{"id":176134,"date":"2020-06-15T14:39:38","date_gmt":"2020-06-15T14:39:38","guid":{"rendered":"https:\/\/veritas.art\/lot\/visao-385081732\/"},"modified":"2020-06-15T14:39:38","modified_gmt":"2020-06-15T14:39:38","slug":"visao-385081732","status":"publish","type":"lot","link":"https:\/\/veritas.art\/en\/lot\/visao-385081732\/","title":{"rendered":"[Auction 96] Lot 503 &#8211; &#8220;Vis\u00e3o&#8221;"},"content":{"rendered":"Oil on canvas\nSigned and dated 1895","protected":false},"featured_media":177846,"template":"","categories":[65],"class_list":["post-176134","lot","type-lot","status-publish","has-post-thumbnail","hentry","category-paintings","author-veloso-salgado"],"acf":{"auction_number":"96","number":"503","ref":"503","letter":"0","hammer_value":"25000","show_hammer_value":true,"estimation_min":"25000","estimation_max":"40000","price_on_request":false,"author":2297,"auction":{"ID":169048,"post_author":"44","post_date":"2019-12-19 15:31:17","post_date_gmt":"2019-12-19 15:31:17","post_content":"","post_title":"Auction 96 - Antiques & Works of Art","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"auction-96-antiques-works-of-art","to_ping":"","pinged":"","post_modified":"2020-10-19 09:43:01","post_modified_gmt":"2020-10-19 09:43:01","post_content_filtered":"","post_parent":0,"guid":"https:\/\/veritas.art\/?post_type=auction&#038;p=169048","menu_order":0,"post_type":"auction","post_mime_type":"","comment_count":"0","filter":"raw"},"name":"\"Vis\u00e3o\"","dimensions":"73x92 cm","description":"Oil on canvas<br \/>\nSigned and dated 1895","additional_info":[{"title":"Additional Information","text":"Veloso Salgado's artistic work is of great relevance amongst his contemporaries for the embracing of symbolism, as well as for the extraordinary quality of his landscapes, the superb paintings of his youth in Italy and Britany, the historical paintings and large size mural decorative work (as seen at the Portuguese Parliament building or at Lisbon's Central Synagogue) and the vast portraiture production, from which stands out the Equestrian portrait of Queen D. Amelia and of King D.Carlos and those of members of the Medeiros e Almeida family which are today exhibited at their Foundation Museum.<br \/>\nBetween 1901 and 1940 Salgado taught painting at Lisbon\u2019s \u201cAcademia de Belas Artes\", where, for some years, he worked side by side with the renowned Columbano Bordalo Pinheiro (1857-1929).<br \/>\nThrough his work it is possible to find various situations that could be defined as Symbolism. In \u201cAn orphan\u201d of Breton flavour, and even towards the end of his career in a 1932 commission for the Military Museum in Lisbon, where, in a somewhat unusual Pre-Raphaelite tone, the Unknown Soldier is glorified by the Fatherland.<br \/>\nWithin this symbolic language, his most successful works are however the late 19th century landscapes depleted of rhetoric, such as \u201cAo poente\u201d- At sunset (1892) and particularly the work we are presenting for sale, \u201cVis\u00e3o\u201d \u2013 A vision (1895).<br \/>\nWidely accepted by Historians and Art Critics as a Portuguese masterpiece from the late 19th century, one of the few that escaped the naturalistic conventions of the period and, simultaneously, in chronological terms, seen as one of the two first works of dreamlike and symbolist character by a Portuguese painter, this work was gifted by Veloso Salgado in 1940 to Ant\u00f3nio de Medeiros e Almeida\u2019s brother, the Medical Doctor Gustavo de Medeiros e Almeida, remaining in the family up to the present.<br \/>\nThe intentional deformation of the trees, whose trunks were transformed in curved and two-dimensional arabesques of sinuous graphic quality, opening into tree tops suggesting almost plain cartouches of \u201csynthetic\u201d taste, in an obvious appropriation of Japanese prints traits, corroborates the influence of a group of young, post-impressionist vanguard artists from the last decade of the 19th century, known as \u201cLes Nabis\u201d.<br \/>\nTowards the end of the 1890\u2019s the young Salgado had \u201ca foot in Paris and another in Lisbon\u201d, as noted in the \u201cDi\u00e1rio Ilustrado\u201d newspaper in 1897, and it was certainly at that time that he viewed that group\u2019s works (whose last group exhibition was in 1899).<br \/>\nAdmired by the most qualified visitors to the 1999 Veloso Salgado retrospective exhibition, at Museu do Chiado and at Lisbon\u2019s Medical School, amongst others the art critic Jos\u00e9 Lu\u00eds Porf\u00edrio and Professor Raquel Henriques da Silva, at the time Director of the Museu Nacional de Arte Antiga and of the Portuguese Institute of Museums respectively, this work was referred to, by Professor Henriques da Silva in the magazine \u201cArte Ib\u00e9rica\u201d as probably the best in that exhibition.<br \/>\n<br \/>\n<br \/>\nExhibitions:<br \/>\n - Gr\u00e9mio Art\u00edstico de Lisboa, 1896<br \/>\n - \u201cJos\u00e9 Sim\u00f5es de Almeida e Jos\u00e9 Veloso Salgado\u201d, Academia Nacional de Belas Artes, Lisboa, 1939<br \/>\n - \u201cVeloso Salgado, 1864-1945\u201d, large two venue retrospective exhibition: Chiado Museum and Lisbon Medical School, 1999.<br \/>\n<br \/>\nLiterature:<br \/>\nRui Afonso Santos \u2013 Veloso Salgado: 1864-1945, IMC, 1999, p\u00e1g. 28-29.<br 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