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Lanhas, Fernando
Fernando Lanhas (Porto, Portugal, 1923 - Porto, Portugal, 2012)P68-84, 1984- Painted pebble
- 2 x 5 x 3.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2011
- During his archaeological expeditions, in search of fossils and Stone and Bronze Age remains, Fernando Lanhas begun collecting pebbles. Carefully selected for their smoothness and uniform colour, the pebbles appeared to Lanhas like a ‘canvas’ where he would design and paint geometrical forms, all related to the organization of the universe, thus according to the stones both a metaphysical and aesthetic dimension.Fernando Lanhas’ reductive forms lay in the conviction - supported by his interest in astronomy and archeology, as well as his architectural studies and familiarity with classical music - that there is a geometrical cosmic logic that the human knowledge, in all its disciplines, tries to devise and understand.Considered as the precursor of geometrical abstractionism in Portugal, Fernando Lanhas developed his oeuvre under the reciprocal influence of artistic process and scientific research, which is apparent in the numerical cataloguing of his paintings or in such formal decisions as chromatic selection. From the paintings on canvas to the painting of pebbles, his exploratory experiments converge towards a questioning of the Cosmos that reflects his genuine curiosity in the face of the unknown.
Fernando Lanhas (Porto, Portugal, 1923 - Porto, Portugal, 2012)P73-84, 1984- Painted pebble
- 3 x 7.5 x 10 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2011
- During his archaeological expeditions, in search of fossils and Stone and Bronze Age remains, Fernando Lanhas begun collecting pebbles. Carefully selected for their smoothness and uniform colour, the pebbles appeared to Lanhas like a ‘canvas’ where he would design and paint geometrical forms, all related to the organization of the universe, thus according to the stones both a metaphysical and aesthetic dimension.Fernando Lanhas’ reductive forms lay in the conviction - supported by his interest in astronomy and archeology, as well as his architectural studies and familiarity with classical music - that there is a geometrical cosmic logic that the human knowledge, in all its disciplines, tries to devise and understand.Considered as the precursor of geometrical abstractionism in Portugal, Fernando Lanhas developed his oeuvre under the reciprocal influence of artistic process and scientific research, which is apparent in the numerical cataloguing of his paintings or in such formal decisions as chromatic selection. From the paintings on canvas to the painting of pebbles, his exploratory experiments converge towards a questioning of the Cosmos that reflects his genuine curiosity in the face of the unknown.
Fernando Lanhas (Porto, Portugal, 1923 - Porto, Portugal, 2012)P74-84, 1984- Painted pebble
- 2 x 5 x 9.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2011
- During his archaeological expeditions, in search of fossils and Stone and Bronze Age remains, Fernando Lanhas begun collecting pebbles. Carefully selected for their smoothness and uniform colour, the pebbles appeared to Lanhas like a ‘canvas’ where he would design and paint geometrical forms, all related to the organization of the universe, thus according to the stones both a metaphysical and aesthetic dimension.Fernando Lanhas’ reductive forms lay in the conviction - supported by his interest in astronomy and archeology, as well as his architectural studies and familiarity with classical music - that there is a geometrical cosmic logic that the human knowledge, in all its disciplines, tries to devise and understand.Considered as the precursor of geometrical abstractionism in Portugal, Fernando Lanhas developed his oeuvre under the reciprocal influence of artistic process and scientific research, which is apparent in the numerical cataloguing of his paintings or in such formal decisions as chromatic selection. From the paintings on canvas to the painting of pebbles, his exploratory experiments converge towards a questioning of the Cosmos that reflects his genuine curiosity in the face of the unknown.
Fernando Lanhas (Porto, Portugal, 1923 - Porto, Portugal, 2012)P75-84, 1984- Painted pebble
- 4 x 5.5 x 10.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2011
- During his archaeological expeditions, in search of fossils and Stone and Bronze Age remains, Fernando Lanhas begun collecting pebbles. Carefully selected for their smoothness and uniform colour, the pebbles appeared to Lanhas like a ‘canvas’ where he would design and paint geometrical forms, all related to the organization of the universe, thus according to the stones both a metaphysical and aesthetic dimension.Fernando Lanhas’ reductive forms lay in the conviction - supported by his interest in astronomy and archeology, as well as his architectural studies and familiarity with classical music - that there is a geometrical cosmic logic that the human knowledge, in all its disciplines, tries to devise and understand.Considered as the precursor of geometrical abstractionism in Portugal, Fernando Lanhas developed his oeuvre under the reciprocal influence of artistic process and scientific research, which is apparent in the numerical cataloguing of his paintings or in such formal decisions as chromatic selection. From the paintings on canvas to the painting of pebbles, his exploratory experiments converge towards a questioning of the Cosmos that reflects his genuine curiosity in the face of the unknown.
Fernando Lanhas (Porto, Portugal, 1923 - Porto, Portugal, 2012)P77-84, 1984- Painted pebble
- 2.5 x 9.5 x 7 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2011
- During his archaeological expeditions, in search of fossils and Stone and Bronze Age remains, Fernando Lanhas begun collecting pebbles. Carefully selected for their smoothness and uniform colour, the pebbles appeared to Lanhas like a ‘canvas’ where he would design and paint geometrical forms, all related to the organization of the universe, thus according to the stones both a metaphysical and aesthetic dimension.Fernando Lanhas’ reductive forms lay in the conviction - supported by his interest in astronomy and archeology, as well as his architectural studies and familiarity with classical music - that there is a geometrical cosmic logic that the human knowledge, in all its disciplines, tries to devise and understand.Considered as the precursor of geometrical abstractionism in Portugal, Fernando Lanhas developed his oeuvre under the reciprocal influence of artistic process and scientific research, which is apparent in the numerical cataloguing of his paintings or in such formal decisions as chromatic selection. From the paintings on canvas to the painting of pebbles, his exploratory experiments converge towards a questioning of the Cosmos that reflects his genuine curiosity in the face of the unknown.
Fernando Lanhas (Porto, Portugal, 1923 - Porto, Portugal, 2012)P95-99, 1999- Painted pebble
- 3.5 x 12 x 5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2011
- During his archaeological expeditions, in search of fossils and Stone and Bronze Age remains, Fernando Lanhas begun collecting pebbles. Carefully selected for their smoothness and uniform colour, the pebbles appeared to Lanhas like a ‘canvas’ where he would design and paint geometrical forms, all related to the organization of the universe, thus according to the stones both a metaphysical and aesthetic dimension.Fernando Lanhas’ reductive forms lay in the conviction - supported by his interest in astronomy and archeology, as well as his architectural studies and familiarity with classical music - that there is a geometrical cosmic logic that the human knowledge, in all its disciplines, tries to devise and understand.Considered as the precursor of geometrical abstractionism in Portugal, Fernando Lanhas developed his oeuvre under the reciprocal influence of artistic process and scientific research, which is apparent in the numerical cataloguing of his paintings or in such formal decisions as chromatic selection. From the paintings on canvas to the painting of pebbles, his exploratory experiments converge towards a questioning of the Cosmos that reflects his genuine curiosity in the face of the unknown.
Lapa, Álvaro
Álvaro Lapa (Évora, Portugal, 1939 - Porto, Portugal, 2006)Máquina (da série "Campéstico"), 1986 - 2003- Machine (from the ‘Campéstico’ series), 1986 - 2003
- Acrylic paint on canvas
- 138 x 218.5 cm
- Coll. P. O. P., long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 2011
- Álvaro Lapa’s painting is characterized by constant allusions to his personal universe. His references are political, philosophical and literary, developed in his oeuvre through narrative series where linguistic and pictorial elements come together.'Máquina' [Machine] (da série "Campéstico") [Campéstico: a word coined by the artist that derives from the junction of ‘country’ and ‘domestic’], includes a series of paintings which Lapa began in 1986 and first exhibited under the title ‘Campéstico: Paisagens e interiores’ in the Galeria EMI Valentim de Carvalho in Lisbon, in 1987. Throughout his career, Lapa worked on this series. In the artist’s own words: ‘First there were things I wanted to do and did not do, others that I wanted to do and did do. These are hence repetitions.’ The painting is characteristic of Lapa’s oeuvre, combining a simplicity of means in its reduced palette, and simple, dream-like forms. Executed in a mix of monochrome forms and seemingly intuitive mark-making against a cream-toned ground, the work is at once an abstraction and a narrative of an inner world.
Le Va, Barry
Barry Le Va (Long Beach, EUA, 1941)Sem título, 1966- Untitled, 1966
- Raw canvas, spray painted canvas, jigsaw pieces
- Dimensions variable
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2001
- Barry Le Va’s Untitled is the result of actions (cutting, falling, breaking, or dispersing) carried out by the artist on different materials, including painted canvas and jigsaw puzzle pieces. Seemingly random, these compositions are careful arranged and precisely ordered by the artist. In this way, Le Va challenges the viewer to make connections between different elements, while the jigsaw pieces used in the work allude to a process of analysis, association and reconstruction. Barry Le Va belongs to the group of post-minimalist artists who sought, in the American context of the 1960s and 70s, a redefinition of the artistic process as a reaction to the extreme formal rigour of minimalism. Such work is characterized by the quest for a closer relationship between artistic creation and the materials used, in order to achieve more ‘organic’ and formally expressive works. While Le Va’s work sought to leave the industrial nature of minimalist sculpture through physical involvement in artistic processes as well as the use of tactile materials, the artist gleaned from minimalism the importance of space as an essential dimension of the work.
Long, Richard
Richard Long (Bristol, Reino Unido, 1945)Earth Circle, 2001- Granite
- Ø 900 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2003
- The set of granite rocks of 'Earth Circle' are placed on the ground in split circle, the geometrical composition mirroring Richard Long’s interventions in nature on walks, during which the artist would ‘re-organize’ elements from the landscape, such as rocks or pieces of wood, according to basic configurations such as a line or a circle. 'Earth Circle', thus, is not a representation of nature but an ‘aesthetic document’ of the relationship of the artist with nature. For Long, every stone in the world is different and unique. In that sense, in spite of the fact that throughout his career he has created numerous circular pieces akin to this work, none of them are equal, due to the countless differences in colour, size, texture, weight, origin between the stones used on each occasion. His relationship with nature is epitomized in the use of stone; for the artist, it is an eternal material that characterizes the substance of the world. While 'Earth Circle' can be understood as symbolizing the constitution of the earth, its division into two complementary parts alludes to Taoist philosophy, according to which the Whole (the world) is ruled by opposing albeit complementary forces (Yin and Yang).In 1967, Long created his first work based on the action of walking in the landscape: 'A Line Made by Walking', a straight line created by the artist’s walk on a lawn. Throughout his career, he has carried out extensive walks across natural, mostly deserted landscapes around the world, following a previously established idea. During these walks, he performs interventions in and with nature: circles or straight lines are inscribed on the ground through the repetition of a trajectory or produced with stones and other natural elements found on site; walks are also documented through photographs, texts or maps; Long also utilizes collected materials to produce sculptures such as 'Earth Circle'.
Loureiro, José
José Loureiro (Mangualde, Portugal, 1961)Sem título, 2005- Untitled, 2005
- Oil on canvas
- 370 x 297 cm espessura da grade: 6 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- José Loureiro defines himself as a painter in the strict sense of the term. His paintings are a taut exploration of the possibilities of colour, line, surface and support. They often feature a monochromatic background, segmented by vertical or horizontal lines that cross, regulate or sub-divide the canvas. In Untitled 2005 the space of the painting is organized and makes use of modular forms, patterns, bars and stripes, reminiscent of the proto-minimalist paintings of the American artist Frank Stella. The rigorously abstract nature of his work also draws attention to a history of abstraction in Portuguese painting since the 1960s, notably in the work of Fernando Lanhas.
José Loureiro (Mangualde, Portugal, 1961)Sem título, 2008- Untitled, 2008
- Oil on canvas
- 267 x 230 cm profundidade da tela: 4,5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- José Loureiro defines himself as a painter in the strict sense of the term. His paintings are a taut exploration of the possibilities of colour, line, surface and support. They often feature a monochromatic background, segmented by vertical or horizontal lines that cross, regulate or sub-divide the canvas. In Untitled 2008 the space of the painting is organized and makes use of modular forms, patterns, bars and stripes, reminiscent of the proto-minimalist paintings of the American artist Frank Stella. The rigorously abstract nature of his work also draws attention to a history of abstraction in Portuguese painting since the 1960s, notably in the work of Fernando Lanhas.
José Loureiro (Mangualde, Portugal, 1961)Sem título, 2009- Untitled, 2009
- Oil on canvas
- 221 x 194 cm Profundidade da tela: 3,5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation and courtesy Cristina Guerra Contemporary Art 2009
- José Loureiro defines himself as a painter in the strict sense of the term. His paintings are a taut exploration of the possibilities of colour, line, surface and support. They often feature a monochromatic background, segmented by vertical or horizontal lines that cross, regulate or sub-divide the canvas. In Untitled 2009 the space of the painting is organized and makes use of modular forms, patterns, bars and stripes, reminiscent of the proto-minimalist paintings of the American artist Frank Stella. The rigorously abstract nature of his work also draws attention to a history of abstraction in Portuguese painting since the 1960s, notably in the work of Fernando Lanhas.
José Loureiro (Mangualde, Portugal, 1961)Sem título, 2015- 210 x 150 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2016
- José Loureiro’s (Mangualde, 1961) paintings reveal mobility, vibrations and a broad spectrum of pictorial effects. Exploring painting as a medium and abstraction as an approach, Loureiro uses a visual language strictly based on shape, form, colour and line. Untitled is simultaneously precise, physical and expressive: the brushstrokes are rigorous but nonetheless demonstrate their manual nature. It draws on Loureiro’s research, namely on the pictorial space and on its multiplication. The painting may be viewed as a manifestation of the internal geometry of any canvas, usually a rectangle formed by straight lines and right angles.
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