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33:
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297:. He is irresistibly drawn to this Paris center of the arts, but also to this "bohemian" Paris, which exudes freedom. Initially, he plans to stay there for a year or two, but he ends up settling there. It is indeed here that Barros feels at home, and it is there that he will establish great friendships, which will last until the end of his life. That same year 1963, Barros meets at the gallery "Le Divan" the Russian painter
748:), it is said of Barros' painting that it escapes the schools and the reigning theories, none of them being found as a "reductive finality". On the contrary, his painting is described as the result of a pleasure to paint, and a freedom of expression guided only by emotions. It is well known that Barros never paints upon request, nor according to the tastes of the public, but only when the need arises
214:, thanks to which he decides to go study in Germany. Indeed, like many other painters of his generation, Barros quickly realizes that he cannot succeed in his artistic career while remaining in Portugal. Neither the socio-cultural environment of the time, nor the political situation, were favorable to his formation and his inspiration.
759:
or
Poliakoff must have served as a stimulus for Barros, and thus play a trigger role in front of the white paper. Music also plays an important role. It is thus said of Barros that he particularly appreciates devoting himself to painting in the evening, listening to classical music. He also sometimes
664:
Barros is fond of this district, where his small workshop is located (he once had a large workshop on the outskirts of Paris, but he stayed there only a very short time; he missed
Germain-des-Prés). He is used to walking past the clock of the tower of Saint-Germain-des-Prés, reports Jeannine Quintin,
688:
Barros is thus described as being an emblematic figure of the Saint-Germain-des-Prés district of the 1970s, where he is called "le
Portuguais" . Man of sure meetings and friendships, he frequents many art critics, gallery directors, and famous artists. This is why it is said of Barros that he is not
569:
During the 1980s, Barros divides his time between France and
Portugal. When he is in Portugal, he lives in Porto Salvo in particular, which allows him to get closer to his daughter Virginia, and his sister Helena. At this time, however, his health begins to decline sharply. His bohemian life, and in
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In a dictionary, Barros is thus described as a painter making use of an "abstractizing constructivism in muted colors". Indeed, it is often said that his painting is motivated by emotions alone. According to Jean-Jacques Lévêque for example, the painter abandons himself "to the solicitations of the
723:
If he occasionally paints in oil, Augusto Barros' favorite technique is undoubtedly the gouache, many people recognizing him as a major gouachist. The density of the gouache, associated with a grainy paper, allow him to obtain a rendering of its own, producing a slightly rough texture, in line with
560:
From a professional and artistic point of view, he has a complete and full life. But Barros' life as an artist, and his bohemian, bon vivant, even seductive character, finally defeat his marriage. He divorces Helena in 1976. They remain on good terms nonetheless, Barros continuing to see her as "a
472:
On the family side, however, because of his distance from
Portugal, and therefore from his family, the situation becomes precarious. After 8 years of estrangement, his family is asking for him. He then decides to bring his wife and children to Paris, where they join him and move in that same year
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His palette is not exempt from influences, and it changes significantly during his life. Barros thus relates that, during his stay in
Hamburg, his palette changed, the nostalgia and the climate having made him abandon bright and violent colors in favor of shades of gray. But it is not always the
727:
Colors often vary around bluish grays and ashy whites. For Jean-Marie
Dunoyer, it is the painting of "architectures in the process of demolition", in reference to post-war Paris, but also "interior landscapes, rigor, austerity". At the same time, Barros also practices a more colorful painting,
697:
Although he frequents the elite, Barros is one of those who doesn't seek stardom. It is said of him, actually, that he "rejects marketing as a traveling companion". Of a particular temperament, he has forged the reputation for not speaking when it is imposed, and allows himself to miss many
706:
in Seoul, he needed to be arm-twisted, and hesitated for a long time before accepting. As success rarely follows those who shun it, his career has inevitably suffered. According to
Jeannine Quintin, Barros is one of those "cursed artists, the purest, whom only posterity recognizes".
155:, and contemplate the ocean. He sets himself the goal of going to the American continent, and for that purpose he learns English, on his own, through books and thanks to the travelers he meets at the port (so that at the age of 29, he was one of the interpreters of
732:
emotions", thus going beyond the problem of representation. Jean-Marie
Dunoyer, for his part, wrote that Barros' painting is much more than a technical feat, that his painting became flesh, "a living flesh, in direct contact with the emotion it gave birth"
701:
This whole character can also be found in his relationship with art, and with the public. He is thus known to never make the slightest concession to the tastes of the public, or even to that of the merchants. When he had the honor of being invited to the
728:
showing dull reds, orange ochres, different shades of blue, and predominantly black and white shapes and textures. He thus oscillates between these two types of painting – one austere and quasi-geometric, and the other sensual, even luxuriant.
771:, a Portuguese musical genre. However, one will write that Barros is penalized neither by his origins, nor by his culture. For Manuel Cargaleiro, Barros' painting has very little Portuguese, and a lot of French, "Parisian"
230:. He goes there alone, while remaining attached to his wife and children who have remained in Portugal. He spends nearly three years in Hamburg, two of which as a scholarship holder, during which he studies with the master
641:, a worldwide crossroad of the arts since the 1950s, and until the end of the 1970s. This Parisian district was notably, according to Jean-Jacques Lévêque, the historical theater "of the last great battles between
196:
791:, but whose work is very personal, difficult at first, because intimately linked to his person. Jean-Jacques Lévêque, for his part, wrote that Barros' painting "ended up resembling the man who made it"
431:
1731:
Fernando de
Pamplona (1987). Livraria civilização editora (ed.). "Dicionário de pintores e escultores portugueses I, 2a edição (actualizada)" (in Portuguese). Porto (Portugal). p. 183.
192:(Portugal), Barros happily meets Helena Ferreira, a teacher, who he will marry shortly after. From this union are born two children, Carlos Augusto Ferreira and Virginia Maria Ferreira.
710:
Thus, Barros can be described as a proud and upright man, but at the same time mysterious, capricious, modest. In short, to use the words of Jean-Jacques Lévêque, like a "fleeing" man.
163:
325:
159:, visiting Portugal in 1957). This linguistic competence will prove very useful for the studies he will undertake later in Germany, instead of being able to speak German.
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383:
174:
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interviews and television programs to which he is invited. However, on the other hand, he can enjoy chatting for a day with anyone coming unexpectedly.
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For Alain Jouffroy, in addition to the contemplation of the old Parisian walls, which we find in filigree in many of his works, the painting of
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Augusto Barros is painting since the age of 10. His parents have a neighbor painter, which clearly sparked him an early interest in painting.
745:
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During this time, he continues to exhibit in France and Portugal. Notably in 1980, at the exhibition "Première Biennale Art & Papier" in
365:
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Barros continues to make enriching encounters, for example in 1971, the year in which San Lazzaro introduced him to the poet and art critic
336:
2136:
2121:
1679:
Jean -Jacques Lévêque (1985). Cimaise (ed.). "Cimaise: Current art and architecture 32nd year, No. 176 June–July–August 1985".
1771:
Jean-Jacques Lévêque (1985). Cimaise (ed.). "Cimaise: Current art and architecture 32nd year, No. 176 June–July–August 1985".
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Jean-Jacques Lévêque (1985). Cimaise (ed.). "Cimaise: Current art and architecture 32nd year, No. 176 June–July–August 1985".
1281:
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case, since on certain occasions Barros knows perfectly how to create colorful paintings, which he offers to his relatives.
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and thus knowing if it's time to go to the "bistro", where he likes to meet up with his friends Man Ray, Poliakoff, or even
168:
261:. This exhibition is a great success, and finds a large echo in the German press. Many articles appear in the newspapers
637:
For Manuel Cargaleiro, to define the person of Barros and his work, it is necessary to be familiar with the district of
227:
131:), and dead on February 10, 1998, in Lisbon. Abstractionist painter, and emblematic figure of the Parisian district of
586:
2131:
1483:
Jean-Jacques Lévêque (1985). Cimaise (ed.). "Current art and architecture 32nd year, No. 176 June–July–August 1985".
1245:
767:
For Ricardo Barletta, Italian art critic, we find in Barros' painting the same nostalgia and the same sadness as in
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family, described as enlightened amateurs, and whose name is now more linked to contemporary art than to politics.
393:. In turn, this leads Barros to work closely with a number of artists who were already famous at the time, such as
649:" in the 1960s. It is in such a context that Barros joined this cultural center, when he settled there in 1963.
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211:
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He accepts several radio and television interviews. Articles appear in 1982 in several Portuguese newspapers,
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245:. Interesting detail, since it was written later that "there is something of the art of Klee in Barros".
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of any camp, any cenacle, but "companion of a few one of those whose legend has already taken hold".
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the themes of his painting. Finely torn paper and cardboard sometimes also appear in his works
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In all, he has exhibited individually 24 times, and participated in 38 collective exhibitions.
549:. Then in 1974, this is Egídio Álvaro's turn to dedicate a 3rd article to him in the magazine
1018:
538:
461:. Recognizing the quality of Barros' painting, he dedicates an article to him in the journal
1071:
Galeria de arte do casino Estoril, Portugal, "25 anos ao serviço da arte e da cultura", 1983
2106:
2101:
1350:
Carla Rocha (2009). Câmara Municipal de Oeiras (ed.). "Biographicamente – Augusto Barros".
975:
819:
617:
498:
271:
1011:
509:
330:
285:, qualifying Barros' painting as being a "work of rigor, austerity, but also sensuality".
8:
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Carrefour de l'Europe, Nantes (France), "Avec les peintres portugais contemporains", 1981
855:
Galeria São Francisco, Lisbon, 1972. Exhibition presented by the art critic Egídio Álvaro
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255:
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Galeria de arte do casino Estoril, Portugal, "Augusto Barros & Edgardo Xavier", 1992
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581:(France), the French Secretary of State for Culture acquires a work by Augusto Barros (
293:
In 1963, Barros leave Germany and come for the first time to Paris, in the district of
195:
It's in 1959 that Barros exhibits his paintings for the first time to the public, at a
92:
National Society of Fine Arts (Portugal), and Academy of Fine Arts in Hamburg (Germany)
2012:
1776:
1684:
1511:
Alain Jouffroy, Galeria de Arte do Casino Estoril (1982). Edições Estoril Sol (ed.).
1488:
1465:
1355:
1277:
669:. According to Jorge Guimarães, "it's not with impunity" that Barros lives alongside
310:
306:
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Galerie L.55, Paris, 1973. Exhibition presented by the journalist Jean-Marie Dunoyer
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600:
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Ministry of Culture, Lisbon, "Artistas portugueses residentes no estrangeiro", 1982
971:
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Although we can perceive in his works the idiom of certain known currents (such as
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370:
152:
108:
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1780:
1688:
1492:
1469:
1380:
Manuel Cargaleiro (1988). Departamento de Marketing Central da UNISYS (ed.).
1359:
1134:
Galeria de arte do casino Estoril, Portugal, "Uma galeria com história", 1993
936:
Galeria national de arte, Lisbon, "Augusto Barros & Álvaro Pereira", 1963
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678:
670:
443:
418:
1106:
1081:
2046:
1058:
784:
674:
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156:
1821:
Dicionário de pintores e escultores portugueses I, 2a edição (actualizada)
1122:
Galeria de arte do casino Estoril, Portugal, "Salão Pequeno Formato", 1990
849:
Galerie de Beaune, Paris, 1969. Exhibition presented by Suzanne de Coninck
210:, Portugal). Following this exhibition, he obtains a scholarship from the
32:
1137:
Galeria de arte do casino Estoril, Portugal, "Salão de outono XIII", 1994
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185:
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Galeria de arte do casino Estoril, Portugal, "Salão de outono XII", 1991
578:
347:
in 1963, following which articles are devoted to him in the newspapers
189:
1877:
Galeria de Arte do Casino Estoril (1984). Edições Estoril-Sol (ed.).
1848:
Galeria de Arte do Casino Estoril (1982). Edições Estoril Sol (ed.).
571:
545:
406:
242:
1125:
Galeria de arte do casino Estoril, Portugal, "Salão de outono", 1990
912:
Alliance française, Lisbon, "Augusto Barros, recent paintings", 1991
1960:(in Portuguese). Lisbon, Portugal: Galeria de São Bento. p. 4.
1227:(in Portuguese). Estoril, Portugal: Edições Estoril Sol. p. 5.
949:
772:
623:
Then, in the early 1990s, Barros returns to Portugal definitively.
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267:
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128:
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Two streets are dedicated to him in Portugal, bearing the name of
162:
In 1952, at the age of 23, he studies painting and drawing at the
1876:
1847:
1819:
Fernando de Pamplona (1987). Livraria civilização editora (ed.).
1222:
1068:
Alliance française, Lisbon, "Pintores portugueses de Paris", 1983
920:
916:
897:
878:
394:
223:
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Galeria de São Bento, Lisbon, "works from the 60s and 70s", 1997
410:
301:, who will become a great friend. He also befriends the artists
248:
He has his first solo exhibition on German soil in 1962, at the
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Maison du Portugal, Paris, "Portuguese painters of Paris", 1967
823:
787:. He thus defines Barros as a lyrical painter, attached to the
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629:
Barros dies on February 10, 1998, in Lisbon, at the age of 68.
56:
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cigarettes he smokes every day, eventually catch up with him.
1088:
1045:
868:
609:
127:, is a Portuguese painter born on August 7, 1929, in Lisbon (
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Calouste Gulbenkian Foundation Cultural Center, Paris, 1974
768:
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in the background, but he never leaves these two registers
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343:. His first individual exhibition in Paris is given at the
275:
2034:
Portuguese 20th century artists: A biographical dictionary
2025:, Vol. 1, Porto, Livraria civilização editora, 1987, (2nd
1545:
Manuel Cargaleiro (2003). Galeria de arte Josephus (ed.).
1424:
Jeannine Quintin (2003). Galeria de arte Josephus (ed.).
1272:
Rico Sequeira (2008). Câmara Municipal de Montijo (ed.).
632:
480:. In turn, he dedicated an article to him in the journal
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As a teenager, he often likes to go for a stroll at the
143:
681:. As for its regular buyers, we find particularly the
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in 1969, subsequent articles appear in the newspapers
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Jean-Marie Dunoyer (1984). Alliance française (ed.).
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Fondation nationale des arts graphiques et plastiques
37:
Augusto Barros, photographed in Portugal in July 1997
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1818:
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604:. Later, he is invited to represent Portugal at the
526:). Articles are devoted to Barros in the newspapers
1927:Egídio Álvaro (1997). Galeria de São Bento (ed.).
1741:
1643:Egídio Álvaro (1997). Galeria de São Bento (ed.).
1592:Egídio Álvaro (1997). Galeria de São Bento (ed.).
961:Gallery, Brussels, "The Portuguese painters", 1968
884:Alliance française, Lisbon, "Mon beau Paris", 1984
846:National Society of Fine Arts (SNBA), Lisbon, 1964
1744:Espace alliance, Mon beau Paris, Barros, May 1984
1704:Espace alliance, Mon beau Paris, Barros, May 1984
1702:Alain Jouffroy (1984). Alliance française (ed.).
1623:Augusto Barros (1929–1998) – Exposição de pintura
1579:Augusto Barros (1929–1998) – Exposição de pintura
1544:
1379:
991:Galeria São Francisco, Lisbon, "Diálogo 74", 1974
887:Galeria de arte do casino Estoril, Portugal, 1984
188:that he begins to earn a living. At the beach of
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1990:, XX siècle (magazine), No. XXXIX, December 1972
1983:, XX siècle (magazine), No. XLIII, December 1974
1423:
2023:Dicionário de Pintores e Escultores Portugueses
1823:(in Portuguese). Porto (Portugal). p. 184.
1276:(in Portuguese). Montijo, Portugal. p. 6.
942:Institut de beauté Elizabeth Arden, Paris, 1964
1931:(in Portuguese). Lisbon, Portugal. p. 17.
1881:(in Portuguese). Estoril, Portugal. p. 5.
1852:(in Portuguese). Estoril, Portugal. p. 4.
1701:
1515:(in Portuguese). Estoril, Portugal. p. 3.
1014:, France, "Peinture portugaise actuelle", 1978
692:
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2036:, Stroud, Phillimore & Co Ltd, 1978/01/01
1955:
1926:
1647:(in Portuguese). Lisbon, Portugal. p. 7.
1642:
1625:(in Portuguese). Lisbon, Portugal. p. 2.
1596:(in Portuguese). Lisbon, Portugal. p. 6.
1591:
1581:(in Portuguese). Lisbon, Portugal. p. 3.
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893:Alliance française, Lisbon, "Barros 85", 1985
1997:, XX siècle (magazine), No. XXXIV, June 1970
1054:Salon Réalités nouvelles No. 36, Paris, 1982
994:Salon Réalités nouvelles No. 27, Paris, 1974
967:Salon Réalités Nouvelles No. 26, Paris, 1972
964:Salon Réalités Nouvelles No. 25, Paris, 1971
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988:Galerie L.55, Paris, "Confrontations", 1973
915:Galeria da secretaria regional de turismo,
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561:friend, an ally". He will not marry again.
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1223:Galeria de Arte do Casino Estoril (1982).
570:particular the four packets of unfiltered
31:
1074:Universidade Nova de Lisboa, Lisbon, 1984
930:
840:Galerie Commeter, Hamburg (Germany), 1962
834:
488:). Barros is then interviewed in 1973 by
382:, art critic and founder of the magazine
1814:
1812:
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1041:Galerie d'art international, Paris, 1981
952:, Belgium, "8 Portuguese painters", 1967
718:
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457:, as well as the painter and art critic
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1144:(Portugal), "Pintura e escultura", 1997
881:, Portugal, "Paysages intérieurs", 1982
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1384:(in Portuguese). Portugal. p. 23.
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945:Árvore Gallery, Porto (Portugal), 1965
890:International Art Gallery, Paris, 1985
633:In the Saint-Germain-des-Prés district
222:Barros therefore emigrated in 1961 to
217:
2009:Art et architecture actuels 32e année
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1267:
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1242:"Death of the painter Augusto Barros"
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1087:24th Olympiad for Contemporary Arts,
909:Centre de arte Unibanco, Lisbon, 1989
1841:
1787:
1773:Cimaise: Art et Architecture Actuels
1681:Cimaise: Art et Architecture Actuels
1665:
1629:
1567:
1533:
1485:Cimaise: Art et Architecture Actuels
1462:Cimaise: Art et Architecture Actuels
144:Childhood and beginnings in Portugal
2040:
1949:
1899:
1870:
1549:(in Portuguese). Lisbon. p. 3.
1499:
1446:
1428:(in Portuguese). Lisbon. p. 4.
852:Galeria São Francisco, Lisbon, 1971
13:
1476:
1402:
1366:
1304:
1260:
1231:
1155:
1119:Galeria triângulo 48, Lisbon, 1990
1031:First Art & Paper Biennial of
1026:Identidade cultural e massificação
704:24th Olympiad of Contemporary Arts
606:24th Olympiad of Contemporary Arts
228:University of Fine Arts of Hamburg
226:(Germany), to take courses at the
14:
2153:
421:. Following an exhibition at the
16:Portuguese abstractionist painter
2137:Portuguese expatriates in France
2122:20th-century Portuguese painters
2073:
2059:
2011:, No. 176, Paris, Cimaise, 1985
1621:Galeria de arte Pirâmide (ed.).
1577:Galeria de arte Pirâmide (ed.).
906:Alliance française, Lisbon, 1988
197:Modern Art exhibition of the SNI
2026:
1981:Panorama 74 – Le surréalisme II
1973:
1764:
1746:(in French). Lisbon. p. 3.
1735:
1724:
1706:(in French). Lisbon. p. 5.
1695:
1614:
1585:
939:Galerie Eva Eyquem, Paris, 1964
843:Galerie des jeunes, Paris, 1963
713:
673:, or that he meets at the café
1077:Galeria Almada Negreiros, 1984
861:Galeria Dinastia, Lisbon, 1974
829:
555:Panorama 74, le surréalisme II
446:, he gets to know the painter
282:Frankfurter Allgemeine Zeitung
212:Calouste Gulbenkian Foundation
1:
1968:
378:Later, in 1968, Barros meets
1057:Commemorative exhibition of
903:Galeria I.A.M., Lisbon, 1986
587:Musée d'Art Moderne de Paris
351:(No. 918 of 1963/05/19) and
138:
7:
874:Galeria Tempo, Lisbon, 1979
794:
565:Between France and Portugal
173:(Portugal) with the master
10:
2158:
2004:, Paris, Maeght, 1970/1974
877:Galeria de arte do casino
514:in the television program
375:, No. 976 of 1963/05/29).
1017:Primeira Bienal de Arte,
1007:, Paris, "Les Huns", 1978
104:
96:
88:
80:
64:
42:
30:
23:
2132:Portuguese male painters
1958:Augusto Barros – Pintura
1775:(in French). Paris: 56.
1683:(in French). Paris: 57.
1645:Augusto Barros – Pintura
1594:Augusto Barros – Pintura
1487:(in French). Paris: 58.
1464:(in French). Paris: 47.
1354:(in Portuguese): 64–67.
1274:Augusto Barros – Pintura
1116:, Porto (Portugal), 1990
1102:, Porto (Portugal), 1989
981:Maison de la culture de
736:Influences and evolution
380:Gualtieri di San Lazzaro
289:Artistic career in Paris
1929:Augusto Barros, Pintura
1048:, "Arte incontro", 1981
660:church, with its clock.
241:, a former disciple of
117:Augusto Barros Ferreira
25:Augusto Barros Ferreira
2052:Saint-Germain-des-Prés
2021:Fernando de Pamplona,
2007:Jean-Jacques Lévêque,
1956:Egídio Álvaro (1997).
931:Collective exhibitions
867:Galeria Alvarez-Dois,
835:Individual exhibitions
661:
658:Saint-Germain-des-Prés
639:Saint-Germain-des-Prés
432:Les Lettres françaises
295:Saint-Germain-des-Prés
133:Saint-Germain-des-Prés
1019:Vila Nova de Cerveira
970:Municipal Theater of
719:Techniques and colors
655:
1248:on November 14, 2016
1149:Notes and references
1044:Zarathustra Galery,
820:Charneca de Caparica
618:1988 Summer Olympics
490:Jean-Jacques Lévêque
272:Hamburger Abendblatt
2142:Artists from Lisbon
2127:Portuguese painters
1010:Cultural Center of
948:Cultural Center of
583:Témpera sobre papel
218:Training in Germany
184:. Then, it is as a
801:Rua Augusto Barros
662:
595:Diário de Notícias
534:Jean-Marie Dunoyer
345:Galerie des jeunes
157:Queen Elizabeth II
119:, better known as
2097:Abstract painters
2032:Michael Tannock,
1352:Oeiras em revista
1283:978-989-8-12206-3
1140:Artes plásticas,
1012:Brétigny-sur-Orge
896:Edifício Chiado,
693:The "fleeing" man
656:The tower of the
494:Henry Galy-Carles
423:Galerie de Beaune
311:Manuel Cargaleiro
114:
113:
68:February 10, 1998
2149:
2083:
2078:
2077:
2076:
2069:
2064:
2063:
2062:
2041:Related Articles
2028:
2000:Michel Seuphor,
1993:Michel Seuphor,
1988:Panorama 72 – II
1986:Alain Jouffroy,
1962:
1961:
1953:
1947:
1946:
1940:
1932:
1924:
1897:
1896:
1890:
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1364:
1363:
1347:
1302:
1301:
1295:
1287:
1269:
1258:
1257:
1255:
1253:
1244:. Archived from
1238:
1229:
1228:
1220:
1109:, Portugal, 1989
1084:, Portugal, 1987
1021:(Portugal), 1978
1006:
972:Esch-sur-Alzette
900:(Portugal), 1986
871:(Portugal), 1979
813:
757:Nicolas de Staël
542:
513:
502:
456:
440:
399:Alberto Magnelli
392:
374:
362:
334:
323:
259:
251:Galerie Commeter
240:
205:
183:
172:
71:
52:
50:
35:
21:
20:
2157:
2156:
2152:
2151:
2150:
2148:
2147:
2146:
2117:School of Paris
2112:Modern painters
2087:
2086:
2081:Portugal portal
2079:
2074:
2072:
2067:Painting portal
2065:
2060:
2058:
2043:
1995:Panorama 70 – I
1979:Egídio Álvaro,
1976:
1971:
1966:
1965:
1954:
1950:
1934:
1933:
1925:
1900:
1884:
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1387:
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1367:
1348:
1305:
1289:
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1270:
1261:
1251:
1249:
1240:
1239:
1232:
1221:
1156:
1151:
1063:Figueira da Foz
1000:
933:
837:
832:
807:
797:
738:
721:
716:
695:
635:
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536:
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386:
368:
356:
328:
317:
299:Serge Poliakoff
291:
253:
234:
220:
199:
177:
166:
146:
141:
76:
73:
69:
60:
54:
48:
46:
38:
26:
17:
12:
11:
5:
2155:
2145:
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2139:
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2070:
2055:
2054:
2049:
2042:
2039:
2038:
2037:
2030:
2019:
2005:
2002:L'Art abstrait
1998:
1991:
1984:
1975:
1972:
1970:
1967:
1964:
1963:
1948:
1898:
1869:
1840:
1786:
1763:
1734:
1723:
1694:
1664:
1628:
1613:
1584:
1566:
1547:Augusto Barros
1532:
1498:
1475:
1445:
1426:Augusto Barros
1401:
1365:
1303:
1282:
1259:
1230:
1153:
1152:
1150:
1147:
1146:
1145:
1138:
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1123:
1120:
1117:
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1078:
1075:
1072:
1069:
1066:
1055:
1052:
1049:
1042:
1039:
1036:
1035:, France, 1980
1029:
1022:
1015:
1008:
995:
992:
989:
986:
985:, France, 1973
979:
968:
965:
962:
956:
953:
946:
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937:
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833:
831:
828:
796:
793:
789:Ecole de Paris
785:abstractionism
737:
734:
720:
717:
715:
712:
694:
691:
634:
631:
601:Diário Popular
566:
563:
520:France Culture
516:Forum des arts
505:André Parinaud
478:Alain Jouffroy
459:Michel Seuphor
415:Sonia Delaunay
326:Gonçalo Duarte
303:Viera da Silva
290:
287:
219:
216:
175:Machado da Luz
153:Port of Lisbon
145:
142:
140:
137:
135:of the 1970s.
121:Augusto Barros
112:
111:
109:Abstractionism
106:
102:
101:
98:
97:Known for
94:
93:
90:
86:
85:
82:
78:
77:
74:
72:(aged 68)
66:
62:
61:
55:
53:August 7, 1929
44:
40:
39:
36:
28:
27:
24:
15:
9:
6:
4:
3:
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2035:
2031:
2024:
2020:
2018:
2014:
2010:
2006:
2003:
1999:
1996:
1992:
1989:
1985:
1982:
1978:
1977:
1959:
1952:
1944:
1938:
1930:
1923:
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1201:
1199:
1197:
1195:
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1177:
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1101:
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1064:
1060:
1056:
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1050:
1047:
1043:
1040:
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1030:
1027:
1023:
1020:
1016:
1013:
1009:
1004:
999:
996:
993:
990:
987:
984:
983:Saint-Étienne
980:
977:
973:
969:
966:
963:
960:
959:Souza-Cardoso
957:
954:
951:
947:
944:
941:
938:
935:
934:
925:
922:
918:
914:
911:
908:
905:
902:
899:
895:
892:
889:
886:
883:
880:
876:
873:
870:
866:
863:
860:
857:
854:
851:
848:
845:
842:
839:
838:
827:
825:
821:
817:
811:
806:
805:Linda-a-Velha
802:
792:
790:
786:
783:and post-war
782:
778:
777:impressionism
774:
770:
765:
763:
758:
753:
749:
747:
743:
733:
729:
725:
711:
708:
705:
699:
690:
686:
684:
680:
679:Henri Michaux
676:
672:
668:
667:Marino Marini
659:
654:
650:
648:
644:
640:
630:
627:
624:
621:
619:
616:) during the
615:
611:
607:
603:
602:
597:
596:
590:
588:
584:
580:
575:
573:
562:
558:
556:
552:
548:
547:
540:
535:
531:
530:
525:
521:
517:
511:
506:
500:
495:
491:
487:
483:
479:
474:
470:
468:
464:
460:
454:
449:
448:Jeanne Coppel
445:
444:Marcelle Cahn
441:
438:
433:
428:
424:
420:
419:Camille Bryen
416:
412:
408:
404:
403:Émile Gilioli
400:
396:
390:
385:
381:
376:
372:
367:
363:
360:
355:
350:
346:
342:
338:
332:
327:
321:
316:
312:
309:, as well as
308:
304:
300:
296:
286:
284:
283:
278:
277:
273:
269:
265:
260:
257:
252:
246:
244:
238:
233:
232:Hans Thiemann
229:
225:
215:
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209:
203:
198:
193:
191:
187:
181:
176:
170:
165:
160:
158:
154:
149:
136:
134:
130:
126:
123:, and simply
122:
118:
110:
107:
103:
99:
95:
91:
87:
83:
79:
67:
63:
58:
45:
41:
34:
29:
22:
19:
2047:Abstract art
2033:
2029:Actualizada)
2022:
2008:
2001:
1994:
1987:
1980:
1974:Bibliography
1957:
1951:
1928:
1878:
1872:
1849:
1843:
1820:
1772:
1766:
1743:
1737:
1726:
1703:
1697:
1680:
1644:
1622:
1616:
1593:
1587:
1578:
1546:
1512:
1484:
1478:
1461:
1425:
1381:
1351:
1273:
1250:. Retrieved
1246:the original
1224:
1113:
1099:
1059:Portugal Day
1025:
800:
798:
775:, linked to
766:
760:paints with
754:
750:
739:
730:
726:
722:
714:His painting
709:
703:
700:
696:
687:
675:Hans Hartung
663:
636:
628:
625:
622:
605:
599:
593:
591:
582:
576:
568:
559:
554:
553:(No. XLIII,
550:
544:
527:
515:
485:
484:(No. XXXIX,
481:
475:
471:
466:
465:(No. XXXIV,
462:
430:
426:
422:
377:
352:
348:
344:
341:Pedro Avelar
315:Eduardo Luiz
307:Árpád Szenes
292:
280:
262:
249:
247:
221:
207:
194:
161:
150:
147:
124:
120:
116:
115:
70:(1998-02-10)
18:
2107:1998 deaths
2102:1929 births
1114:Exponor III
1112:Exhibition
1105:Galeria de
1098:Exhibition
1093:South Korea
1080:Galeria de
1024:Exhibition
1001: [
830:Exhibitions
808: [
746:materiology
643:abstraction
614:South Korea
537: [
508: [
497: [
486:Panorama 72
467:Panorama 70
451: [
435: [
387: [
369: [
366:Frank Elgar
357: [
329: [
318: [
254: [
235: [
208:Palácio Foz
200: [
186:model maker
178: [
167: [
81:Nationality
2091:Categories
1969:Appendices
1252:October 2,
1107:Constância
1100:Exponor II
1082:Constância
1033:Le Touquet
976:Luxembourg
742:monochromy
647:figuration
608:, held in
585:) for the
579:Le Touquet
442:. Through
337:Paul Szasz
190:Carcavelos
84:Portuguese
59:, Portugal
49:1929-08-07
2017:0009-6830
1937:cite book
1887:cite book
1858:cite book
1829:cite book
1781:0009-6830
1752:cite book
1712:cite book
1689:0009-6830
1653:cite book
1602:cite book
1555:cite book
1521:cite book
1493:0009-6830
1470:0009-6830
1434:cite book
1390:cite book
1360:1646-5970
1292:cite book
572:Gauloises
551:XX siècle
546:Le Figaro
482:XX siècle
463:XX siècle
427:Carrefour
407:Max Ernst
384:XX siècle
354:Carrefour
243:Paul Klee
139:Biography
89:Education
950:Brussels
795:Tributes
773:lyricism
683:Pompidou
529:Le Monde
268:Die Zeit
264:Die Welt
129:Portugal
105:Movement
100:Painting
1095:), 1988
923:), 1992
921:Madeira
917:Funchal
898:Coimbra
879:Estoril
818:), and
671:Picasso
543:), and
395:Man Ray
349:Artigos
224:Hamburg
2015:
1879:Barros
1850:Barros
1779:
1687:
1513:Barros
1491:
1468:
1382:UNISYS
1358:
1280:
1225:Barros
1065:, 1982
1028:, 1978
978:, 1973
824:Almada
816:Oeiras
781:cubism
598:, and
473:1969.
339:, and
125:Barros
75:Lisbon
57:Lisbon
1089:Seoul
1046:Milan
1005:]
869:Porto
812:]
803:, in
744:, or
610:Seoul
541:]
512:]
501:]
455:]
439:]
391:]
373:]
361:]
333:]
322:]
258:]
239:]
204:]
182:]
171:]
2013:ISSN
1943:link
1893:link
1864:link
1835:link
1777:ISSN
1758:link
1718:link
1685:ISSN
1659:link
1608:link
1561:link
1527:link
1489:ISSN
1466:ISSN
1440:link
1396:link
1356:ISSN
1298:link
1278:ISBN
1254:2016
1142:Beja
769:Fado
762:jazz
645:and
524:ORTF
503:and
429:and
417:and
411:Miró
305:and
279:and
276:Bild
164:SNBA
65:Died
43:Born
2027:ed.
826:).
677:or
557:).
518:on
469:).
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1939:}}
1935:{{
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1061:,
1003:fr
974:,
810:pt
779:,
620:.
589:.
539:fr
510:fr
499:fr
492:,
453:fr
437:fr
413:,
409:,
405:,
401:,
397:,
389:fr
371:fr
359:fr
335:,
331:pt
324:,
320:pt
313:,
274:,
270:,
266:,
256:de
237:de
202:pt
180:pt
169:pt
1945:)
1895:)
1866:)
1837:)
1783:.
1760:)
1720:)
1691:.
1661:)
1610:)
1563:)
1529:)
1495:.
1472:.
1442:)
1398:)
1362:.
1300:)
1286:.
1256:.
1091:(
919:(
822:(
814:(
612:(
532:(
522:(
364:(
206:(
51:)
47:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
