I. ''Edgar Allan Poe, Fernando Pessoa y el cuervo'' / ''Edgar Allan Poe, Fernando Pessoa and the crow'' de (by) Júlio Pomar Culebras

Júlio Pomar Culebras (1926-) es un pintor portugués nacido en Lisboa. Asistió a la Escuela de Artes Decorativas Antonio Arroyo y a las Escuelas de Bellas Artes de Lisboa y Oporto, En el año 1942 pudo mostrar por primera vez sus obras en la capital, de forma colectiva. En 1947, Oporto le brindó la oportunidad de exponer individualmente. Estuvo encarcelado por un breve periodo de tiempo debido a su oposición al régimen totalitario del dictador António de Oliveira Salazar. Sus problemas con la política del momento acarrearon graves problemas tanto para él como para el patrimonio artístico portugués. El caso más peculiar fue la destrucción de sus frescos creados para el cine Batalla (Oporto). Pese a ello, hoy día vive y trabaja en París y Lisboa, siendo reconocido como uno de los artistas más prestigiosos del siglo XX en Portugal. 

En cuanto a su obra, se encuadra en el expresionismo abstracto, el neoexpresionismo y también el realismo social. ''Edgar Allan Poe, Fernando Pessoa y el cuervo'' es una obra del año 1985 que retrata a estos dos trascendentales exponentes de la literatura en una escena intimista. Sobre la mesa se posa una hoja de papel aludiendo a la profesión de los hombres. Allan Poe, especialmente por el color verde empleado para el rostro, se retrata como un personaje excéntrico, figurado con su bigote característico y un cierto gesto de asombro. Mientras, en Pessoa se utilizan colores más armoniosos, que coordinan entre sí debido a su calidez. El poeta había traducido a su idioma el cuento de ''El cuervo'', obra del estadounidense, pues la admiraba profundamente. Tal vez se represente el momento en el que Pessoa muestra la traducción al novelista y de ahí su asombro.

Julio Pomar Culebras (1926-) is a Portuguese painter born in Lisbon. He attended the school of decorative arts Antonio Arroyo and the schools of fine arts of Lisbon and Porto, in the year 1942 was able to show for the first time his works, collectively, in the capital. In 1947, Porto gave him the opportunity to exhibit individually. It was imprisoned for a short period of time because of his opposition to the totalitarian regime of the dictator Antonio de Oliveira Salazar. Their problems with the politics of the time resulted in serious problems both for him and for the Portuguese artistic heritage. The most peculiar was the destruction of frescoes created for the film battle. Despite this, today lives and works in Paris and Lisbon, being one of the most prestigious artists of the 20th century in Portugal. 

As for his work, it fits in the abstract expressionism, neo-expressionist movement and also in social realism. "Edgar Allan Poe, Fernando Pessoa and the crow" is a work of the year 1985, which depicts these two momentous exponents of literature in an intimate scene. On the table sits a piece of paper referring to the occupation of men. Allan Poe, especially by the used green color for the face, is portrayed as an eccentric character, appeared with his characteristic moustache and a true gesture of astonishment. Meanwhile, Pessoa used more harmonious colours, which co-ordinated among themselves due to its warmth. The poet had translated into their language the tale of "The Raven", work of the American, because he admired her deeply. It is perhaps represent the moment which Pessoa shows the translation to the novelist and his astonishment.

Bandera de Lisboa y detalle de ''Edgar Allan Poe, Fernando Pessoa y el cuervo''

Flag of Lisbon and detail of "Edgar Allan Poe, Fernando Pessoa and the crow''"

Por otra parte, los cuervos como simples aves también llamaban la atención del escritor. Son, además, el símbolo de Lisboa, e incluso se muestran en su escudo. Es comprensible que se les de tanta importancia en la heráldica debido a la hagiografía de San Vicente: patrón de la ciudad. Su ataúd viajó por mar custodiado por dos cuervos con el objetivo de hacer descansar al santo en el claustro de la Catedral de Lisboa. Él venía acompañado de las aves desde la iglesia de los Cuervos del Promontorio Sacro; lugar que actualmente no posee una ubicación precisa. De existir, probablemente se situaría próxima al Cabo de San Vicente (Algarve). En todo caso, al realizar positivamente su labor, los cuervos se convirtieron en símbolo de la ciudad. Cabe destacar que estas aves aún revolotean por la urbe, recordando esta leyenda a todos los habitantes. Por tanto, la pintura presentada de Júlio Pomar tiene un poderoso trasfondo simbólico que remite a la historia lisboeta a través de un tema como el retrato de dos hombres importantes de la literatura del siglo XX. 

On the other hand, the crows as simple birds also called the attention of the writer. They are also the symbol of Lisbon, and even shown in its coat of arms. Understandable why is les so important in Heraldry due to the hagiography of Saint Vincent: Patron Saint of the city. His coffin traveled by sea, guarded by two crows in order to rest the Holy in the cloister of the Cathedral of Lisbon. He was accompanied by birds from the Church of the crows of the sacral promontory; place that currently does not have a precise location. There is, probably it would be next to the Cape of Saint Vincent (Algarve). In any case, to positively carry out their work, the crows became symbol of the city. Note that these birds still flit by the city, recalling this legend to all residents. Therefore, Júlio Pomar presented paint has powerful symbolic overtones that refers back to the Lisbon history through a theme such as the portrait of two important men of the literature of the 20th century.

In English: Haitian Art (Contemporary painting): Voodoo ritual, evoking the mysterious, lush nature and labeled naive and primitive style

   

                                    ''Mariage d'Agoue et Simbi'', by Frantz Zephirin.

Acrylic on canvas.

This video walks through the exhibition of various works, Haitian painting lately. No it could be summarized as the assimilation of Western styles, as it is not that precisely. Contemporary painting of the Caribbean country is extremely original, and usually is often associated with naive art, but also the primitive style and tradition of the place, both the issues and how to figure and color. Search only in Spanish.

In English: Berardo Collection Museum in Lisbon (Contemporary Art): Check made ​​to expose artists and works WITHOUT MUCH POPULARITY IN THE ART HISTORY

The Berardo Collection Museum of Contemporary Art, and located in Lisbon, it houses works of artists such as Pablo Picasso, Marcel Duchamp, Salvador Dali and Andy Warhol. Not that this entry is going to look down on those artists. Never. However, the title seems to suggest: ''NOT MUCH POPULARITY'' ... Who then is this? In art history, it is very common to cite the most important, the larger precursors. While that is fine, where are the other figures? Those from traditional art movements, and yet not so recognized ... Those who are highly respected but in very small circles ... Or even those whose profession is not only to be an artist. 

It can also be the case that, as in this museum, there are works of the above mentioned, and yet, just take better account some of these artists in art history. For example the popular ''Fountain'' by Duchamp. It is the typical work of art is taught in a class where you are making an introduction to the ''new art''. And where is the ready-made ''Bottle rack'' by the same author? For some characteristics or other, there are works that have achieved much more fame than others. 

Due to the above reasons as in the previous two paragraphs, I will devote this post to some of the artists and their works, which can be found in this magnificent Portuguese museum. By explaining what they expose, or pictures of your creations, I'll try to spread their art as much as possible through this blog. 

''Piccolo'' by Enrico Baj (1962). 

Collage made ​​of paper. Oil and gouache on paper and plywood. 

Enrico Baj (Italy, 1924-2003) is best known as the founder of nuclearism, an artistic movement that attempts to renew the art produced in the last decades. It is totally anti-academic, contrary to abstraction and ultimately a current neodadaist 50s. Through satirical themes, Baj expresses their world, betting fill freshness to the art of his time. 

This ''Piccolo'' says his particular way of reality appear. Is unknown, truly, what creature is symbolized in the work, but most likely it is a can with large jaws and tiny body, a pair of legs and a red and penetrating eye, surely-or not-is meets his twin on the other profile. His portrayal reminds slightly naive art. The animal seems exalted. His attitude evokes anxiety. Ladra your mouth'' piranha'' amid a dark space: are the dangers of the night. The background is grainy and chaotic, highlighted by generating a fog of confusion that alters the viewer. Vegetation and soil earth, created with plywood provides a rich, natural texture, confirm that it is a forest or a very large garden. Red dog eyes, that turn that color by increasing heart rate and oxygen consumption caused by disturbance, transmitted fear. You can not know if the dog itself is afraid of something, or if it is he who frightens directly with their howls. I'd bet on the former. But anyway, the goal seems Baj cause shock and fright. Even the nostrils are kept wide open, in a gesture of opening and closing constantly, to keep the heart beating. The tense legs far apart and suggest that the animal runs or pursues or is alert. 

''Landscape # 3 (Desert Biosphere)'' by Ashley Bickerton (1988). 

Anodized aluminum, lacquered wood, glass, sand, wire, metal, pulleys, fans and vinyl fabric. 

The author of this sculptural landscape called Ashley Bickerton (Barbados, 1959): important exponent of the Neo-Geo (Neo-Geometric, New geometry, geometric Neoabstracción), an artistic movement of the 1980s based, as its name says, the use of geometric shapes, giving a completely pure compositions structures. 

The play ''Landscape # 3 (Desert Biosphere)'' has an obvious name, since its goal is to represent a landscape; the desert. Warm colors (orange and yellow) remind the arid, dunes of the Sahara. However, combined with dark gray (neutral) of the metal where it sits all bring to mind a more fertile soil, or too hard rock where a group of people based: explorers or tribes. Moreover, the materials used in this sculpture will provide a dramatic plasticity. If while the colors used are mostly warm, the particular brightness emitting remembers her true support is anodized aluminum. Therefore, the metal gives a cool sensation. It is like the contrast of temperatures between morning and night in the desert. It required the perception of a varying temperature and contrasted. The rectangular box that rises above the surface of the sculpture could symbolize a mountain, in the vast desert, recalling formations, for example, the Grand Canyon, although very regular, as are the precepts of the Neo-Geo. Its summit appears to be covered with white sand, as if it were snow framed with blue rim accentuates its frigid potential. It may also be that the sand is simply sand, and therefore this vertical component would be associated with a dune. However, vinyl bags tied to it resemble tents or similar structures, provisional, used to rest in the middle of the dingy ground. The vents located both in the area that holds the sand in the vertical drawer, like the side of it, draw a lot of attention too. They bring to mind the passage of current, wind, or if you will, the breeze. Ultimately, perspiration. Grids are traditional element and any camping store, consolidating the idea that some travelers have stopped in the desert to regain strength. But they themselves aerate and ventilate the space, make it more dynamic and alive, but also more mechanized and human. It is a sculpture that emits, as it were, an adventurous quest and invites exploration of the most remote and risky places of our planet. 

          Diane et Acteon'' '(Diana and Actaeon) by Pierre Klossowski (1991-1992). 

Polychromed bronze. 

Pierre Klossowski (France, 1905-2001), a particular writer, also cultivated his role as an artist through painting (especially drawing) and sculpture. Do not be ascribed, as previous creators, in a particular movement. His art does not follow any standard manifest. Plated erotic, very common in Klossowski, the subject of Diana and Actaeon is represented in this sculpture. Count the Actaeon myth, a hunter become sublime to be trained by the centaur Chiron, a day of hunting and resting Diana discovered the source resfrescándose Partemia (located in the valley of Gargafie, resting place for Actaeon, as he wanted to go hunting Citerón massif in central Greece). The young man was completely naked, and so spent a while watching her as she and her nymphs were foreign to him. Soon after, the nymphs realized and covered the goddess to Actaeon not see her without clothes longer. Diana was angry sovereign and the boy threw the water around her, as she cursed, turning into a stag, and making hunting dogs who accompanied him to contemplate as the dam was now devouring vivo. However, in this sculpture is quite modifies the original myth, so much so that Actaeon comes to make physical contact with the goddess, which never happens, because the myth seeks to imply a kind of loss of virginity by visual contact. Or if you will, a strong violation of physical intimacy, nudity Diana, that does not necessarily require sex. But the sculpture depicts the goddess naked, being attacked by a cursed and Actaeon, with medium body of deer and the other still half human. Not a controlled his actions, but simply perverted and dangerous man. It is implied that Diana curses him with the aim of leaving something with your degenerate behavior. Are desperate and do not see another way out to do that dogs kill its owner. Instead of being a vengeance, as in the original myth, it is an act of defense. Actaeon is becoming deer meantime, but his unbridled sexual desire does not stop. Try to bring your tongue to the armpit of divinity, meanwhile one of his hands grab the arm Diana not to resist the attack. His other arm, leg become, wanted to reach the vulva, but could not for being too short. The pelvis of Actaeon, however, is still far sex woman and in a poor position, which means that you will not get abused. Dogs, meanwhile, maintained a strange attitude. The nearest dog Actaeon is very violent barks and grabs the leg of the deer to bite. However, the other dog is very sweet, and licks the crotch of Diana fondly. In any case, both are against Actaeon, then you attack him and another rejects him. In this sculpture the most curious is the expressionless face of the goddess, as contained in surprise. Maybe it's because she knows that her lover will die without the satisfaction of taking advantage of her. Or maybe simply the author does not have enough skill to sculpt a terrified face; something that has always been quite complicated in Art History. Finally Klossowski, representing the subject of attempted rape in this work, gets one of his favorite subjects. The kidnapped women, submitted, they will be raped, or that coital pain (with or without permission, but usually the latter) are scenes very present in the work of this artist, repressed in the field of sexuality, and also was homosexual. For it was always important to express the helplessness and submission of a person that is going to sexually abuse, and irreparable perversion of the executioners. 

Other works: 

''Bottle rack'' by Marcel Duchamp (1914-1964). 

Galvanized iron. 

''Untitled'' by Francesca Woodman (1976). 

Gelatin silver photograph. 

''Concetto Spaziale, Attesa'' by Lucio Fontana (1960). 

Fabric. 

''Composition No. 28'' Jean Gorin (1930). 

Oil on board. 

''Brillo Box'' by Andy Warhol (964-1968). 

Synthetic polymer and silkscreen ink on wood. 

''White Aphrodisiac Telephone'' by Salvador Dalí'' (1936). 

Mixed media. 

''The aesthetizisation rendered impotent fantasies of desublimated unredeemable'' by Manuel Ocampo gestures'' (2007). 

Oil on canvas. 

''Frozen Civilization'' No. 2'' by Armand Pierre Fernandez (1971). 

Waste (plastic, basically).