Exhibition of the Portuguese World From Wikipedia, the free encyclopedia Jump to: navigation, search The Portuguese World Exhibition (23 June - 2 December 1940) was an exhibition held in Lisbon in 1940. Historically coinciding with the first year of World War II , it was intended to commemorate the date of the foundation of the Portuguese State ( 1140 ) and the Restoration of Independence ( 1640 ), but also (and this would be the primary objective) Estado Novo , then in the consolidation phase. It was the largest exhibition of its kind held in the country until Expo 98 (1998). Exhibition Flag
Index 1
History 1.1 1.2 1.3
Genesis The exhibition Pavilions / Initiatives
2
See also
3
External links
4
Notes
5
External links
History Genesis The idea of celebrating the double centenary of the Foundation and Restoration of Nationality (1140 and 1640) that was the origin of the Portuguese World Exhibition was launched in 1929 by Ambassador Alberto de Oliveira ; would be assumed in March 1938 by Salazar through an Informal Note from the Presidency of the Council, where the program of celebrations was fixed in some detail. The exhibition appeared in the wake of the Portuguese participation in the great International Expositions of Paris (1937), New York and S. Francisco (1939). [ 1 ] The show took place during a period of consolidation of the Estado Novo, thus assuming, in terms of material and human resources, an unprecedented dimension, becoming the most significant political-cultural event of the Regime. " The political commitment of the commemorations results of understanding of what was at stake:. Pass the act (of commemoration way) the public consecration of its own representative legitimacy, this time eminently ideological and historical [...] He struggled the New state by associating the most striking features of his nationalism - authoritarianism , elitism , paternalism, conservatism -. to a mythical past legitimizing of this [...]Corollary of a "policy of spirit", launched in the previous decade by the audacious director of the Secretariat of National Propaganda , Antรณnio Ferro , we can see the most successful reconciliation of art with politics in the Estado Novo. " [ 2 ] The aesthetic option adopted in celebrations provoked violent criticism on the part of the academic artists, led by Colonel Arnaldo Ressano Garcia (president of the National Society of Fine Arts ), and who would be mostly in the margins of the event [ 3 ] .
The national commission was presided over by Alberto de Oliveira, secretary by António Ferro , integrating a large number of personalities of national public life. The executive committee was chaired by Júlio Dantas , with António Ferro as secretary general. The special commission was led by Augusto de Castro (CommissionerGeneral), seconded by Sá e Melo (Deputy Commissioner-General) [ 4 ] , with Cottinelli Telmo as Chief Architect. Gustavo de Matos Sequeira was in charge of the historical coordination, José Leitão de Barros of the external services and Gomes de Amorimthe landscaping of spaces. National event, extended by Congress, several ceremonies and performances, the exhibition included thematic pavilions related to the history of Portugal , its economic activities, culture, regions and territories, and the flag of Brazil (the only foreign country present). [ 1 ]
The exhibition Situated between the right bank of the Tagus river and the Jerónimos Monastery , the event occupied an area of about 560 thousand square meters and involved the urban
Eduardo Anahory, cover of the Official Exhibition Guide
renewal of the western zone of Lisbon . The place was particularly favorable to the desired theatrical effect, creating from the outset a monumental Empire Square (present Garden of the Square of the Empire ), flanked by the east and west by two large longitudinal pavilions perpendicular to the sixteenth-century monastery: the Pavilion of Honor and Lisbon (by Luís Cristino da Silva ) and, on the other side, the Pavilion of the Portuguese in the World(by Cottinelli Telmo himself). [ 1 ] The main entrance was located in the Afonso de Albuquerque Square, next to the Jerónimos Monastery; other two entrances on both sides of the railway line, were
Exhibition Plant
up by doors brokered between four square buildings having the main faces, low reliefs depicting medieval warriors with large shields [ 1 ] [ 5 ] . Crossing the railway line through the monumental catwalk was the Historical Section ( Pavilion of Formation and Conquest , Pavilion of Independence , Pavilion of the Discoveries , Sphere of the Discoveries ). On the other side stood Pav. of the Foundation, the Pav. of Brazil (country invited for this purpose), and Pav. of Colonization . Crossing the commercial and industrial districts, one arrived near the Jerónimos Monastery , at the entrance of the Colonial Section. In the precisely opposite corner, a Park of Attractions made the delight of the younger ones. Descending towards the Tagus River , and beyond the Pavilion of the Portuguese in the World , the Section of Metropolitan Ethnography , with its Regional Center, containing representations of the Portuguese Villages and the Pavilhões de Arte Popular . Behind this last pavilion was the Jardim dos Poetasand the Children's Park. Facing the Tagus river, with its docks, a Water Mirror with a restaurant opened the way to the Padrão dos Descobrimentos and to Nau Portugal . Among the works of major importance are the Pavilion of Honor and Lisbon , which received the best reviews of the critic. With 150 meters long by 19 meters high and an imposing tower of 50 meters, this pavilion translated the historicist and revivalist architectural ideal that the Estado Novo tried to impose, just as other European totalitarian regimes did. Of the Portuguese Pavilion in the World, with a more risk simple , stood out the powerful statue of Sovereignty of Leopoldo de Almeida , image a severe ironclad woman holding an armillary sphere and supported a subtitled Litor with the parts of the world, in Gothic characters. The Pattern of the Discoveries , by Cottinelli and Leopoldo de Almeida, was intended to illustrate the historical importance of the discoveries. The structure of the monument represented, schematically, a vessel with three sails. On an inclined plane, flanking the stylized canopy, two sequences of figures, led to the bow, by the helmsman of all the Portuguese
expansionist project: the Infante D. Henrique . The original pattern was built of perishable materials; was to be rebuilt in concrete and stone masonry in 1960, on the occasion of the commemoration of the 500th anniversary of the Infante's death. [ 1 ] [ 6 ] The idea of Nau Portugal started from Leitรฃo de Barros and proved to be a remarkable reconstitution of the past. Although nicknamed the ship , this vessel was in fact a replica of a galleon of the career of India of the seventeenth century. It was built in the shipyards of Aveiro and left the first time to Lisbon in July, tumbling minutes after departure; with great efforts was returned to the vertical position, finishing later to be piloted until Lisbon by English sailors, under the direction of the commander Spencer. [ 7 ] A great documentary of Christian civilization, a historical exposition and affirmation of the Estado Novo regime, "an act of spirit and art remarkably Standard of the Discoveries , 1940 (1960)
sustained by a plethora of architects, sculptors, painters and decorators ", the Portuguese World Exhibition culminated half a dozen years of affirmation and political strategy. The first national modernism, which had emerged around 1915, dragged on in a systematized fashion, over the course of a few provincial
years, a modernism that would be partly affirmed, partly denied, in the golden age of "Politics of the Spirit "of Antรณnio Ferro and his Exhibitions of Modern Art of SPN . The necessary "aesthetic balance" defended by Ferro had to materialize in a "new phase of maturity oriented towards nationalist and folkloric values, with the ideological, stylized or modernized recovery of forms of the national past ", principles that marked a great part of the artistic production of this period, in particular the public statuary and the architecture involution would generate the style commonly dubbed Portuguese Soft [ 8 ] ). [ 9 ]
The exhibition was inaugurated on June 23, 1940 - at the height of World War II - by the Head of State, Marechal Carmona , by the President of the Council, Oliveira Salazar and the Minister of Public Works, Duarte Pacheco . The closure occurred on December 2 of that same year. The exhibition received about three million visitors, constituting the most important cultural initiative of the regime (regime that would face its first political crisis five years later, with the end of the war and defeat of the totalitarian regimes of Hitler and Mussolini ). Most of the buildings in the exhibition were demolished at the end of the exhibition, leaving only a few, includingMonument to the Discoveries and the building that now houses the Museum of Popular Art .
Pavilions / Initiatives Architecture: The structure of the exhibition was carried out by a group of architects, almost all of whom were modernist , directed by Cottinelli Telmo (director and global planning, author of the Pattern of Discoveries in partnership with Leopoldo de Almeida and the Pavilion of the Portuguese in the World ). Cristino da Silva, author of the Pavilion of Honor and of Lisbon ,
Cristino da Silva , Honor and Lisbon Pavilion
according to Jose-Augusto Franรงa , " the best building of the exhibition - and perhaps the best work of the maturity of Cristino da Silva " was among the 17 architects who worked on the ensemble. . [ 5 ]
Also note the following participations: Porfírio Pardal Monteiro ( Pavilhão dos Descobrimentos ); Carlos Ramos ( Colonization Pavilion ); Veloso Reis ( People's Life Pavilion ); Jorge Segurado (nuclei of the Portuguese Villages ); Raul Lino (Brazilian Pavilion ); Rodrigues Lima (3 historical pavilions: Pavilion of the Foundation , Pavilion of Formation and Conquest , Pavilion of Independence ); etc. [ 1 ] Painting and Sculpture: A total of 43 painters participated, among them the members of the team in charge of the Pavilions of Portugal at the International Fairs of Paris (1937), New York and S. Francisco (1939): Fred Kradolfer , Bernardo Marques , Thomaz de Mello , Carlos Botelho , José Rocha , Emmerico Nunes , Paulo Ferreira . And also: Almada Negreiros , Jorge Barradas , Lino António , Martins Barata , Manuel Lapa , Sarah Afonso , Estrela Faria , Clementina Carneiro de Moura ,Mily Possoz , etc. Twenty-four sculptors from which stand out Canto da Maia (group D. Manuel, Gama and Cabral , bas-relief on the facade of the Pavilion of Honor and Lisbon ) and Leopoldo de Almeida (statue of Sovereignty , statuary of the Monument of the Discoveries ) . And also: António da Costa , Barata Feyo , Ruy Gameiro , António Duarte , Martins Correia , João Fragoso , Raul Xavier , etc. [ 1 ] And still: Nau Portugal (reconstitution by Leitão de Barros , Martins Barata and Quirino da Fonseca ). From January 31st, 1939 to December 1940, the Revista dos Centenários was published, which accompanied the exhibition and the events that took place throughout the country (urbanizations, construction of roads and bridges, restoration of monuments, building inaugurations and statues , art exhibitions, congresses, publications, processions, various parties). [ 1 ]
General view
General view
Input
Input
Night view
Pavilion of Honor and Lisbon
See also Congress of the Portuguese World
External links Exhibition of the Portuguese World - Lisbon Municipal Library (http://hemerotecadigital.cm-lisboa.pt/EFEMERIDES/R estauracao/Exposicaodomundoportugues.htm) Flickr Image Gallery (https://www.flickr.com/photos/biblarte/sets/72157606234802424/)
Grades References 1. A.AVV - The 40's in Portuguese Art (volume 1). Lisbon: Calouste Gulbenkian Foundation, 1982, p. 54-63. 2. «Ephemerides - Exhibition of the Portuguese World (1940)» (http://hemerotecadigital.cm-lisboa.pt/EFEMERIDES/Resta uracao/Exposicaodomundoportugues.htm) . Municipal Library of Lisbon . Retrieved July 7, 2014 3. «Portuguese World Expo» (http://www.infopedia.pt/$exposicao-do-mundo-portugues) . In Infopedia [Online]. Porto: Porto Editora . Retrieved July 7, 2014 4. «Manuel Duarte Moreira de Sá e Melo» (http://app.parlamento.pt/PublicacoesOnLine/OsProcuradoresdaCamaraCorpor ativa%5Chtml/pdf/m/melo_manuel_duarte_moreira_de_sa_e.pdf) (PDF) . Parliament . Retrieved on July 3, 2014
5. France, José Augusto - History of Art in Portugal: modernism . Lisbon: Editorial Presença, 2004, p. 81-85. ISBN 972-233244-9 6. «The monument» (http://www.padraodosdescobrimentos.pt/monumento/) . Standard of the Discoveries . Retrieved July 7, 2014 7. «The Story of the Nau Portugal» (http://portugal-remixed.com/2012/06/story-nau-portugal/) . Portugal Remixed . Retrieved July 7, 2014 8. Fernandes, José Manuel - Português Suave: New State Architectures . Lisbon: IPPAR, Department of Studies, 2003. ISBN 972-8736-26-6 9. France, José-Augusto - "The 40's in Portuguese art". In: AAVV - The 40's in Portuguese Art (volume 1). Lisbon: Calouste Gulbenkian Foundation, 1982, p. 23-42 Retrieved from " https://en.wikipedia.org/w/index.php?title=Exposure_of_the_World_Portuguese&oldid=49702628 " This page was last edited at 06:49, on 28 August 2010. Text is available under the Creative Commons Attribution / Share-Alike License ; additional terms may apply. may be subject to additional conditions. For more details, see the conditions of use .