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Motivos e perspetivas Insulares na Pintura de António Dacosta
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António Dacosta (1914-1990) é considerado um dos principais precursores do Surrealismo em Portugal, tendo sido um dos responsáveis pela exibição desta vanguarda em solo português, em 1940, em plena ditadura salazarista. Assim, o impacto das suas pinturas, para a História da Arte portuguesa, determina-se, em grande escala, pela sua abertura a um universo do surreal, então visto como um oásis no meio do deserto da ditadura portuguesa. Esta tese visa analisar o corpus artístico de António Dacosta, partindo da sua vivência enquanto
açoriano. A partir dessa perspetiva e tendo como referência a chegada do artista a Lisboa, em 1935, e, depois, a sua permanência em Paris, a partir de 1947, será abordada uma seleção de obras que o mesmo criou nesses períodos, procurando, sobretudo, mais do que mapear as linguagens e técnicas que dominou, ressalvar os aspetos da sua açorianidade. Acredita-se, assim, que o percurso particular de António Dacosta, cuja obra é atravessada por um interregno de sensivelmente trinta anos (de 1949 até meados de 1970), merece ser vista com os olhos que o mesmo trouxe da ilha. Nesse sentido, revisitando também textos e testemunhos de
diversos autores que cresceram (ou viveram) marcados pela insularidade, esta tese procura evidenciar
que António Dacosta mostrou, e sobretudo pintou, a condição e as marcas de nascer numa ilha – a
qual, mesmo estando longe, sempre manteve presente no seu quotidiano. Essa mesma presença fez-se,
aliás, sentir tanto no período em que o artista pintava de forma claramente surrealista bem como depois, naquela que é vista como a sua segunda fase artística (1975-1990).
António Dacosta (1914-1990) is considered one of the main precursors of Surrealism in Portugal, becoming the one responsible for showing this forefront movement in portuguese soil, in 1940, during the Salazar’s dictatorship; along with António Pedro (1909-1966), they were responsible for exhibiting this vanguard for the first time in Portugal. Thus, the impact of the first and its paintings on Portuguese Art History is determined, on a large scale, by the opening to the surreal universe, seen at the time, as an oasis in the middle of the desert, referring to the portuguese dictatorship. This thesis aims to analyze António Dacosta's artistic corpus, starting from his experience as an Azorean. Following this perspective and having as a reference his arrival in Lisbon, in 1935, to his stay in Paris, in 1947, we will approach a selection of works he created in those same periods, seeking, however, to do more than mapping the vanguards of Art History and the techniques he dominated, emphasizing, instead, the aspects of its Azoreanness. It is believed, therefore, that the particular path of the artist studied here – whose work is crossed by an interval of approximately thirty years (1949 until mid 1970’s), deserves to be seen with the eyes he brought from the island. Therefore, by reading through texts and testimonies of those who grew up (or lived) marked by insularity, this thesis seeks to show how António Dacosta expressed and, above all, painted the condition and the markings of being born on an island – of which, even though far away, always kept present in his daily life. This presence can be felt during the painter’s surrealist period, as well as in his second phase of work (1975-1990).
António Dacosta (1914-1990) is considered one of the main precursors of Surrealism in Portugal, becoming the one responsible for showing this forefront movement in portuguese soil, in 1940, during the Salazar’s dictatorship; along with António Pedro (1909-1966), they were responsible for exhibiting this vanguard for the first time in Portugal. Thus, the impact of the first and its paintings on Portuguese Art History is determined, on a large scale, by the opening to the surreal universe, seen at the time, as an oasis in the middle of the desert, referring to the portuguese dictatorship. This thesis aims to analyze António Dacosta's artistic corpus, starting from his experience as an Azorean. Following this perspective and having as a reference his arrival in Lisbon, in 1935, to his stay in Paris, in 1947, we will approach a selection of works he created in those same periods, seeking, however, to do more than mapping the vanguards of Art History and the techniques he dominated, emphasizing, instead, the aspects of its Azoreanness. It is believed, therefore, that the particular path of the artist studied here – whose work is crossed by an interval of approximately thirty years (1949 until mid 1970’s), deserves to be seen with the eyes he brought from the island. Therefore, by reading through texts and testimonies of those who grew up (or lived) marked by insularity, this thesis seeks to show how António Dacosta expressed and, above all, painted the condition and the markings of being born on an island – of which, even though far away, always kept present in his daily life. This presence can be felt during the painter’s surrealist period, as well as in his second phase of work (1975-1990).
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Palavras-chave
Ilha Açores História da arte Espírito Surrealismo Memória Island Azores Art history Spirit Surrealism Memory