This article analyzes the conditions of production, presentation and reception of the Algarvian landscape “The gipsy lodge” (1923), painted by Eduardo Viana (1881-1967), in their relationship with the Portuguese artistic field of the 1920s. While observing this painting, the text discusses some of the main assumptions about post-war modernism in Portugal, specially the idea of an homogenous modernist artists' front, united by a nationalist consensus, and the downgrading of their avantgarde aspirations. Considering both Viana's painting place of production - the “cubist village”of Olhão -, and its subject, “The gipsy lodge” emerges embeded with an active political meaning that goes against such homogeneization by illuminating the full continuity of the cosmopolitan orientation of Eduardo Viana's earlier work, associated with the Corporation Nouvelle, and his fruitful collaboration with the Delaunays and Amadeo de Souza-Cardoso.
|Translated title of the contribution||'The Gipsy Lodge', by Eduardo Viana: Politics of Form and the Representations of the Portuguese Artistic Field in the 1920s|
|Number of pages||18|
|Publication status||Published - 2022|
- Eduardo Viana
- Politics of form