southern modernisms proc

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SOUTH ERN M OD ERN I SM S

Cr it ica l St a n ce s t h r ou gh Re gion a l Appr opr ia t ion s Conference proceedings

Edit ed by

Joana Cunha Leal, Maria Helena Maia and Begoña Farre

I HA | I nst it ut o de Hist ór ia da Art e, FCSH- UNL CEAA | Cent r o de Est udos Arnaldo Araúj o, ESAP

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Tít u lo

Sout hern Modernism s.

Crit ical St ances t hrough Regional Appropriat ions. Confer ence pr oceedings

Edit or s

Joana Cunha Leal, Maria Helena Maia and Begoña Farr é Torr as

Gr a ph ic de sig n

Joana Cout o

Cov e r d e sign :

O Hom em do Saco

Edit ion

Cent r o de Est udos Arnaldo Araúj o - CESAP- ESAP I nst it ut o de Hist ória da Art e - FCSH- UNL

Pr in t in g

LI TOPORTO - Art es Gráficas Lim it ada Port o, Port ugal

1st edit ion: February 20 15 Print run: 200 copies I SBN: 978- 972- 8784- 65- 2

This publicat ion w as con duct ed under t he proj ect Sout hern Modernism s ( EXPL/ CPC- HAT/ 0191/ 2013) , funded by nat ional funds t hrough FCT under Proj ect 3599 - Pr om ot ing t he Research Pr oduct ion, Technological

Dev elopm ent and I nnov at ion.

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SOUTH ERN M OD ERN I SM S

Cr it ica l St a n ce s t h r ou gh Re gion a l Appr opr ia t ion s

Th e h e g e m o n i c d e f i n i t i o n o f Mo d e r n i sm h a s b e e n s u b j e ct e d t o a n i n t e n se cr i t i c a l r e v i s i o n p r o ce ss t h a t b e g a n se v e r a l d e ca d e s a g o . Th i s p r o ce ss h a s co n t r i b u t e d t o t h e s i g n i f i c a n t b r o a d e n i n g o f t h e m o d e r n i s t ca n o n b y c h a l l e n g i n g i t s p r i m a l e sse n t i a l i s t a ss u m p t i o n s a n d f o r m a l i st i n t e r p r e t a t i o n s i n t h e f i e l d s o f b o t h t h e v i s u a l a r t s a n d a r ch i t e ct u r e . T h i s c o n f e r e n c e a i m s t o f u r t h e r e x p a n d t h i s r e v i s i o n , a s i t s e e k s t o d i s c u s s t h e n o t i o n o f “ S o u t h e r n M o d e r n i s m s ” b y c o n s i d e r i n g t h e h y p o t h e s i s t h a t r e g i o n a l a p p r o p r i a t i o n s , b o t h i n S o u t h e r n Eu r o p e a n d t h e S o u t h e r n h e m i s p h e r e , e n t a i l e d i m p o r t a n t c r i t i c a l s t a n c e s t h a t h a v e r e m a i n e d u n s e e n o r p o o r l y e x p l o r e d b y a r t a n d a r c h i t e c t u r a l h i s t o r i a n s . I n a sso ci a t i o n w i t h t h e So u t h e r n Mo d e r n i sm s r e se a r ch p r o j e ct ( FCT – EXPL/ CPC- H A T/ 0 1 9 1 / 2 0 1 3 ) , w e w a n t t o c o n s i d e r t h e e n t r e n c h m e n t o f s o u t h e r n m o d e r n i s m s i n p o p u l a r c u l t u r e ( f o l k a r t a n d v e r n a c u l a r a r c h i t e c t u r e ) a s a n t i c i p a t i n g s o m e o f t h e p r e m i s e s o f w h a t w o u l d l a t e r b e c o m e k n o w n a s c r i t i c a l r e g i o n a l i s m .

I t i s t h e r e f o r e o u r p u r p o se t o e x p l o r e a r e se a r ch p a t h t h a t r u n s p a r a l l e l t o k e y c l a i m s o n m o d e r n i sm ’ s i n t e r t w i n e m e n t w i t h b o u r g e o i s so c i e t y a n d m a ss cu l t u r e , b y q u e st i o n i n g t h e i d e a t h a t a n a e st h e t i ca l l y si g n i f i c a n t r e g i o n a l i sm – o n e t h a t r e s i st s t o t h e co l o n i z a t i o n o f i n t e r n a t i o n a l st y l e s a n d i s s u p p o r t e d b y c r i t i ca l a w a r e n e ss – o ccu r r e d o n l y i n t h e f i e l d o f a r ch i t e ct u r e , a n d ca n o n l y b e r e p r e se n t e d a s a p o st -m o d e r n i st t u r n .

Su b m i ss i o n s a r e i n v i t e d t h a t e n g a g e w i t h a l l a sp e c t s o f t h e t i t l e . Pa p e r s m i g h t i n c l u d e ( b u t a r e n o t l i m i t e d t o ) :

1 . t h e d i scu ss i o n o f cu r r e n t d e f i n i t i o n s o f m o d e r n i s m ( s ) , r e g i o n a l i sm s , f o l k a r t , v e r n a c u l a r a r ch i t e ct u r e , a n d t h o se o f t h e t a n g e n t n o t i o n s o f a v a n t - g a r d e , t r a d i t i o n , n a t i o n a l i sm s , r a t i o n a l i sm , p o p u l a r o r m a ss cu l t u r e a n d p r i m i t i v i sm ;

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r e p r e se n t a t i o n ) , o r a s f a r a s a r ch i t e ct u r e i s co n ce r n e d i n st r u m e n t a l n o t i o n s o f r a t i o n a l i sm ;

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CON TEN TS

k e yn ot e a ddr e sse s

LEAL, Joana Cunha - Sout hern Modernism s, p. 13

TOSTÕES, Ana - I berian Houses, t he m agico f creat ion, p. 14

pa pe r s

ALMEI DA, Sílv ia Vieira de - The redem pt ion of t he vernacular in t he underst anding of t he m odern - t w o cases from t he Sout h, p. 17

ANGELOU, Klair i - A creat ive response t o Modernism : t he case of Greek Modernism as seen t hrough m odern Greek sculpt ure, p. 26

BARTOLO, Carlos - Dam ned Words: t he use of Modern and Regional as at t ribut es of folklore m odernist rendit ion in st age and cost um e design at t he t urn of t he 1930's, p.27

BAUER, Susanne - Sout hern Modernism s Default Mat erialit y of Whit eness and it s Connect ion t o t he I nt ernat ional St yle, p. 49

BRI TES, Joana Rit a da Cost a - Widening t he scope of m odernism : is t here room for Port uguese fascist archit ect ure? p. 59

CARDOSO Alexandra; Maria Helena MAI A; Alexandra TREVI SAN - Parallel pat hs, p.72

CARVALHO, Rit a Alm eida de - Travelling m odernism s: The t ours and acquaint ances of Port uguese archit ect s, p.85

COLONAS, Vassilis - Greek Modernit ies in t he int er- w ar period. Archit ect ural cont radict ions bet w een Neoclassicism and Regionalism , p.103

COSCARELLI Com as, Sara - The GATCPAC as Barcelona's Medit erreanean Crit ical Regionalism background, p. 112

DI EZ- PASTOR I ribas, Concepción - A Crit ical Approach t o Modernist Archit ect ure in Spain. Rum ours and Trut hs, p. 122

EPOLI TO George - Medit erraneit à olt rem are: Assim ilat ion, Appropriat ion, or Rej ect ion? The I m posit ion of t he Fascist Aest het ic I deology of Medit erraneaness Overseas from 1935 t o 1940, p. 141

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FALBEL, Anat ; Gust avo ROCHA- PEI XOTO - A Sout hern m odern hist oriography: crit ical st ances or an old narrat ive, p. 171

FARRE Torras, Begoña - ( No) Laughing Mat t er: Noucent ism e, Modernit y and Xavier Nogués’ Cart oons, p. 173

FAXEDAS Bruj at s, Maria Lluïsa - Noucent ism e and t he avant - garde: t he case of Barradas, Vibrat ionism and Torres García, p. 191

FERREI RA, Zara - The Hassan Fat hy's New Gourna Village in t he crossroads of m odern and vernacular, p. 203

GUEREÑU, Laura Mart ínez de - Josef Albers and Spain: Cult ural Transfers, 1929, p. 215

KOSMADAKI , Polina - The Greek pavilion in t he " Exposit ion int ernat ionale des art s et t echniques de la vie m oderne" , 1937: t he t urn from an art of nat ional inspirat ion t o a “ nat ional art ” , p. 232

KOUSI DI , Mat ina - Through t he lens of Sifgried Giedion: CI AM I V and t he st ay in Greece, p. 252

MAI A, Maria Helena; Alexandra CARDOSO; Alexandr a TREVI SAN; Joana COUTO - Sout hern Archit ect ures, p. 268

MARCONDES, Maria José de Azevedo - Modernism in Lat in Am erica: bet w een t he t w o sides of t he At lant ic, p. 281

MEKI NDA, Jonat han - Mediat ing t he Modern: Dom est icit y and Design in Milan, 1930- 1960 , p. 300

PALI NHOS, Jorge - Modernist art and t he Port uguese " Teat ro de Revist a" , p. 301

PASSOS, Mariana Mat a - França's " Quiet Modernism ": Acknow ledging t he m at urat ion of Port uguese regionalist archit ect ure in t he int erw ar period, p. 310

PI MENTEL, Jorge Cunha - Regionalist proj ect s of Rogério de Azevedo, p. 317

PRI STA, Mart a Lalanda - Tradit ion and m odernit y int ert w ining in t he re-present at ion of Port uguese m odern archit ect ure: t he case of t he Survey on 20t h Cent ury Archit ect ure in Port ugal, p. 333

ROSSETTI , Eduardo Pierrot t i - Lucio Cost a and t he veranda: st r at egies bet w een Brazilian m odernism and Port uguese t radit ion, p. 347

SANTOS, Eliana Sousa - Shift ing Sout h: ar chit ect ure hist ory follow ing geopolit ics, p. 358

SANTOS, Mariana Pint o dos - On being m odern: prim it ivism and ingenuit y in Ernest o de Sousa and Alm ada Negreiros, p. 367

SI LVA, Sérgio Dias; Rui Jorge Garcia RAMOS - House as I deology in t he Affordable Houses Program m e of t he Est ado Novo, p. 375

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SÖDERLUND, Kalinca - Ant ropofagia: A highly crit ical " Arrière- garde" Modernism in 1920s Brazil, p. 401

TRAJANO FI LHO, Francisco Sales - Ow ning t he unfam iliar: m odern archit ect ure bet w een int ernat ionalism and nat ionalism in Brazil in t he 1920s and 1930s, p. 415

TZOMPANAKI S, Alexios - I nt ert w ining Hegem onies Bet ween Cent er and Periphery. The Case- St udy of Greek Modern Archit ect ure, p. 432

VALLE, Art hur - August Herbort h in Brazil: Bet w een " indigenous" decorat ion and cosm opolit an archit ect ure, p. 445

VERHEI J, Gerbert - Vent ura Terra, m odern t ow n planner? P. 459

YLLERA, I ván - I berian Sym m et ry: Távora and Coderch looking for t heir ow n m odernit y, p. 476

MALAMA, Annie - Modern art and t he cult ure of abst ract ion as "West ern cult ure": t he case of Yannis Moralis in post - civil w ar Greek art field, p. 493

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13 SOU TH ERN M OD ERN I SM S

Joa n a Cu n h a Le a l

I HA / FCSH, Universidade Nova de Lisboa, Port ugal

Abst r a ct

Sout hern Modernism s explor es t he possibilit y of a crit ical r evision of m odernism ’s prevailing definit ion on t he basis of a hypot hesis: t he for eseeable possibilit y t hat Sout hern Eur opean m odernism s don’t fit t hat definit ion, not because t hey shared an insurm ount able condit ion of “ belat edn ess” , had an “ inner” incapacit y of underst anding t he m ain debat es occur ring in t he field, or w er e condem ned t o fail, or st rained t h e art being produced, but because a different choice, a different pat h w as being const ruct ed.

I f one put s t he hierarchical divide bet w een cent er and peripher y aside, m aybe a different const ellat ion can be draw n: on e t hat allow s us t o see, for exam ple, sout hern m odernism s ent ren chm ent in popular cult ure ( folk art and vernacular archit ect ure) . And perhaps one m ight ask if such relat ion t o popular cult ure cannot be t hought of as a kind of ant icipat ion of som e of t he pr em ises of w hat w ould lat er becom e know n as crit ical regionalism ( as defined by Feiv re e Tzonis, and Fram pt on) . This is exact ly t he research pat h w e’r e exploring, w hile defining a crit ical approach t hat parallels ot her key r evisions of Moder nism ’s definit ion – including t hose art iculat ed w it hin Anglophone circles ( nam ely t hose com ing fr om a “ new art hist or y” , com m it t ed t o break dow n aut onom y’s ivory t ow er by show ing Modernism ’s int ert w inem ent w it h bourgeois societ y and m ass cult ure; or t hose com m it t ed t o show t hat rat ionalism ’s pu rit y m ight be looking at ot her ar eas of t he v ast r egions of “ t radit ion” aft er all) .

Through t he present at ion of our pr oj ect , t his paper shall focu s on t he t w o not ion s bounded in t he t it le of t his proj ect – sout h and m odernism s – and t heir art ist ic, hist orical and polit ical r esonances.

Au t h or ide n t ifica t ion

Joa n a Cu n h a Le a l. I s Assist ant Professor in t h e Art Hist or y Depart m ent of t he Universidade Nova de Lisboa, w here she t eaches graduat e and post - graduat e cour ses on 19t h and ear ly 20t h cent ury art and archit ect ure, ar t t heory and

hist oriography. Sh e is also Associat ed Research er of t he Art Hist ory I nst it ut e of t he sam e Universit y, w here she leads a r esearch gr oup on Art t heory , hist oriography and crit icism . She is also a perm an ent collabor at or of t he CEAA research group from ESAP.

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I BERI AN H OU SES, TH E M AGI C OF CREATI ON

An a Tost õe s

I ST- UL / Docom om o I nt er nat ional, Por t ugal

Abst r a ct

The one- fam ily h ouse program w ould be t he m ain resear ch t hem e in I berian archit ect ure, in t he fram ew ork of crit icism of t he m odern car ried out in except ional w orks execut ed w it h program m at ic m at erials, for m al and spat ial alike, and w here t he vernacular w as synt hesized on t he basis of dissim ilar int ernat ional r efer ences, follow ing an int ense line of dev elopm ent in w hich, according t o Albert o Sart oris, “ t he t radit ional m agic of I berian art w as reencount er ed w it h t he pat h of a long int er rupt ed fount ain: t hat of im aginat ion.” I n t he course of t he 1950s, t he m odern abst ract prot ot ype becam e an equat ion w hich t oday w e solve w it h nat ure, t opography, light , w ind, view s, sense of place, and int ensit y of cult ural root s. I t w as t he period of t he revision of t he m odern, w hich in t he I berian con t ext of t echnological backw ardness con st it ut ed a pot ent ial t o be explored. Each proj ect w as st udied w it h pat ience and passion, fr om fir st sket ch t o obsessiv e presence on sit e. The house bor e t he m agic of experim ent at ion, and t h us becam e t he focu s of t he ar chit ect ural debat e.

Au t h or ide n t ifica t ion

An a Tost õe s. I s chair of DOCOMOMO I nt ernat ional and is Full pr ofessor of archit ect ure at I ST- Univ er sit y of Lisbon, w here she specializes in t w ent iet h cent ury ar chit ect ural an d urban hist ory w it h an em phasis on Re- Use pract ices. She has published w idely, cu rat ed exhibit ions, and t aken part in j uries and scient ific com m it t ees. Tost ões has been vice- pr esident of t he Port uguese Border of Archit ect s and t he Port uguese sect ion of t he I nt ernat ional Associat ion of Art Crit ics.

Her research field is t he t heory and hist ory of archit ect u re and const ruct ion of t he t w ent iet h cent ury, focusing on post - w ar I I period and on t he r elat ions bet w een Eur opean, Am erican, African and Asian product ion. On t hese t opics she has published book s and scient ific art icles, curat e exhibit ions and t ak en par t in j uries, scient ific com m it t ees and given lect ur es in Eur opean, Am erican, Asian and African universit ies. Som e of h er w ork s: Modern Ar chit ect ure in Africa: Angola and

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TH E RED EM PTI ON OF TH E V ERN ACULAR I N TH E UN D ERSTAN D I N G OF TH E M OD ERN :

Tw o ca se s fr om t h e Sou t h : M a n olo H u gu é a n d Albe r t o Sa n ch e z Sílv ia V ie ir a de Alm e ida

I nst it ut o de Hist ór ia da Art e, FCSH, Universidade Nova de Lisboa / Art Hist ory I nst it ut e, FCSH, Universidade Nova de Lisboa, Lisbon, Port ugal

Abst r a ct

This paper aim s at exploring a concept ion of Modernism w hich is st ron gly linked t o t he Sout hern experien ce and, in t his case, t o t he Spanish cult ural herit age. A Modernism in w hich t h e essence of a people, t he popular cult ure and t he rural w orld hav e a r ole t o play.

According t o t his purpose I w ill t ake t w o case st udies w hich w er e ch osen m ainly for t heir differ ences. Havin g m ade t his choice it is m y int ent ion t o em phasize t hat t his Modernism provides deep pluralist ic answ ers.

Manolo Hugué ( 1872- 1 945) , and Albert o Sanchéz are t he t w o m ain charact er s of t his approach on Modernism . Th eir sculpt ure represent s t w o facet s of t he vision w hich I int end t o explor e.

Manolo is frequ ent ly present ed as an art ist w hose w ork lies under t he noucent ism e’s con cept ual form ulat ions. On t he ot her hand, Albert o is oft en associat ed t o surr ealism and abst ract ion. Wit hout discussing t heir st ylist ic affiliat ions, w hich w ould be useless t o t his paper purpose, I w ill analyze how t hese t w o art ist s w ork t h eir cult ural ident it y, how t hey r escue t h e v ernacular and how t hey under st and and ex press t heir m odernit y.

“ …ret urning t o t he t r adit ion of t he unique art of t he Medit erranean lands; escaping t he French im pressionism , t he English pre- raphealism , t he Germ an sym bolism ” ; a “ unique art of t he m an fr om here, of our religion, of our celebrat ions, of our life.” Thus spoke t he Uruguayan t heor ist and paint er Joaquín Torres- Garcia ( 1874- 1949) , in t he j ournal Em pori, in an art icle w rit t en as a m anifest o, ent it le “ La nost ra ordinació I el not re cam i”1. An art icle w here he form ulat es explicit ly t he principles of Medit erranean essent ialism2, point ing t he w ay t o finding personalit y it self3

1

Tor r es- Gar cía, Joaquín, “ La nost r a or dinació i el nost r e cam í” , I n Em por i ( Bar celona) Any I , núm . 4 ( I V- 1907) , pp. 188- 191.

. Being Medit erranean, being of t he Sout h, as opposed as being from t he Nort h. Finding in t heir ow n cult ural root s a unique ident it y of being m odern, as opposed t o t he int ernat ional m odernism t hat is not concerned w it h nat ionalit y nor t radit ion. An essent ialism t hat m eet s t he Cat alan

2

Vallcor ba, Jaum e. ( 1994) . Noucent ism e, m edit er r aneism e i classicism m e: apunt s per a la hist ór ia d’una est ét ica. Bar celona: Quader ns Cr em a, p. 38.

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Sílv ia Vieir a de Alm eida, THE REDEMPTI ON OF THE VERNACULAR I N THE UNDERSTANDI NG OF THE MODERN: Tw o cases from t he Sout h: Manolo Hugué and Alber t o Sanchez

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noucent ism e4, w idely inform ed on t he Par isian art ist ic vanguar d, but t hat vindicat es it s ow n st at em ent5

This search for cult ur al ident it y w as not exclusive of t he noucent ism e, as it w as also alive in ot her Spanish regions, nam ely in Madr id, w here t he lit erar y m ovem ent know n as t he Generat ion of 98, w it h it s nat ionalist and regenerat or spirit , dw ells on t he nat ure or essence of Spain

.

6_{. A discussion in} w hich Sculpt or Júlio Ant ónio ( 1889- 1919) t ook part w hen at t em pt ing t o set t he fundam ent al t ypes of t he race, t hrough t he sculpt ing series “ Bust os de la Raza” , produced bet w een 1909 and 19147

This discussion acquires new m eaning in t he 20t h cent ury’s 20’s and 30’s, nam ely t hrough sculpt or Albert o Sanchéz ( 1893- 1962) of w ho I w ill speak about ahead, paint er Bej am ìn Palencia ( 1894- 1980) and t heir Madrid follow ers.

.

The search for an uncont am inat ed nat ional essence based on archaic root s, in popular cult ure, and in t he exper ience of nat ure are t he basis of a regional- feat ured m odernism . A m odernism w hich is root ed in t he liv ing of t he Sout h and it s cult ural t radit ion, and t hat have sim ilar exam ples in Port ugal, I t aly and ev en Greece.

I n t he explorat ion of t his idea, and as st ar t ing point of t his com m unicat ion, I w ill look over t w o sculpt ors I chose m ore for t heir differences t hen t heir sim ilar it ies, seeking t o underline t his m odernism t o w hich I refer t hat is profoundly plural in it s ow n answ ers.

The t w o chosen art ist s, Manolo Hugué ( 1872- 1945) , fram ed by hist or iography in t he concept ual pr inciples of noucent ism e, and t he already m ent ioned Albert o Sanchéz, usually linked t o t he surrealism and t he

4

Tor r es- Gar cia’s ar t ist ic wor k is oft en r efer r ed by Eugeni d’Or s, t he int ellect ual fat her ( and invent or of t he t er m ) noucent ism e, not only in sever al ar t icles, but also in his wor k “ La ben plant ada” , a book which sum m ar izes t he ideology of t he noucent ism e. However , Tor r es-Gar cía had his ow n t heor et ical elabor at ion, explicit befor e t he configur at ion of noucent ism e ar ound 1910. See Sur eda Pons, Joan. ( 1998) . Tor r es- Gar cía, Pasion Clasica. Madr id: Ediciones Akal.

5

See Per an, Mar t í [ et al.] . ( 1994) . “ Noucent ism e y vanguar dia” , I n El Noucent ism e: un pr oj ect e de m oder nit at . Bar celona: Gener alit at de Cat alunya.

6

See Cf. Bozal, Valer iano. ( 2001) , Cat álogo de la exposición Alber t o 1895- 1962. Madr id: Museu Nacional Cent r o de Ar t e Reina Sofia, p. 120.

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Sout her n Moder nism s: cr it ical st ances t hr ough regional appr opr iat ions

Confer ence Pr oceedings. Por t o, Febr uary 19- 21, 2015

19 abst ract , represent t he t w o sides of t his m odernism v iew t hat I int end t o explore.

The w ork of t hese t w o sculpt ors is charact erized by very dissim ilar form al solut ions, m ore so because t he art ist s are of t w o different generat ions.

Manolo Hugué w as born in 1872 in Barcelona. He w as a great adm irer of Joseph Llim ona ( 1864- 1934) , a sculpt or w ho w as affiliat e t o Sant Lluc circle, w hich w as founded in 1893 and w hich favours t he separat ion of t he Sout h from t he Nort h and t he ret urn t o Medit erranean spir it .

Manolo w as one of Picasso’s great fr iends. They left for Par is in t hat sam e year, in 1900. Manolo st ayed for a decade, unt il m ov ing t o Ceret , in t he French Cat alonia, in 1910. The Medit erranean and archaic sculpt ure im pressed him dur ing his v isit s t o t he Louvre, and it is also probable t hat he visit ed t he ancient I berian sculpt ures exhibit ion t hat t he m useum host ed in 1905.

His art ist ic cult ure w as a result of his observat ion. I t w as not form ed by any kind of erudit e know ledge neit her his art ist ic sk ills w ere a result of any kind of academ ic pract ice8

Whenever he had t he chance t o express his t hought s in records he knew w ere t o be m ade public, he present ed him self as a rude m an, w it h no hint of sophist icat ion, provocat ively prov incial. I believe it is w hat one can obt ain from sent ences: “ The sm ell of m eat on t he grill is bet t er t han all t he luxury perfum es t hat t hey sell in Par is.” or “ Flow ers are pret t y, but let us not exaggerat e. A cabbage, especially in t he m orning, w it h dew drops ( …) is as beaut iful as a flow er” , or even, “ t he sheep is t he anim al I like m ost , if I could I w ould alw ays have t hree or four sheep around m e.”

.

9

On t he ot her hand, it seem s t o be t he defiant t one t hat st ands out w hen he m akes sure t o point out his inapt it ude and show him self com plet ely nonchalant about his art , present ing it as t he opposit e of t he virt uous, academ ic or not ed art ist ( t hough he w as not ed) . I t is w hat he expresses w hen he st at es: “ Moréns said about poet ry: - La poésie? Ça ne m ’ int eresse

8

Plá, José. (1930). Vida de Manolo: contada por él mismo. Madrid: Mundo Latino. 9

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20

pas… I say t he sam e about sculpt ure” or “ Art is not an essent ial t hing and I don’t need t o sculpt t o be w ho I am ( …) I m ake shapes and lines, I see m ovem ent s and colours, and, if I represent som et hing it is because I am not com plet ely st upid.”10

On anot her perspect ive st ill, Manolo seem s t o w ant t o com pose his profile w it h a good dose of ingenuit y . I t is w hat he m anifest s w hen he st at es: “ I don’t believe w e cam e from t he m onkey. I f w e had com e from t his anim al w e’d be paint ing landscapes. The grass pleases us and put s us in a good m ood. I n case w e do com e from som et hing, w e cam e from t he cow and t he ox.”11

Like Manolo, Albert o had no form al art ist ic educat ion. He w as born in Toledo and becam e a baker as his fat her. When he had his first exhibit ion in Madrid, in 1825 - The I berian Art ist s Exhibit ion - , t he press t alked about him ext ensively and praised his w ork. Ev eryone w as surprised: “ But , you are a sculpt or?” since t hen he st art ed his career as an art ist , at t he age of t hir t y.

All of t he art ist s t hat t ook part of t his I berian Art ist s exhibit ion t hen left for Par is, except for Albert o and Palencia w ho decided t o rem ain in Madrid, w it h t he deliberat e purpose of arising a new nat ional art12. They init iat ed long w alks t hrough t he fields, t he capit al’s surroundings, int ent ionally Sout h, w here t he landscape w as harsh, as opposed t o t he arist ocrat ic Nort h, w hich had been a source of art ist ic inspirat ion since t he 19t h Cent ury13

The reunion w it h rural, agrar ian, nat ure w as a w ay t o reunit e t he Cast ilian essence w it h it s or igins. The descript ion of t hese w alks show s t hat t here w as som et hing r it ualist ic in t hem , som et hing m agical and t hey bring t o

.

10

I dem , pp. 214, 223. 11

“ Fr ases de Manolo Hugué” , I n Quader n [ Sabadell] : els Am ics. Núm . 12 ( gen- febr . 1980) , p. 27.

12

Sanchéz, Alber t o. ( 1975) . Alber t o Sanchéz: Palavr as de um escult or . Valencia: Fer nando Tor r es.

13

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21 m ind Paul Gaugin’s ( 1848- 1930) t ext account ing how he w alk ed, w it h an indigenous friend, in search of a t ree t runk t o sculpt14

According t o t he sculpt or, from t hese w alk s in t he fields, t hrough t he region of Vallecas, t he idea w as born t o creat e a new school, t he Escuela de Vallecas – a nam e referred only in 1860

.

15

As Manolo, also Albert o let him self fascinat e by archaic sculpt ure, nam ely t he I berian sculpt ure found in Cerro de los Sant os, w hich he visit ed every t im e he could, since 1921, in t he archeological Museum in Madrid. The sim plicit y of t hese figures and t heir unpret ent ious form fascinat ed him , as if t hey had been sow ed by nat ure it self

. This idea “ t aken as t rue fanat icism ” , m ade t he t w o art ist s begin collect ing st ones, st ick s, sand and any and all obj ect s of plast ic qualit y. The “ Monum ent o a los páj aros” , considered as a poet ic m anifest o of Vallecas, w as a sculpt ural const ruct ion m ade off of gat hered rocks, w hich Albert o abandoned t o it s fat e, on “ Cerro Test igo” .

16

Also Albert o em phasizes his lack of academ ics and his cont em pt for t echnical dext er it y and for t he virt uosit y in t he com posit ion of sculpt ure. As he referred, t he I berian sculpt ure, w ere “ sculpt ural obj ect s ( …) from ot hers sem i- illit erat e as ( he) ” , reason by w hich t hese obj ect s proved t hat in art , m uch cult ure and craft sm anship w ere lesser t hings. For t hat sam e reason, he despised good and bad opera singers, preferring t he song of a m an m ount ed on his lit t le donkey, crossing hills and valleys. This song w as for

. The fact t hat t hey w ere of sm all scale but seem ed so gigant ic pieces, im pr essed him . This im pr ession w ould be t he m ark in his w orks – norm ally sm all- scaled pieces, but oft en dest ined t o m onum ent al sculpt ures.

14

See Wilkinson, Alan. ( 1983) . “ Rodin, Gauguin et la géner at ion de Picasso et Moor e: du r om ant ism e au pr im it ivism e” , in Rodin et la sculpt ur e cont em por aine. Com pt e r endu du colloque or ganisé par le m usée Rodin du 11 au 15 oct obr e 1982 au Musée Rodin.Par is, p. 129. Also quot ed by Alix Tr ueba, Josefina. ( 2001) . Un nuevo ideal figur at ivo: la escult ur a en España 1900- 1936. Madr id: Fundación Cult ur al Mapfr e Vida, p. 27.

15

See Sanchéz, Alber t o. ( 1975) . Alber t o Sanchéz: Palavr as de um escult or . Valencia: Fer nando Tor r es.

16

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22

him profoundly hum an, t he sap of a people, capable of int erfering in t he elem ent s of nat ure ( t he w ind, t he rocks, t he rivers, t he crops)17

I n 1960, speak ing of is pat h as a sculpt or , Albert o referred t hat it w as his m ain w ish t o creat e an art plast ically different from w hat all ot hers com posed t ill t hen. How ever, w hen he observed his first draw ings, from w hich he expect ed t o creat e sculpt ures, it began clear t hat t hey represent ed fragm ent s of w om en, anim als, m ingled hills and count ry side and he clear ly underst ood t hat he would never be able t o creat e inexist ent t hings. So he reassured him self and st opped resist ing his search for his form s in t he nat ure around him . I n t rut h, he began t o t ake a survey of t hese form s of t he land, t o t ry and capt ure t he sobriet y and sim plicit y t hat t he land of Cast ile t ransm it t ed.

.

His sculpt ure is populat ed by references t o t he rural and t he count ry side: t he birds, t he bulls, t he vineyards, t he w heat fields, t he rocks eroded by t im e18. This sculpt ure w ishes t o be t he product of a profound Cast ilian nat ure experience, a sensorial exper ience of t he rural set t ing and popular cult ure: “ Give shape t o w hat you see in t he field at five o’clock in t he m orning…”19

Like Albert o, Manolo chose, for his art ist ic researches, scenes of t he w orld around him , but w it h a different purpose.

.

Manolo declared t hat “ sculpt ure is exclusively form ” . He w ould not concern him self w it h m eaning but rat her be aware of t he basic and prim ordial gest ure of sculpt ing, using t o t hat purpose t he w orld he chose t o live in. Like he said: “ When I w ant t o w ork, I open a w indow and I sculpt w hat I see in front of m e. Ev eryt hing is adm irable.”20

17

Idem.

18

Unfortunately most of the earlier sculptures produced in the thirties by Alberto have disappeared. What we have are later works from the fifties and sixties produced during his exile in Moscow which are thought to be much close to the first ones. They are a synthesis of animal, vegetable and human forms, created in recycled materials, in clay and plaster, and that capture subjects of rural life and the experience of nature. 19

Azcoaga, Enrique. (1977). Alberto. Madrid: Servicio de Publicaciones del Ministerio de Educación y Ciencia, p. 65.

20

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23 The rural inhabit ant s of Ceret ’s w orld or t he t radit ional bullfight s are t he subj ect of his exercise of m odernism , t hrough t he depict ion of original m odels, geom et r ic play and bold synt hesis.

I n Ceret he lives surr ounded by cubist art ist s, w it h w hom he is fr iend’s and int eract s w it h. How ever, I do not agree t hat t he presence of t he classic in Manolo’s w ork is j ust a form al solut ion t hat he adopt ed t o correct his inabilit y t o access t o t he t heoret ical speculat ions of t he new t rends21

Maillol’s sculpt ure “ La m edit errané” port rays t he noucent ist e sculpt ural program ; t he sout hern alt ernat ive t o t he nort hern rom ant icism

. I t hink t he cubist researches clear ly did not int erest him . He w as closer t o t he French Cat alan Maillol ( 1861- 1944) , w hose influence is v isible in Manolo’s w ork, not only in t he ext ensive volum es, oft en t im es m onolit hic, but also in t he pre- classical inspirat ion.

22

He effect ively finds t his creat ive st im ulus in t he rural surroundings of Ceret , but also in Caldas de Monbui in Cat alonia, w here he resides for long periods of t im e. He, so, keeps in regular cont act w it h Barcelona and it s int ellect ual and art ist ic act iv it y, also because he count ed am ong his fr iends t he paint er Joaquim Sunyer ( 1874- 1956) and t he sculpt or Enr ic Casanovas ( 1882-1948) , t w o im port ant figures linked t o t he noucent ism e.

. Given t his, Monolo w as also closer t o t he “ new art ist ic creat ion” t hat t he noucent ism e believed could be nurt ured by t he rural and popular cult ure of

a region.

Albert o found his inspirat ion in t he count ryside around Madrid; Manolo found his in t he rural inhabit ant s of Ceret ’s w orld.

Albert o int ended t o provide t hrough his sculpt ures a st im ulus t o t he new m an, giv ing him a new breat h. Sim ult aneously , som e of his sculpt ures w ere t hought t o w ork as a kind of landm ar k, a link bet w een t he m odern archit ect ure around it and t he popular and nat ional root s. He had a polit ical agenda. He believed art could change t he societ y. He believed his ar t could

21

Puig, Arnau, “Dónde debemos situar a Manolo Hugué dentro de la plástica catalana?”, In Artes Plásticas Barcelona. (1975 – Any 1, núm. 2), pp. 19-22.

22

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st art t he spect at or’s consciousness on a j ourney t hrough hum an solidar it y and personal elevat ion23

Manolo purposes w ere rat her different , as w e have seen. .

There is, how ever, a cert ain innocence w hich seem s t o charact erize bot h art ist s. There is, in t he w ork of bot h, a cert ain naivet é, as if w hat is seen is being looked at for t he first t im e; as if t he look it self w as t he fir st ; as if t he gest ure of doing w as also or iginal, pure, st ripped of all know ledge, free of any preconceived idea. The result is a sculpt ure perm anent ly linked t o t he act of com posit ion, holding t he m ark of t he hum an hand. Clay is t he m at erial t hat bot h used frequent ly, as w ell as ot her m at erials t radit ionally not considered as noble or as definit ive, as is t he case of plast er.

The w om en, t he birds, t he bulls present in t he sculpt ure of bot h art ist s are, on t he ot her hand, im ages w it h t rem endous precedence in t he Hist ory of Spanish Art , w hich t he art ist s recovered w it hout prej udice.

I n t he sam e w ay, t hey kept an ev ident link t o realit y, t hough r ej ect ing t he illusionist represent at ion, and never broke w it h figur at ion. Their m odernism w as not a “ no” t o t he t radit ional, but rat her a “ yes” . Tradit ion w as, m ore so, a fert ile source for t heir innovat ive solut ions24

I t is clear t hat t his approach does not exhaust t he innum erous possible approaches t o t he work of bot h sculpt ors, nor w as it m y int ent ion. As I m ent ioned in t he beginning, t he sculpt ing of t hese t w o art ist s is profoundly different and, nam ely in Albert o’s case, t here are m any ot her reflect ions t o his w ork, especially w hen it com es t o t he w ay his w ork ant icipat es t he inst allat ion and even t he perform ance. I t is not t he case here t o proceed

w it h any st y list ic classificat ion and discussing it . Nor even t o debat e on w hich of t he t w o art ist s w ould be m ore relevant or irrelevant in t heir ow n m odernism .

.

What m at t ers t o m e, m ost of all, is t o leave a st at em ent w it h t w o w ays of approaching sculpt ur e in t he Sout h of Eur ope, enhancing t he fact t hat t here

23

Cf. Azcoaga, Enrique. (1977). Alberto. Madrid: Servicio de Publicaciones del Ministerio de Educación y Ciencia, p. 86.

24

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25 are essent ial aspect s, w hich are int r insically and unavoidably linked t o t he liv ing in t his region and t o t he w ish of m aint aining t his essence. And as t his search for ident it y shapes t he w ay t his m odernism expresses it self – bet w een t he redem pt ion of t he vernacular and t he underst anding of t he m odern25.

Ack n ow le dgm e n t s

This w ork w as conduct ed under t he proj ect Sout hern Modernism s ( EXPL/ CPC-HAT/ 0191/ 2013) , funded by nat ional funds t hrough FCT under Pr oj ect 3599 - Prom ot ing t he Research Pr oduct ion, Technological Developm ent and I nnovat ion.

Au t h or ide n t ifica t ion

Sílv ia Vie ir a de Alm e ida . Was born in Lisbon in 1972. She is a resear cher in t he Art Hist or y I nst it ut e ( I HA) , w here she int egrat es t he resear ch gr oup of Art Theor y, Hist oriography and Crit icism ( Art THC) – Universidade Nova de Lisboa - Facult y of Social and Hum an Sciences ( FCSH- UNL) . Sh e dev elops a Post doct oral proj ect on Sout h Eur opean Modern ist sculpt ur e ( FCSH- UNL) . She holds a PhD in Cont em porary Art Hist or y ( 2012) – FCSH- UNL, t he dissert at ion of w hich w as support ed by a

Scholar ship fr om FCT - Science and Techn ology Foundat ion. Silvia holds a MSc in Cont em porary Art Hist ory ( 2004) – FCSH- UNL. She has a BA in Visual Art s - Sculpt ure ( 1997) – Facult y of Fin e Art s. Sh e has published art icles in specialized m agazines on t h e Port u guese 19t h Cent ury sculpt ure. Sh e w ork ed for sev eral years as a t eacher in an Art s School and is a m em ber of t h e “ Sout hern Moder nism s” t eam proj ect .

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A CREATIVE RESPONSE TO MODERNISM:

The case of Greek modernism as seen through modern Greek sculpture Klairi Angelou

Univer sit y of Br ist ol, UK

Abstract

This paper will examine how Modernism was developed in Greece and more specifically by discussing its connection to the notion of Ellinikotita (Greekness) as a procedure towards a national and international identity.

Modern Greek culture – with special reference to sculpture – will be examined under the lens of centre and periphery – with Greek art seen as periphery (or – paradoxically – occupying both the centre and the periphery because of the centrality of the Greek canon to Western visual culture).

I aim to bring to light the different notions Modernism acquired in the periphery, where local cultural idiosyncrasies gave it a new dynamic. Therefore, I will elucidate the specific historical and socio-cultural context in which Modernism not only was developed, but also challenged in Greece. The notion of Ellinikotita entails a complex matrix of ideas and through time different notions have been attributed to it, resulting in different aspects of visual culture being employed in order to address these different versions of Ellinikotita. Especially in the years following World War II, this debate on Ellinikotita was shaped around a polarised response to foreign influences, as a dilemma of choosing between the East and the West; the former going hand-in-hand with tradition and the latter choosing to be influenced by contemporary European movements.

In order to provide evidence of the centrality of ethnicity in the case of Greek modernism, the practice of Jeanne Spiteris-Veropoulou (1920-2000) will be given as an indicative example; how her work was received and discussed by art critics with constant reference to her ethnicity, how it was received by foreign and Greek art critics and if there is any difference in discussions of her work by foreign and Greek scholars. Her work will be examined not only as response to the central/ European movements, but will be placed within the context of the periphery’s own experience of history.

Author identification

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27

DAMNED WORDS:

The use of Modern and Regional as attributes of folklore modernist rendition in stage and costume design at the turn of the 1930's Carlos Bártolo

CI TAD/ ULL + I HA/ FCSH- UNL, Lisbon, Por t ugal

Abstract

Diário de Not ícias newspaper published a weekly magazine entitled O Not ícias I lust rado between March 1928 and 1935, which coincide with the arrival to government of António Salazar (April 27th 1928) and the regime stabilization after the 1933 Constitution ratification.

It was the first Portuguese magazine entirely printed through rotogravure technology and thus graphically fresh and modern due to an innovative use of composition, photography and modern typography. It focused mainly on reporting the modern and urban cosmopolitan life: sports, novelties, entertainment, the jet set lifestyle and other mass culture phenomena while also alluding (more or less lightly) to politics.

As one of the most innovative general periodicals, it was directed, and on it collaborated, several figures of the Modernist generation some of whom, after 1933, would be associated with the official cultural policy.

Throughout its pages it is possible to perceive the renovation of theatrical revue as well as of other popular entertainment: theatre, dance, music and cinema. These theatre plays presented elements that, in tune with some foreign tendencies, were broadly inspired by an earliest interest of modernists for folk art and for the rediscovery of national or local heritage, while synchronously an international hegemony in design was rising.

A straightforward analysis of the magazine titles and texts reveal that this modernist interpretation of folklore for the stage (on sets, costumes, but also in music and choreography) was mainly announced as a 'modern' context up to the moment where an official culture policy was set by SPN; from 1933 onwards this modern aspect was veiled as the praising of 'regional' and 'popular' original roots was now strongly displayed.

This analysis could be viewed as a representative case of how the diverse terms (for the same kind of works) implied and expressed different contexts in 1930’s Portugal.

Keywords: Modernism , nat ionalism , Est ado Nov o, t h eat rical revue, set and cost um e design

Introduction

Bet ween 25 of March 1928 and 6 of Oct ober 1935 Diário de Notícias, one of t he m ain daily Por t uguese newspapers1, published on Sundays an

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Car los Bár t olo, DAMNED WORDS: The use of Modern and Regional as attributes of folklore modernist rendition in stage and costume design at the turn of the 1930's

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illust r at ed m agazine ent it led O Notícias Ilustrado t hat v isually com plem ent ed t he new spaper .

The m agazine appeared, coincident ally , one m ont h before Ant ónio Salazar's ( 1889- 1970) gover nm ent arrival ( 27 of Apr il 1928) , at t he end of a st ill unst able per iod ensuing t he m ilit ar y coup d’état ( 28 of May 1926) t hat im plem ent ed t he dict at orship, t hus ending t he liber al- dem ocr at ic effor t s exper ienced since approx im at ely one cent ury before by t he Primeira República [ First Republic] and t he m onarchy before it . I t w ould be print ed in t he next seven years, accom pany ing Salazar subsequent pow er seizing, and ending it s publicat ion t wo years aft er t he 1933 st abilizat ion of t he Estado Novo [ New St at e] regim e2.

Like it s com pet it ors — ABC3_,_Ilustração4_,_{Ilustração Portuguesa}5 _— _O Notícias Ilustrado repor t ed per iodically on social, polit ical, cult ur al, art ist ic and spor t if life but , relat ively t o t he ot her s, focused m ainly on t he m odern and urban life in a m or e light - heart ed w ay: sport s, novelt ies, ent er t ainm ent , t he j et set high- life and ot her m ass cult ure phenom ena, faint ly alluding t o polit ics. This w ay t he m agazine m anaged, like t he newspaper, t o m aint ain a m or e neut ral ( and as such alm ost per m issive) st ance on t he nat ional polit ical t urm oil happening at t he sam e t im e6.

2

Since 1928, gr adually, Salazar secur ed pr om inent r oles in t he gover nm ent unt il he ar ose t o Prim e Minist er in 1932, incar nat ing a st oic persona t hat car r ied out t he divine dut y of fat her ing t he count r y ( River o, 2010) . Wit h t he 1933 Constitution r at ificat ion ( published Febr uar y 22t h 1933) — est ablishing t he power on a cor por at ive r egim e t hat would ent it le it self as Estado Novo —, Salazar held his posit ion in pr act ice as a dict at or , balancing out t he differ ent fact ions of t he Por t uguese far r ight . For t he equilibrium of t hese for ces ( fr om t he poles of t he ancien régime t o t he 'pr o- fascist s') Salazar , him self a Conser vat ive Cat holic close t o I nt egr alism , cr eat ed a single- par t y regim e congregat ing in t he r egim e r eact ionar ies wit h m oder n- aut hor it ar ians while answer ing t o t he differ ent societ y sect or s year nings, all against a unique enem y: t he 'social- liber al- dem ocr at ic' syst em ( Rosas, 1989) .

3_{Published r egular ly ever y week fr om 1920 t o 1931 and occasionally unt il 1940 ( Pir es,} 1986, pp. 49- 50; 1996, pp.31 - 33)

4

Published biweekly by t he Aillaud and Empreza Nacional de Publicidade edit ing houses fr om 1926 t o 1939 wit h lat t er occasional print ings for pr ot ect ion of t he t it le's nam e ( Pir es, 1996, p.195; Cor r eia, 2009a) .

5

Published weekly by t he O Século newspaper fr om 1903 t o 1930 and appr oxim at ely t wice a year unt il 1993 ( Pir es, 1996, pp.201 - 202; Cor r eia, 2009b)

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Confer ence Pr oceedings. Por t o, Febr uary 19 - 21, 2015

29 I n it s pages, t hrough t he innovat ive use of rot ogravure t echnology, t he freer use of im age — phot ography ( m ainly) , draw ing and m odern t ypeface ( geom et rically hand- draw n) , all cr opped, j uxt aposed and reorganized in dynam ic phot om ont ages 7 — allow ed t he appearance of a m or e cont em por ary com posit ion, alm ost in t une w it h m odernist graphic design experim ent s done all t hrough Europe. This allow ed t he m agazine t o boast fully self- refer as 'the only graphic newspaper of modern and European appearance' ( Not ícias I lust rado, 1929d) .

The m agazine w as direct ed, and on it collabor at ed, several figures of t he Modernist gener at ion: at it s direct ion w ere José Leit ão de Barros8 ( art ist , archit ect , w r it er , j ournalist , and art , t heat re and film direct or ) , and Carolina Hom em - Christ o ( a fem ale j ournalist , st ill a rare t hing in t he 1920's Por t ugal)9. Bet ween t he long and varied list of w r it ers it 's possible t o find poet s, novelist s and j ournalist s like Ant ónio Fer ro, José Gom es Fer reira, Norber t o Lopes, Norber t o de Ar aúj o, Ar t ur Por t ela, Ant ónio Lopes Ribeiro, August o de Sant a- Rit a, Reporter X ( pseudonym of Reinaldo Ferreira) and even Alm ada Negreiros and Fer nando Pessoa — signing as him self or as Álvaro de Cam pos. I llust rat ions, cart oons and dr aw ings of art ist s such as Car los Bot elho, TOM ( Thom az de Mello) , Tagar ro, St uart Carvalhais, Júlio de Sousa, Em ér ico Nunes and even by t he Mexican-Am er ican Miguel Covarrubias10. Also t he w ork of phot ographers like Salazar Diniz, Deniz Salgado, Fer reira da Cunha, José Lobo, Marques da Cost a, Mário Novaes, Silva Nogueira, Manuel Alves de San Payo e Judah happened, pr obably not by chance, at t he sam e t im e Fer r o's int er views wit h t he dict at or , alr eady Prim e- Minist er were pr int ed on Diário de Notícias newspaper .

7

An analysis of t he m agazine indicat es t hat only one side of t he pages was com posed t hat way, t he ver so being done accor ding t o m or e t r adit ional t ypogr aphic t echnics, m ainly colum ns of t ext s wit h t it les, sm aller phot ogr aphs, vignet t es or dr awings ( illust r at ions or car t oons) confor m ed t o t he gener al r igid com posit ion gr id. On t he over all, and aft er a cover wit h an em phat ic phot o, t he m agazine was for m ed by sequenced pair s of m or e discr eet t ext pages and bold phot om ont age ones, t hus per m it t ing t he nor m al pr int ing of t ext s — essays, chr onicles, int er views, r eviews, sm all novels, ads or sm all news — per m anent ly int er t wined wit h st r ong gr aphic pages leading t o t he modern per cept ion t hat t he m agazine was m ainly im age.

8_{Beside O Notícias Ilustrado, he was collabor at or on sever al ot her newspaper s and even} dir ect or of ot her illust r at ed m agazines like O Domingos Ilustrado or O Século Ilustrado. 9_{Belonging t o a fam ily of w r it er s and polit ics — fr om a r epublican fat her t o a fascist} br ot her — Car olina Hom em - Chr ist o would becom e, in 1939, dir ect r ess, and t hen owner , of Eva, t he m ain fem inine Por t uguese m agazine t hr oughout t he m iddle 20t h c.

10

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Benoliel. Part of t hese aut hors w ould becom e associat ed, m ore or less officially, w it h t he form ulat ion of t he new regim e cult ural policy and it s ident it y definit ion. Fr om t hem it 's necessary t o single out Ant onio Fer ro11 as t he m ain charact er aft er his designat ion as direct or of t he Secretariado de Propaganda Nacional - SPN [ Nat ional Propaganda Bureau] on 25 of Sept em ber 1933.

Due t o t he t im e coincidence bet ween t he exist ence of O Notícias Ilustrado and Por t ugal's polit ical hist ory it is possible t hroughout it s pages t o obser ve polit ical circum st ances 'collat eral effect s' on t he m ore m undane w orld: m ainly t he shift from a m or e progressive and cosm opolit an under st anding of t he nat ion cor e int erest s, t o an ident it y sear ch of new social, m or al and polit ic values t hat t he dict at orship w ould im plem ent w it h it 's em er gence.

A cosmopolitan magazine

As st at ed before m ost of t he m agazine w as about report ing t he societ y m odern urban charact er, t hat w as lost in t he allure for er sat z fam e and glam our , so charact erist ic of t he 'r oaring t went ies': novelt ies w ere applauded, t he for eign praised12, and t he focus w as on celebr it ies, first and for em ost t he heroes and st ars from t he nat ional and int er nat ional sport and ent er t ainm ent w orld.

Therefore O Notícias Ilustrado report ed how ever ybody w as rushing t o 'prem iér es' at Avenida t o idolize 'vam ps', 'st ars' 'cow boys' on cinem a 'ecr ans' [ scr eens] , w hile discussing how Hollyw ood 'st udios' w ere t he best

11_{Wit h 19 year s old ( 1915) he edit ed Orpheu, t he avant - gar de m agazine t hat laid t he} Por t uguese m oder nist m ovem ent foundat ions wit h Pessoa, Sá- Car neir o and Alm ada, am ong ot her s. While wor king as j our nalist s, Fer r o wr ot e novels, poem s and plays ( som e creating public outrage). As reporter he interviewed d’Annunzio, Maurras, Pétain, Rivera, Mussolini, even Hit ler , but also Coct eau, Mist inguet t or Poir et . Polit ically he began as a Republican Par t y sym pat hizer , evolving t o t he aut hor it ar ian m oder n Sidonist s and t he Conser vat ive Republicans, while pr ogr essively adm ir ing cont em por ar y aut hor it ar ian r egim es, especially Mussolini's. I n 1932, int er viewing Salazar , t he polit ical r ole of cult ur e was discussed; m ont hs lat er Salazar would invit e him t o cr eat e SPN.

12

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31 producing m ov ies full of 't rucs' [ t ricks] ; t he m en advent ured t o st roll t he st reet s w it hout hat s, going t o vaudev ille t heat re's 'm at inées' and 'soirées' hoping t o see 'divet t es' at t he 'foyer s', while enj oying 'scenas' [ scenes, act s] w her e act resses and act ors, som et im es in funny 't ravest is', w ere t op billing at t ract ions; at t he 'dancings', 'clubs', 'bars', an d 'casinos', appearing ever yw her e, 'j azz' of elect r ify ing rhyt hm w as list en, and Am er ican " dist inct ively savage dances" ( Fer ro, 1928) , like t he 'charlest on', 'black- bot t om ' or 'j ive' danced; t he chorus gir ls w ere now known as 'gir ls', and t he at hlet es as 'sport sm en', being 'foot - ball' and 'box' t he m ost popular 'spor t s', and som e 'goals' celebrat ed as nat ional event s; ones and t he ot hers, t he 'gir ls' and 'spor t sm en', appeared in t he 'clichés' [ phot os] of t he 'm agazine' news pages m or e bare t han dressed announcing a new body- relat ed m or al, w her e t he beach sunt anned and gym nast ic m odelled figure reigned supr em e. Over all, t he dream of ever y 'm idinet t e' [ seam st ress] , 'dact ylo' [ secr et ary, st enographer] or 'vendeuse' [ salesw om an] , daily fant asising on m ov ies and novels, w as t o secure one 'chic' gent lem an, im peccably w ear ing a 'fr ack' [ t ailcoat ] , t hat could fulfil her w ish of a luxur ious and frenzied 'high- life'13.

The [ ab] use of t he for eign w ords in w r it ings14 w as proof t hat w hat w as norm ally under st ood, and desired, as for eign w as now v iew ed as com m on inside t he count ry bor der s, and w hen t hat w asn't an accurat e t rue, it could be exagger at ed or even invent ed15. And so invent ions, elect ricit y, t echnology, cinem a, cars, airplanes and zeppelins, progress and velocit y, luxury, newness, t he fash ion and glam our w ere ever yw her e. Finally it looked like Lisbon w as an int er nat ional cit y and Por t ugal a m odern count ry...

13_{All t he wor ds wit hin single quot at ion m ar ks in t his par agr aph wer e used t hat way — as} t heir Anglo, Am er ican or Fr ench or iginal or as an adapt ed ver sion — in t he m iddle of t ext s wr it t en in Por t uguese at O Noticias Ilustrado, bet ween 1927 and 1935.

14

The use of Anglicism s, m any of t hem Am er icanism s, out doing t he use of Galicism s was also a sign of an int er nat ional cult ur al hubs shift , fr om t he Fr ancophone wor ld t o t he Anglo- Am er ican one, denot ing t he beginning of t he 20t h c. supr em acy of t he popular m ass cult ur e.

15

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32

A new Theatre

The ent er t ainm ent w orld reigned suprem e and t he bloom ing Por t uguese cinem a, w it h it s m eagre group of st ars, had front page ever y t im e anyt hing relevant happened16 ( t his w ay challenging t he European or Am er ican indust ry pr esent in alm ost ever y edit ion) . Even t hough, t he Por t uguese t heat re ( m or e prolific in product ions, com panies, r ivalr ies, st ories, 'scandals' and gossips) w as m ore recurrent on t he m agazine pages.

Fr om 1925 onwards t he Por t uguese t heat rical revue17 scene began t o present som e signs of renovat ion and m odernit y18. These happened years aft er t he Ballets Russes present at ion ( 1917- 1918) in Lisbon 19 ( never t heless st ill pr esent in t he m em ory of m any of t he m odernist player s) , and aft er t he t hrill caused by t he recent passage of t he Spanish t heat re com pany Hermanos Velasco. Exper im ent ally som e m oder nist art ist s20 w ould w ork for t heat re st ages lik e: Eduardo Malt a in Tiroliro

16_{The m agazine followed at t ent ively t he Por t uguese cinem a life as an obvious sign of} m oder nit y and anot her at t em pt t o level up wit h t he r est of t he wor ld. I t goes wit hout saying t her e was a pr edom inance of r epor t s of t he m ovies done by t he m agazine dir ect or Leit ão de Bar r os: t he ur ban eulogy docum ent ar y Lisboa, Crónica Anedótica ( 1930) — following Walt er Rut t m ann's Berlin: Die Sinfonie der Großstadt [ Ber lin: Sym phony of a Met r opolis] ( 1927) or Dziga Ver t ov's Chelovek s kinoapparatom [ Man wit h a Movie Cam er a] ( 1929) —, t he 'fake' et hnogr aphical docum ent ar y Maria do Mar ( 1930) — closer t o t he wor k of Rober t Flaher t y —, and t he hist or ical and lit er ar y dr am as A Severa ( 1931) — fir st Por t uguese all- t alking sound film — and As Pupilas do Senhor Reitor ( 1935) . 17

Theat r ical r evue developed in t he lat e 19t h c. as a light , lowbr ow, fast - m oving and sophist icat ed ent er t ainm ent for m ed by a collect ion of shor t sket ches, songs, dances, com ic int er ludes and even shor t plays. This genr e w ould differ fr om var iet y t heat r e in t hat t he act s wer e linked by a t opical idea or t hem e growing in t im e t he em phasis on wit and st yle r at her t han m usic and spect acle ( Vict or ia & Albert Museum , 2014) .

18

I n par t suppor t ed by a cam paign of Ant onio Fer r o, in his Diário de Notícias t heat r e r eview colum n, against t he let har gy t hat r eign on t he 'frozen and inexpressive [ st ages], twin brothers of chromolithograph prints' ( cit ed by Sant os, 2000, p.5) .

19_{Received on a m ix of ast onishm ent and indiffer ence in t he cour se of t he Sidonist} r evolut ion m ayhem , t he influence of Diaghliev com pany would be per ceived and adm ir ed only by par t of t he Por t uguese int ellect ual elit e more receptive to the vanguards’

exper im ent s, never t heless t he const ant appear ance of news and r eviews on Lisbon pr ess ( Cast r o, 2014) . Sever al of t he dance plays pr esent ed at Coliseu dos Recreios and S. Carlos Theatre wer e inspir ed in t ales fr om t he Slavic et hnogr aphy, an influence r evealed not only in t he m usic scor e but also in t he set s and w ar dr obe design: Les Danses polovtsiennes du Prince Igor ( 1909) wit h set s and cost um es by Nicholas Roer ich ( Bowlt et al., 2009, p.116 -119) ; Sadko ( 1911) by Bor is Anisfeld and Nat alia Gont char ova ( op.cit ., p.162 - 167) ; and Le Festin ( 1909) and Thamar ( 1912) by Léon Bakst ( Pr it char d, 2010, pp.136 - 137 e pp.8 e 71) . Sever al phot ogr aphs of Thamar dancer s in cost um e appear ed in Ilustração

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33 revue ( 1925) ; Alm ada Negreiros for Chic-Chic ( 1925) , Actualidades de XPTO ( 1927) ( Sant os, 1987, p.10) , and, in t andem w it h Jorge Barradas, in Pomada de Amor ( 1926) ; and som e ot her s w orking in m ore or less occasional collabor at ions bet ween young art ist s and st age wor ld21.

The t heat rical rev ue m anaged t o regenerat e it self in t he m iddle of applaud and react ionary indignat ion. Água-Pé revue present ed by t he Luísa Sat anela and Est evão Am arant e com pany in t he Sum m er of 1927 is under st ood as t he first m ainly 'm oder nist ' play of t his genre. The play present ed a m usic score by Fr eder ico de Fr eit as, set s and cost um es by José Barbosa and chor eography by Fr ancis Graça ( t hat for t he first t im e, t ransfor m ed t he decorat ive chorus gir ls in a real corps de ballet) . I n 1928, aft er a com m ent ary of Fer ro referring t o how t he 'clothes have life and colour but speak too much Russian'22 ( cit ado por Sant os, 2000, p.6) , t he play w as redone w it h a new opening of t he second act . This scene w as an im m ediat e success present ing a group of act resses dressed as 'nat ional provinces' com ing t o greet a m or e cosm opolit an Lisbon. Follow ing earlier sporadic exper iences in t his t hem at ic, bot h t he design of t he backdrop curt ain and t he dresses freely adapt ed nat ional folk lor e elem ent s: from t radit ional cost um es for m s and feat ures t o iconographic det ails t ypical of Minho em broider ies or Alcobaça pr int ed chint z scarfs.

This m odel w ould be repeat ed on ot her plays23 but , but despit e t heir em er gence and success, t hese folk lor ic act s cont inued t o appear m ingled

for t h fr om t hese differ ent disciplines t hus m aking t hem per m eable t o each ot her

influences. 21

Br iefly wor king as set or cost um e designer s: Ant ónio Soar es, Leit ão de Bar r os, Sar ah Affonso, Raquel Roque Gam eir o, Júlio de Sousa, Tom , Car los Bot elho, St uar t Car valhais; and on a m or e const ant r out ine: José Bar bosa, Mar ia Adelaide Lim a Cr uz, Ar m ando Br uno, Ant ónio Am or im , Jor ge Her old, Már io Gom ar iz, Laiert e Neves and Pint o de Cam pos

( Sant os, 2000) .

22_{Fer r o's cr it ique of t he for eign influence could be j ust ified by t he exist ence of an act} ent it led "Bonecos Russos" [ Russian Dolls] wher e Sat anela and Fr ancis danced dr essed wit h 't r adit ional' Slavic cost um es ( Not ícias I lust r ado, 1928b) , pr obably inspir ed by t he pr evious pr esent at ions of t he Diaghliev com pany.

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34

w it h ot her s of a com plet e diver se charact er, a com m on sit uat ion in a t heat re genre charact erised as a ser ies of unrelat ed independent m usical, com edic or dancing scenes t hat review ed t he lat est event s, st ories or fads24.

Bet ween girls m or e or less bare, act ors w it h w it t y rem arks and funny up-t o- daup-t e dialogues and songs, glam or ous and specup-t acular acup-t s up-t haup-t up-t r ied up-t o copy t he Broadw ay Ziegfeld Follies's spir it ( or t he Cham ps- Elysées varietés t heat re and t he m ost recent Hollyw ood m usicals) and as t he seasons gone by, a succession of t hese m er ry popular fant asies w ere developed: w it h m usic and dance inspired on t he m ost cheer ful nat ional folk lor e (viras, fandangos, corridinhos, et c.25) , carr ied by t he m ost popular charact ers ( like varinas [ w om en fishm onger s] and saloios [ rural peasant s of Lisbon out skirt s] t he ones nearest t o t he capit al references) and present ed on st age wit h cost um es and set s t hat st y lised folk ar t s26.

I n realit y since t he ear lier decade t he 'oxym or onic' int erest by t he m odernist gener at ion on elem ent s from t he ver nacular w or ld — 'valued at that age through all Europe as an escape to the academic discipline' ( Raquel Henr iques Silva about " Louça de Barcelos" by Eduar do Viana in

p.26) , wher e Mar ia Adelaide Lim a Cr uz would also collabor at e ( Not ícias I lust r ado, 1930b) ; Ar m ando Br uno's cost um es for t he singer Cor ina Fr eir e in Nina del Portugal act fr om Maur ice Chevalier Parade du Monde r evue, pr esent ed at Par is casino in 1937 ( Sant os, 2000, pp.12- 13) ; and Jor ge Her old's wor k for Santo António está no Trono act of Fanfarra r evue ( 1938) ( Sant os, 2000, p.17) . The t it les of t he act s, and even of som e plays, also addr essed popular t er m s, t hem es and r efer ences.

24

As an exam ple of t his m ix t ur e, on Cantiga Nova r evue ( 1933) t he act ent it led wit h t he sam e nam e and a dancing duet act wer e inspir ed in t he nat ional folklor e. Nevert heless ot her act designat ed Habanera was of Andaluzian flamenco inspir at ion; anot her pr esent ed or ient al exot ic cost um es; t wo m or e wer e done accor ding t o Hollywood m usical m odels, one of t hem an am or ous dancing duet in t he Ast air e m anner ; t her e was anot her in a r om ant ic neo- r ocaille m ood and one last , t he 'curious number «Good by boy»' ( Not ícias I lust r ado, 1933a) , wit h Luísa Sat anela and all t he girls in Diet r ich st yle t r avest i.

25

Eugénio Salvador ( in a dancing duet wit h Lina Duval as Lina & Salvador ) and Fr ancis ( fam ous for his duet wit h Rut h Walden) would cr eat e r eper t oir es based on t r adit ional dances t hat wer e pr esent ed, or iginally, in r evue t heat r e or cinem a 'live com plem ent s' ( dur ing m ovies int er m issions) and lat t er in aut onom ous per for m ances t hat would

cont r ibut e t o t he popularizat ion of dance as an ar t in it self and event ually t he elevat ion of t he m ale dancer r ole ( Sant os et al., 1999; Chiar adia, 2011) .

26