte, and some other artists also hosted in the Gallery on the first floor.<\/p>\n

In 1970 Arlindo Vicente exhibited in retrospective, and in 1972 they exhibited Lima de Freitas and Ant\u00f3nio Trindade, and then presented the exhibition AICA SNBA 1972, which proposes a renewed critical discourse, by Fernando Pernes, Rocha de Sousa and Rui M\u00e1rio Gon\u00e7alves.<\/p>\n

In 1973, the exhibition 26 Artists of Today was held, a group of distinguished artists by the Soquil Awards. In December, at \u201cExhibition 73\u201d the Lying Soldier, \u2018Jaz Morto e Refecece\u2019 by Clara Men\u00e9res. At the inauguration, Jo\u00e3o Vieira’s performance, involved a naked woman painted gold.<\/p>\n

Also notable in the 70s were the exhibitions by the Puzzle group (Armando Azevedo, Albuquerque Mendes, Carlos Carreiro, Dario Alves, Gra\u00e7a Morais, Jaime Silva, Jo\u00e3o Dixo, Pedro Rocha, Gerardo Burmester and Fernando Pinto-Coelho), the exhibition \u2018Portuguese Artists\u2019, organized by Clara Men\u00e9res, Em\u00edlia Nadal, S\u00edlvia Chic\u00f3, and with Paula Rego, Gra\u00e7a Morais, Ana Hatherly, Ana Vieira, Menez, Maria Velez, Alice Jorge. Still other exhibitions, \u2018Local Mythologies,\u2019 \u2018Paper as Support,\u2019 \u2018Eroticism in Portuguese Art\u2019, or the major solo exhibitions by Helena Almeida, in 1972 and 1976.<\/p>\n

At the beginning of the 80s, Lu\u00eds Pav\u00e3o, Jorge Molder, Manuel Magalh\u00e3es. In 1983, the great multidisciplinary exhibition took place here and programmatic \u201cAfter modernism\u201d conceived by Lu\u00eds Serpa, and co-organized by Manuel Gra\u00e7a Dias, Leonel Moura, Ant\u00f3nio Cerveira Pinto, involving, in addition to the arts visual and architectural, design, fashion, and dance.<\/p>\n

The exhibition \u201cArquip\u00e9lago,\u201d in 1985, by Pedro Cabrita Reis, Pedro Calapez, Pedro Croft, Rui Sanches and, later, \u201cContinentes: V homeosthetic exhibition,\u201d in 1986, with Pedro Portugal, Pedro Proen\u00e7a, Fernando Brito, Ivo, Xana and Manuel Jo\u00e3o Vieira mark the period of affirmation of a generation. The collective \u201cNew Drawing Tendencies,\u201d in 1986, curated by Michel Toussaint, also dates back to this period.<\/p>\n

Other proposals appeared, in the following years, in 1990: \u201cSeven Deadly Sins,\u201d with Miguel Branco, Jo\u00e3o Queiroz, Jorge Varanda, Jaime Lebre, Gon\u00e7alo Ruivo, Helena Pinto and Jos\u00e9 Ant\u00f3nio Cardoso, and in 1994 the \u201cIndependent Worm Saloon,\u201d curated by Alexandre Estrela and Rui Toscano. In the same multimedia production line, in 2003, the exhibition by Vasco Ara\u00fajo, at the Salon, \u201cSabine\/Brunilde\u201d.<\/p>\n

In recent years, SNBA has been convening contemporary artists internationally through mobilizing partnerships: the Drawing Gallery Fair \u201cDrawing Room,\u201d alongside notable solo exhibitions such as Maria Jos\u00e9 Oliveira (2017) Pedro Saraiva (2018), Jo\u00e3o Jacinto (2019), Isabel Sabino (2019), in addition to a growing approach to new audiences, with the Antiquarian fair, or participation in the exhibitions of Monstra (animated film), from the Portuguese Cinema Academy, from New Art Fest, or the international \u201cNavigator Art on Paper\u201d award.<\/p>\n

The artistic foundations are also being revalued with major exhibitions such as \u201cThe 500 Drawings of Silva Porto\u201d or \u201cJo\u00e3o da Silva: the Animalist Sculptor,\u201d already in 2020, or, in the years previous ones, with retrospectives by Francisco de Aquino, Joaquim Palencia, Manuel Ribeiro de Pavia, Menez and Ruy Leit\u00e3o, Miguel D\u2019Alte, and Bet\u00e2mio d\u2019Almeida.<\/p>\n

SNBA saw its contribution to society recognized by being awarded Member-Honorary member of the Order of Infante D. Henrique (1983), and honorary member of the Order of Freedom (in 2004).<\/p>\n

 <\/p>\n

Jo\u00e3o Paulo Queiroz, 2020<\/p>\n

 <\/p>\n

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The Sociedade Nacional de Belas-Artes is the oldest and most representative artistic association in Portugal<\/p>\n","protected":false},"author":3,"featured_media":10107,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[40,38],"tags":[],"class_list":["post-10105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-discover","category-discover-highlight"],"acf":[],"yoast_head":"\nSociedade Nacional de Belas Artes an institution at the service of the arts • Avenida da Liberdade<\/title>\n<meta name=\"description\" content=\"The Sociedade Nacional de Belas-Artes is the oldest and most representative artistic association in Portugal\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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