A mulher na escultura : em António Teixeira Lopes

• Autor(es): Teixeira, José, 1960-
• Data: 2001
• Identificador Persistente: http://hdl.handle.net/10451/12180
• Origem: Repositório da Universidade de Lisboa
• Assunto(s): Lopes, Teixeira, 1866-1942; Teses de mestrado; Escultura; Mulher; Portugal
• Tipo de Documento: Dissertação de Mestrado
• Idioma: Português
• Orientador(es): Pereira, José Fernandes, 1953-

Descrição

António Teixeira Lopes (1866-1942) had discovered the first shapes with his father, the sculptor José Joaquim Teixeira Lopes. In 1882 while admiring Flor Agreste (Wild Flower) by Soares dos Reis, who would become his master later on, he discovered his artistic talent and decided to enrol the Arts School in Oporto. Two years later he enters the Arts School in Paris and becomes a pupil of Cavalier and Barrias. In 1890 with his marble sculpture Caim and the plaster one Viúva (widow), he achieves his first success in the Salon. His future aesthetic programme is defined. His most important imaginary was going to develop mainly around the female figure topic, where he praises the singularity of the body and above all he reveals a tragic, sensual and intimate character. Sculptures such as Viúva (Widow), Caridade (Charity), História (History) or Verdade (Truth) are inevitable references of the portuguese Naturalism, contributing to the fame of its author, who was awarded the highest decorations from the French and Portuguese nations while still alive. Teixeira Lopes lived and worked between the 19th and 20th centuries, having revealed himself as a crucial artist for the study of the Portuguese Sculpture, mainly due to the influence he had on another sculptors