Abstract
After a hundred years, when we open the eyes of memory with photographs, drawings and paintings of the Great War, it is impossible not to feel the horror of war. Beyond recording events and allowing us to remember them, what is the purpose of the art of the period? How can we bring to life a war which became a huge generalized massacre, a mechanical war with tanks, artillery, gas, airplanes and submarines, hidden and without a face, with no clear goals? During the conflict, war not only lost its traditional iconography—the horse, the flag, the soldier, the hero—but even the traditional “language” of painting struggled to express the states of light and movement, of speed and noise, of pieces of flying metal and fragmentation. It is in this context that this article seeks to compare the artistic and iconographic language of João Sousa Lopes and Amadeu Sousa Cardoso. In Sousa Lopes, an official war artist working in the trenches of Flanders, the horror and the absurdity of the unnatural violence is expressed in a figurative and realistic way. In Amadeu Sousa Cardoso, the language is contemporary and abstract, as well as profoundly original in aesthetic, conceptual and artistic terms. In his war paintings, and above all in the painting titled “Entrada”, Amadeu, twenty years before Picasso, shows how war leads to the destruction of life, harmony and the Light. In the perversity of war, electric light, traditionally a symbol of modernity, becomes something unnatural.
My sincere thanks to José de Azeredo Perdigão Modern Art Centre—Gulbenkian Foundation, to the Ilídio Pinho Foundation, to Lisbon Military Museum and Municipal Library of Lisbon for their kind permission to reproduce the works of Amadeo Sousa-Cardoso and Adriano Sousa Lopes.
Notes
- 1.
Sandham Memorial Chapel by Stanley Spencer; Path of glory by Christopher Nevinson, an official War Artist; Gassed by John Singer Sargent; and the triptych The War by Otto Dix.
- 2.
Retrato de Mulher (Portrait of a Woman), painted by Sousa Lopes and presented at the Salon in 1907. Photograph published in the review Ilustração Portugueza 66 (27/5/1907): 3. Accessed February 1, 2016.
- 3.
Charcoal on paper, 16 x 24 cm. Particular Collection, Lisbon.
- 4.
Etching on paper, 21.2 x 29.8 cm. MNAC-MC, Lisbon.
- 5.
Oil on canvas, 54 x 65 cm. Musée de l’Armée, Paris.
- 6.
Oil on canvas, 45 x 50 cm. Particular Collection, Lisbon.
- 7.
Oil on wood, 118 x 90 cm. Veteran´s Museum, Lisbon.
- 8.
Charcoal on paper, 39 x 59 cm. Military Museum, Lisbon.
- 9.
Charcoal on paper, 24 x 45 cm. Particular Collection, Lisbon.
- 10.
Charcoal on paper, 36.4 x 53.2 cm. Ajuda National Palace, Lisbon.
- 11.
Charcoal on paper, 27 x 41 cm. Particular Collection, Lisbon.
- 12.
Destruição de um obus (Destruction of a howitzer), 1925. Oil on canvas. 470 x 298 cm. Military Museum, Lisbon.
- 13.
Oil on canvas, 268 x 347 cm. Museo Nacional del Prado, Madrid.
- 14.
Fauquissart, 1918. Charcoal on paper, 29.5 x 40 cm. Military Museum, Lisbon.
- 15.
Masselot, 1919. Etching on paper, 30.5 x 42.5 cm. MNAC-MC, Lisbon.
- 16.
Uma rendição no Inverno de 1917 (A surrender in the winter of 1917), 1918. Oil on canvas, 135 × 88 cm. Musée de l’Armée, Paris.
- 17.
Sousa Lopes words to Norton de Matos, Portuguese Minister of War (April,1917).
- 18.
Oil on canvas. 229 x 610 cm. Imperial War Museum, London.
- 19.
The effect that stained glass had on Amadeo is visible in the original way in which he assimilates and develops his cubist experience between 1912 and 1915: the excessive length of the lines, greater clarity and fragmentation of forms, artificial plays on tones and shadows. The technical is particularly achieved in Barcos (Boats, 1913) and A Menina dos Cravos (The girl with carnations, 1913).
- 20.
XX Déssins is an album of drawings made in Indian ink by Amadeo de Souza Cardoso, published in 1912.
- 21.
The poems, drawings and engravings of the pictorial work Klänge were created by Kandinsky between 1908 and 1912. It is published in Munich in 1912.
- 22.
Title attributed to one of his paintings from 1916.
- 23.
Private Collection of Mr. Ilídio Pinho (Porto).
- 24.
In 1916 there was a total eclipse. Amadeo names it symbolically, as an expression of the extension of human and social disorder to the cosmic forces.
- 25.
Trou de la serrure parto da viola Bom ménage Fraise avant garde (Keyhole viola’s childbirth Good combination Strawberry avant-garde, 1916). Oil on canvas. 70 x 58 cm. C.A.M./FCG.
- 26.
The French newspaper L’Illustration in a special issue of August 8, 1914 called for a general mobilization in France. On the front page Georges Scot drew a French soldier barricading the enemy. The message of this image is enhanced by the inscription “Do Not Enter”. In 1917, Amadeo summarizes the tragic evolution of the conflict with this bitter pun.
- 27.
La Correspondência Militar, a Spanish military journal, founded in the 19th century, which during the First World War, assumed the defence of the German position.
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Amado, M.T., Rodrigues, A.R. (2018). Opening the Eyes of Memory: War Painting in Adriano Sousa Lopes and Amadeo de Souza-Cardoso. In: Barker, A., Pereira, M., Cortez, M., Pereira, P., Martins, O. (eds) Personal Narratives, Peripheral Theatres: Essays on the Great War (1914–18). Second Language Learning and Teaching(). Springer, Cham. https://doi.org/10.1007/978-3-319-66851-2_2
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