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Daniel Vázquez Díaz (1882-1969): diálogos com Portugal na primeira metade do século XX
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O pintor espanhol Daniel Vázquez Díaz (1882-1969) foi um dos protagonistas do movimento plástico de «regresso à ordem» que se generalizou na Europa depois da I Guerra Mundial. O pintor expôs em Portugal no início dos anos 1920, primeiro integrado na exposição coletiva de Humoristas portugueses e espanhóis e, três anos depois, na sua primeira individual que se desdobrou em três apresentações, em Lisboa, Coimbra e no Porto. Cerca de 20 anos depois, em 1941, Vázquez Díaz voltaria a expor individualmente em Lisboa, apresentando fotografias e esboços do seu conjunto de pintura mural realizado nas paredes do Mosteiro de La Rábida, em Espanha. Em 1943, o governo espanhol promoveu uma exposição coletiva de pintura e escultura contemporâneas, recebida em Lisboa e no Porto. Nesta exposição, Vázquez Díaz destacou-se como uma das figuras consagradas no contexto da pintura espanhola contemporânea. Esta investigação foi conduzida por uma questão axial: “Como se caracteriza a receção de Daniel Vázquez Díaz em Portugal na primeira metade do século passado e de que forma é que essa receção reflete as diferentes conjunturas estéticas e políticas do país nesse período?” Focando-nos nos dois momentos de maior proximidade do pintor com Portugal, separados por cerca de 20 anos, o estudo oferece um possível ângulo de análise da forma como Vázquez Díaz e as suas obras foram instrumentalizados no contexto da propaganda cultural portuguesa em contextos democráticos e ditatoriais.
The spanish painter Daniel Vázquez Díaz (1882 1969) was one of the protagonists of the artistic movement of « return to order » that spread in Europe after the First World War. The painter showcased in Portugal at the beginning of the 1920’s, firstly integrated in the collective exhibition of Humoristas portugueses e espanhóis , and three years later, on his first individual exhibition which opened in Lisbon, Coimbra and Porto. About 20 years later, in 1941, Vázquez Díaz would return to Lisbon, showcasing sketches and photographs of his mural paintings in the La Rábida Monastery, in Spain. In 1943, the spanish government promoted a collective exhibition of spanish contemporary painting and sculpture, which opened in Lisbon and Porto and in which Vázquez Díaz stood out as an established name in spanish contemporary painting. This investigation was carried out by one essential question: “How can we characterize the reception of Daniel Vázqu ez Díaz in Portugal during the first half of the twentieth century and in what way does that reception reflect the different aesthetic and political junctures of the country in this period ?” Focusing on the two moments the painter was closest to Portugal, almost 20 years apart, this study offers an angle of analysis of the way Vázquez Díaz and his art work s were instrumentalized in the context of the portuguese cultural propaganda in both democratic and dictatorial regimes.
The spanish painter Daniel Vázquez Díaz (1882 1969) was one of the protagonists of the artistic movement of « return to order » that spread in Europe after the First World War. The painter showcased in Portugal at the beginning of the 1920’s, firstly integrated in the collective exhibition of Humoristas portugueses e espanhóis , and three years later, on his first individual exhibition which opened in Lisbon, Coimbra and Porto. About 20 years later, in 1941, Vázquez Díaz would return to Lisbon, showcasing sketches and photographs of his mural paintings in the La Rábida Monastery, in Spain. In 1943, the spanish government promoted a collective exhibition of spanish contemporary painting and sculpture, which opened in Lisbon and Porto and in which Vázquez Díaz stood out as an established name in spanish contemporary painting. This investigation was carried out by one essential question: “How can we characterize the reception of Daniel Vázqu ez Díaz in Portugal during the first half of the twentieth century and in what way does that reception reflect the different aesthetic and political junctures of the country in this period ?” Focusing on the two moments the painter was closest to Portugal, almost 20 years apart, this study offers an angle of analysis of the way Vázquez Díaz and his art work s were instrumentalized in the context of the portuguese cultural propaganda in both democratic and dictatorial regimes.
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Daniel Vázquez Díaz Pintura Século XX Estudos ibéricos Modernismo Diplomacia cultural Painting Twentieth century Iberian studies Modernism Cultural diplomacy