Culture

S. João Novo Church
22 May, 2019 / , ,

Built on the escarpment down to the Douro, in a place called “Boa Vista”, stands one of the most significant religious buildings in the historic center of Porto. The Igreja de S. João Novo was built in the middle of the 16th century and displays great artistic and architectural similarities with the Church of S. Lourenço.

The building, with a Latin cross plan, was built just above the former hermitage of S. João Belmonte. The building also took advantage of the wall that anchored the construction of the church and its monastery. Outside, it is possible to observe parts of the wall and follow its path. Inside the church, there are several carved altars, from the Baroque period (17th century) and tiles from the same period.

In the main altar, enriched with altarpiece, dating from the period between 1757 and 1766, is a moving screen reserved for the theme of the Vision of St. Augustine. The work is attributed to João Glama Stroberle, painter of German origin, who was born in Lisbon in 1708. In the same high altar it is also possible to observe a mausoleum that captures the attention of anyone due to its magnificent decoration – the author of the work is unknown.

The Alto Coro of the church consists of a single-row chair and on the side of the Gospel there is a pipe organ. Also noteworthy are the tiles alluding to the life of Santa Rita de Cássia, by Bartolomeu Antunes, located on the side altar of Santa Rita, the image of Santo Ovídeo and the image of Our Lady of Guia, by Manuel Miranda, located  collateral to the altar. Also of great interest is the altar of Senhor dos Passos, located on the right side; the image of the invocation of Jesus Christ is of great dimensions and presents features, deeply, realistic. It is probably the image that stands in this lateral altar that was brought out for the traditional Senhor dos Passos procession.

In front of the church we can find the Palácio S. João Novo, built at the end of the XVIII century, in Baroque style and that many attribute to Nicolau Nasoni.

Although it is closed more than a decade ago, the Palace served as a hospital during the Siège of Porto, in the Liberal Wars, and later as a Museum of Ethnography.

In addition to the similarities with the church of the former Jesuit College of S. Lourenço, the Church of S. João Novo also reveals the influence of the Igreja dos Grilos, due to the composition of the facade and the interior design.

The building is suitable for people with physical limitations and although it is closed on Sundays, it is possible to visit the Church of S. João Novo from Monday to Saturday, free of charge.

This year, the Church of S. João Novo is one of the spaces in the city of Porto that integrates the programming of In Spiritum – the festival proposes the discovery of the historical heritage through music.

Exhibition Escher in Alfandega
29 March, 2019 / , , ,

Hey Porto spoke with Frederico Guidiceandrea, onde of the exhibition curators and a major expert on M.C. Escher’s work

– What can people expect from this exhibition in Porto?

The exhibition covers the entire artistic career of MC Escher, starting from the early works that reflect the influence of his teacher, Jesserun de Mesquita, a major exponent of the art nouveau in the Netherlands. An important space is dedicated to the italian period, the nocturnal images of Rome, the southern Italian landscapes and studies of nature.

In the following sections the most famous works are represented: the tessellations, the impossible buildings, ribbons, regular solids, reflecting surfaces and metamorphosis. The exhibition continues with occasional works that MC Escher created on commission such as bookplates, greeting cards, postage stamps and more.

The exhibition closes with a large space devoted to the Eschermania. Here, evidence of the influence of MC Escher on the iconography of the 20th and 21st century. Book covers, psychedelic posters, LP covers, comics, magazines, videoclips and works of contemporary artists who were inspired by MC Escher.

Throughout the exhibition a series of experiential games leads the visitor into the world of MC Escher. They experience the paradoxes of perception encoded by the laws of Gestalt and  physically enter into some of MC Escher’s works.

– How would you define Escher’s art?

The art of MC Escher can be interpreted in layers. At first wonder prevails, then if you look deeper you will discover more and more details: paradoxes of perception, mathematical structures, references to the Italian landscape and to the great artists of the past. Every time I set up an exhibition, even having seen the works hundreds of times, I always discover something new.

– Which are his main references?

The main influence especially in his early work is certainly to be found in the art of his master, Jesserun de Mesquita, who was an important exponent of the Dutch Art Noveau. Later in Italy he came into contact with exponents of Futurism, in particular with the art movement called ‘Areopittura’ who loved to depict scenes and landscapes from above with an unusual use of perspective. In the later works the greatest influence came from the contacts with the world of mathematics, especially the correspondence with important mathematicians such Roger Penrose or Harlod Coxeter were the basis of many of the iconic works.

– Escher is intriguing, disturbing, disconcerting, a true genious. Do you agree?

Yes, his work captures many of the trends in the technological society. Modern scientific theories such as the theory of relativity and quantum physics have profoundly changed the way we see the world. The world is not as it appears, on a very large or very small scale it can be very counter-intuitive and paradoxical. MC Escher, through his tessellations and impossible structures, opens a window that allows us to grasp the complexity of the world.

 

 

 

In our city of Porto
29 March, 2019 / , , ,

In our city of Porto, a town of great ancestry, the discovery of its origins and the understanding of its urban fabric is, of course, an extensive and endless program. The twentieth century would give us one of the most representative and consistent chronicler and investigator of the history of the city.

On March 4, 1894 Artur de Magalhães Basto was born at number 556 of the so-called Duquesa de Bragança Street, in a distinctly well-designed house built by his father António José de Magalhães Basto, circa 1875, then architect and professor of the Academy Portuense of Fine Arts José Geraldo da Silva Sardinha.

His training in Law at the University of Lisbon would serve him well in the future, as from a very young age his  interest in research and paleography became apparent , namely through his teaching career integrating him in  the first Modern Language Faculty of the city, where he lectured  between 1922 and 1931. Being part of the City Hall of Porto up to his death, on June 3, 1960, heading as from 1934, the Services of Palaeography and Manuscripts of the library;  and as from 1938 became Director of the Office of History of the City and became head of cultural services,  until 1960. He was also Director of the Porto District Archive from 1939, as well as head of the great Office of the Holy House of Mercy of Porto, since 1933.

But it is as a chronicler of the city that Magalhães Basto would stand out: from his writing would flow the most diverse themes of history and art always linked to the city of which we will give just a few examples: the indispensable “Falam Velhos Manuscritos”, 1445 weekly articles in the Oporto newspaper The 1º de Janeiro “between 1930 and 1960; and his fundamental articles in the magazine of History of the city “The Tripeiro”, of which he would be director between 1945 and 1960. Some of his 160 published works are transcriptions of conferences, one of his specialties, for us worthy of special reference , because of the urgency and style with which he was able to reach out to us all, without discrimination, in a very simple and direct way, his historical narrative and his studies about Our City of Porto. In fact, these lectures would be a way of counteracting the silence, the solitude of “Poeira dos Arquivos”, his natural routine, as he would so well refer to in a February 1960 text: “How boring a life must be, or even a year, a day, or even a single hour, all alone in an arquive, to read, to decipher old paper, crumpled, yellowed by time, gnawed by rats, holed by moth, and stale air.

Our beloved and distinguished researcher died at his last residence, in Oporto, at nr. 500  Gondarém street,  a dignified note left by Professor Luís Duarte in the  exhibition catalogue dedicated by the master in 2005 in the Palace Gallery : “We realize that in the history country, there was a before and after of the magisterium and the work of Artur de Magalhães Basto”.

 

THE MESSENGER, by IRENE VILAR
13 February, 2019 / ,

A statue planted by the river that brings hope to the city of Porto

Irene Vilar was born in Matosinhos in 1930 and is the owner of a vast work in many countries such as Germany, South Africa, Brazil, Belgium, Holland and Macau. Distinguished throughout the life with several prizes, the artist affirmed itself in diverse areas like the sculpture, numismatics, medalhística and painting. It was about five decades of artistic production and affirmation that won him several prizes and distinctions

The artist had since very young a great connection to Foz do Douro, where she lived from the age of 19 and where she set up her atelier.

One of her most emblematic works is undoubtedly “The Messenger”. Sculpture in bronze – one her materials of choice -, expressionistic, majestically marks the bank of the Douro River next to Cais de Sobreiras, in Foz do Douro.

Inaugurated in 2001, “The Messenger”, or “The Angel” as is commonly known by the people of Porto, brought, according to the author ” good hope to the city of Porto.” Maybe that’s why it has become almost a place of worship, where people lay flowers and candles at its feet.

Irene Vilar died at the age of 77 in 2008.

Church “Dos Grilos” – MUSEUM OF SACRED ART AND ARCHEOLOGY
4 February, 2019 / , , ,

Church of S.Lourenço also known as The Church of the Crickets, a visit not to be missed, with a panoramic view of the river Douro, Invicta and the Margin of Gaia

A walking tour through the city center to the Porto Cathedral is a common itinerary for tourists visiting this proud unconquered city. Discovering downtown is an adventure. As we walk through the narrow streets of the ancient city we discover its secrets and its curiosities.

Today we invite the tourist to venture into Bairro da Sé. The imposing Sé is the starting point of our adventure. Just a few meters away, in an alley that seems to have no exit we encounter the Church of S. Lourenço, better known as the Church of the Grilos, which, together with the Homonymous College, is classified as a National Monument.

It began to be built by the Jesuits in the sixteenth century and was only completed in the eighteenth century. If most of the churches have a wealth and opulence often exaggerated, the Church of the Crickets surprises by its simple, bare and unadorned walls.

In the Church stand out the beautiful altar of Our Lady of Purification, the fantastic organ with 1500 tubes that, according to  records was built at the end of the century. XVIII and the crib, a unique construction, dating from the XVIII century and whose authorship is attributed to Machado de Castro. At Christmas time, along with the tradition of many other churches in the city, it is possible to appreciate this very rare crib composed of large dozens of figures placed right at the entrance of the monument.

The Church of the Crickets, although correctly denominated by Church of S. Lourenço, was initially the Church and the College of the Jesuits. With the extinction and expulsion of the Jesuits by the Marquis of Pombal in the eighteenth century, the Church was donated to the University of Coimbra and later bought by the Barefoot Friars of St. Augustine who, due to having their main residence in Lisbon, were commonly known as The Cricket Fathers. And hence the Church became commonly known as the Church of the Crickets although they no longer reside there.

The Museum of Sacred Art and Archeology of Porto – with access by a contiguous door to the left of the Church – displays a collection of interesting pieces from the statuary of saints, religious jewelery and other liturgical pieces. It is also here in the Museum that, from the magnificent balcony, one can have an unparalleled view of Porto and Gaia and the Douro River. A breathtaking view you can not miss!

Guilhermina Suggia
10 January, 2019 / ,

She was born in Oporto in 1885. Guilhermina Suggia grew up surrounded by music, much due to her father who was a cellist. Very early she began to take cello lessons and at the age of 7 she made her first public appearance in Matosinhos. At the age of 13 she was already a member of the Orfeão Portuense and quickly fell in love with Porto. It was a step up to give the first shows, often accompanied by her sister. At age 16, she received a grant from Rainha D. Amélia to attend the best European Conservatory. She passed the most respected rooms in London and around the world, but never forgot her hometown. It is in this course that she meets the director of the Conservatório de Música do Porto it is also in this saga that the Orquestra Sinfónica do Conservatório is born. Guilhermina Suggia travels Portugal from North to South and enchants everyone with her talent. In the Florbela Espanca Municipal Library, in Matosinhos, there are various documents such as her personal and official correspondence, photographs …

She passed when she was only 65, but left her mark as the best Portuguese cellist.

Hidden Porto
9 January, 2019 / , , ,

Cities are built over cities. This is an idea that both archeologists and architects notice in the reality of their daily work, which conditions them, motivates them and is at the root of the future of any city.

Since humans became sedentary, that is, since the groups of nomadic hunter-gatherers in search of the best hunting grounds gave rise to permanent settlement in villages whose inhabitants began to live from agriculture and livestock, the type of housing was modified and became stable, with the adoption of materials such as adobe, brick and stone, in addition to wood, which has always been used.

We find this in settlements as old as Çatal Hüyük (Anatolia, southern Turkey) or Jericho (Palestine), perhaps the oldest known towns, built between 8,000 and 7,000 BC, and where constructions have been succeeded, cities grown horizontally, but also at the expense of the overthrows of previous constructions, often taking advantage of their foundations to build new ones.

Porto hasn’t surely been any different. But those who fly over it, who come from the other riverside or who cross their streets and observe their houses, do not have this perception and see only what their eyes catch, the streets, houses, buildings, infrastructures, not remembering that this isn’t just our city, but our grandparents’ and other ancestors’ as well.

Those, their cities, are sometimes buried beneath ours, and at a time when Porto vibrates with its recovery, especially with the recovery of its Historical Center, signs of these “cities” that preceded us are exposed.

Perhaps the earliest ruins are found in the building of the no. 5 in Rua D. Hugo, behind the Porto Cathedral, where it was possible to trace an occupation with signs from the 8th century BC, with round houses. To that, other houses overlap, these ones quadrangular, of the Roman period.

Another fantastic example of how the city was built is provided by the archaeological excavations of Casa do Infante, already in a low part of the city, in which a large and luxurious Roman and late Roman house (IV-VI centuries) are superimposed to the medieval buildings, with the construction of the King’s warehouses, the Royal Customs Building and Casa da Moeda, with its occupation and successive enlargements lasting throughout the Modern and Contemporary Age.

But the example that we’re going to bring up is equally representative: in the works of a building with fronts to Rua de S. Francisco and to Rua Nova da Alfândega, where the former company of transits A. J. Gonçalves de Moraes was located, excavations shown signs of the nineteenth century city, more specifically the old Quarter of Baths.

Landed during the great urban transformation inherent to the construction of the Alfândega Nova building (1860-1870), construction of Rua Nova da Alfândega and Rua Ferreira Borges, which led to the destruction of the Monastery of S. Domingos, the old quarter of Baths was buried under 5 meters of rubble.

The excavations showed another facet of the city, a poorly-known riverfront area, which began at the beach already described by Ranulfo de Granville in 1147 and where some of the city’s bathhouses were located, next to Rua dos Banhos.

It was one of those alleys, still with buildings on both sides, that was exposed. One of the houses, in front of the entrance door flanked by windows with iron bars, had a paved patio.

In a contiguous area, about a meter below, the strong foundation of what may have been the medieval building of the public baths. The diggings stopped there.

But the finding of Roman construction materials may indicate the presence of much older ruins…

 

Marcelo Mendes Pinto, archeologist and CITCEM researcher

Fenianos, for Porto
15 December, 2018 / ,

Clube Fenianos Portuenses was founded on March 25, 1904, in the Batalha Square. In 1935, it was moved to its current location, in the Aliados Avenue, right next to the Porto City Hall.

The club was recognized as Commander of the Military Order of Christ for the services rendered throughout its 111 years of existence to that moment and with the Gold Medal of Porto as well, reinforcing its motto “Pelo Porto” (For Porto).

Around 1903, four of its founders, Porto citizens and future Fenianos, sought to obtain the necessary knowledge for the organization of a Carnival-like corso with the exuberance of the Carioca Carnival and the aesthetic beauty of the one in Venice, having made a trip to Brazil with this goal.

Clube Carnavalesco Fenianos Portuenses was born from this collaboration, later renamed Clube Fenianos Portuenses. The main goal was to give the city a Carnival at the level of its artistic sensibility.

As a note of curiosity, the floor of the Salão Nobre (Noble Room) also brings with it the “Brazil effect”, since all of it is of pau-cetim of light tone and macacaúba.

The history, patrimony, memories and civic and cultural intervention of Fenianos in Porto became entrenched in the city. The club was cherished by its populations, erudite, notable and anonymous, becoming a memorable tradition of Porto.

Its centenary and noble history, its gold books and the tombstones and pictures, that internally cover its old walls, register the presence of some of the most important living forces of the city, industry and commerce, great names of writers like Aquilino Ribeiro, Jorge de Sena, José Régio, of playwrights like Pirandello, of plastic artists, photographers and renowned painters such as Guedes de Oliveira and Amadeu de Sousa Cardoso, of folklorists and musicologists such as Armando Leça, of lectures with the historian of the city of Artur de Magalhães Basto and many, many other national and international figures.

Nowadays, the club continues to maintain an annual program of permanent socio-cultural activities, ranging from Music, Choral Singing and Instrumental to Illusionism, Theater, Dance, Billiards, Table Tennis and other ballroom games, not only for members, but for everyone who visits.

D. António Ferreira Gomes: look for the good without fearing the penalty
15 December, 2018 / ,

It would be dishonest and even bizarre to deny the size and political impact of a figure like the former Bishop of Porto, D. António Ferreira Gomes (1906 – 1989) identified as a critic of the dictatorial regime of the Estado Novo in Portugal that was in force in 1933 until April 25, 1974. But it is easy to blur our gaze and diminish the person he was once if we look into it from a narrow perspective. To understand that in God one can find the liberating force, the confidence that gives gestures and words the emancipation of all the powers that pass (especially of those who believe them to be eternal), would prevent many mistakes. It is a mistake to reduce D. Antonio to a mere political figure and to read from there his gestures and his intentions.

The Bishop of Porto was a man of God, moved by the desire for faithfulness to the Church and his Social Doctrine. He did not want to be ahead of his time. It was because he was a man of his time that he learned to read the human, social and religious dramas of the days he lived. That is why he created so much resistance. The letter he wrote to Salazar, which eventually contributed to his ten-year exile (1959-69), reveals his ability to understand reality. Written on July 13, 1958, those lines intended to prepare a meeting with Salazar. It was a “pro-memory” through which D. António wanted to present to the President of the Council the themes and issues he would like to discuss at the meeting they would have.

The letter revealed his sensitivity to injustice. Following the Doctrine of the Church, he spoke of the need for the fruits of labor to be evenly distributed, recognized the Right to strike, denounced human miseries and opened the possibility of creating parties. He wished upon Catholics a political and civic formation that would enable them to participate consciously and freely in social life. The letter would eventually be revealed publicly. The Bishop of Porto has always denied any responsibility in this incident.

What D. António Ferreira Gomes moved were not fruitless games or the search to be a protagonist. From the deep and demanding reading of reality, freed from fears, because founded on God, he desired good and justice.

This spiritual way is often difficult to grasp. There are few who are able to understand the human being from such deep convictions and motivations. But only these sustain free men. And only those who are free find the detachment of seeking the good without fearing the penalty.

Clerigos Museum
14 December, 2018 / , ,

The journey through the Casa da Irmandade (1754-1758), where the Museum is located, provides a return to the past as you get to explore spaces that once were private and destined for the daily life of the Brotherhood of Clerics.

Walking through the Casa do Despacho, the Sala do Cofre, the Archives, and the old infirmary, one can see that the Museum has a collection of cultural assets of considerable artistic value from the 13th to the 20th century, which spreads through its collections of sculpture, painting, furniture and jewellery. These goods are messengers of a historical and cultural patrimony, whose function was lost throughout time but gave way to the creation of the museum.

 

The infirmary of the Brotherhood of Clerics, which operated until the end of the 19th century and dedicated to the treatment of sick clerics, has been converted into an exhibition space and currently houses the Christus collection. This exhibition, conceived from the donation of a collection by a private collector, reveals the passion for collecting and tells a story complemented by objects, once of devotion, considered today cultural legacies of interest. They are important pieces of sculpture, painting and jewellery making that enhance the encounter of art with faith.

The exhibition, distributed in three rooms – Núcleo da Paixão, Viagem das Formas e Imagens de Cristo – invites you to travel through time and space, through image and devotion.

The Museum of the Irmandade dos Clérigos, is part of the Portuguese Museum Network, since August 28, 2018.