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Student Artwork Guide

Blown figures

Name Class Date

mário cesariny de vasconcelos, Blown figures (1947), Rede Portuguesa de Arte Contemporânea a Norte. Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
mário cesariny de vasconcelos artsdot.com/en/artists/mario-cesariny-de-vasconcelos/
Artist’s dates
1923 – 2006
Painted
1947
Medium
Painting
Original size
5 x 24 cm
Movement
Surrealism Dream logic painted with waking precision: impossible things shown as if they were ordinary.
Period
Modern
Held at
Rede Portuguesa de Arte Contemporânea a Norte artsdot.com/en/museums/rede-portuguesa-de-arte-contemporanea-a-norte-porto/

In context

Blown figures — mário cesariny de vasconcelos

How big is it?

The original measures 5 × 24 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990
  9. 2000

Shaded: the lifetime of mário cesariny de vasconcelos (1923–2006) ▲ this work, 1947

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: artsdot.com/en/art/similar/mario-cesariny-de-vasconcelos-blown-figures-D7TATT-en/

Colours

Measured from the image

    Main colour

    Khaki #f8dc98

    Catalogued palette

    • #F8DC98
    • #CEB280
    • #18231F
    • #777258
    Palette
    Pastels The dominant colour family in the image.
    Main colour name
    Khaki
    Intensity
    Vivid How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Serene How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Clear Color Presence How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    mário cesariny de vasconcelos

    Born in Lisbon, Portugal

    Mário Cesariny de Vasconcelos: A Surrealist Poet and Painter of Portugal

    Born in Lisbon, Portugal, on August 9th, 1923, into a family marked by both privilege and quiet turmoil, Mário Cesariny de Vasconcelos emerged as one of the most distinctive voices of Portuguese surrealism. His life, inextricably linked to the political landscape of his nation – particularly under the authoritarian rule of António de Oliveira Salazar – fueled a rebellious spirit that permeated his art, poetry, and ultimately, his very being. More than just an artist, Cesariny was a chronicler of his time, a subversive voice challenging societal norms through dreamlike imagery and provocative verse.

    Cesariny’s early life wasn't defined by idyllic comfort. His father, Viriato de Vasconcelos, a skilled goldsmith, and his mother, María de las Mercedes Cesariny, a Spanish woman of French descent, experienced marital difficulties that cast a shadow over the family home. This atmosphere of instability profoundly shaped young Mário’s perspective, fostering a sense of alienation and a desire to escape the confines of conventional expectations. He found solace in art from an early age, developing a natural talent for drawing and painting – skills he honed largely through self-study, inspired by visits to the Gulbenkian Museum Foundation in Lisbon, a treasure trove of artistic heritage.

    The Surrealist Awakening and Lisbon’s Underground

    Cesariny's immersion into the surrealist movement began around 1945 or 1946, sparked by his discovery of Maurice Nadeau’s History of Surrealism. This seminal work introduced him to the principles of automatic writing and dream imagery – techniques that resonated deeply with his own rebellious sensibilities. He quickly joined the burgeoning Lisbon Surrealist Group, led by Alexandre O'Neill, becoming a central figure in Portugal’s surrealist scene. This group operated largely underground, challenging the conservative values of Salazar’s regime through their art and poetry. The political climate demanded secrecy; any overt expression of dissent could lead to severe repercussions from the PIDE (Portuguese Secret Police).

    The period between 1960 and 1974 was particularly fraught for Cesariny. His outspoken views, coupled with his homosexuality – a taboo subject in Portugal at the time – made him a target of surveillance by the PIDE. He frequently found himself on the police’s radar, forced to live under constant threat and often seeking refuge in exile in Great Britain and France. Despite these pressures, he continued to create, using his art as a form of resistance—a defiant assertion of freedom against oppression.

    A Poetic and Pictorial Universe

    Cesariny’s artistic output spanned both poetry and painting, though his poetic work ultimately became more widely recognized. His poems are characterized by their dreamlike quality, often blending personal experiences with social commentary and surrealist imagery. Recurring themes include love, freedom, and the absurdity of existence—all viewed through a lens of critical observation. Titles like “you are welcome to elsinore” reveal his willingness to confront uncomfortable truths about Portuguese society under Salazar’s rule.

    His paintings, while less frequently exhibited than his poetry, are equally compelling. Rather than adhering to traditional painting techniques, Cesariny employed collage, assemblage, and found objects to create layered, evocative works that defy easy categorization. He described his artistic process as a circular one—poetry informing painting, and vice versa—a testament to the interconnectedness of his creative endeavors. Notable works include “Untitled (DD2CNP)” and “National Theatre and Dance Museum,” both showcasing his distinctive use of color, texture, and symbolic imagery.

    Legacy and Recognition

    Mário Cesariny de Vasconcelos passed away on November 26th, 2006, leaving behind a rich legacy as a poet and painter who challenged the status quo. His work continues to resonate with audiences today, offering a poignant reflection on themes of freedom, identity, and the complexities of human experience. His contributions have been acknowledged by platforms like AllPaintingsStore.com and featured in collections such as the National Theatre and Dance Museum in Lisbon and the Rede Portuguesa de Arte Contemporânea a Norte in Porto. Cesariny’s art remains a vital part of Portuguese cultural heritage—a testament to the power of creativity to transcend political boundaries and inspire generations.

    Important Dates

    August 9, 1923 (Birth)

    November 26, 2006 (Death)

    Notable Works

    Untitled (DD2CNP)

    National Theatre and Dance Museum

    Museums and Collections

    National Theatre and Dance Museum, Lisbon, Portugal

    Rede Portuguesa de Arte Contemporânea a Norte, Porto, Portugal

    Museum

    Rede Portuguesa de Arte Contemporânea a Norte

    On show in Porto, Portugal

    Rede Portuguesa de Arte Contemporânea a Norte: A Tapestry of Northern Portuguese Creativity

    The Rede Portuguesa de Arte Contemporânea a Norte (RPAC Norte) stands as a beacon of artistic innovation nestled in the vibrant cultural landscape of Porto and Northern Portugal. More than just a collection of museums, it’s an ambitious project designed to elevate contemporary art appreciation and foster collaboration amongst institutions—a testament to Portugal's commitment to fostering intellectual curiosity and aesthetic excellence.

    A Networked Vision:

    Established in 2008, RPAC Norte recognized the transformative potential of uniting disparate artistic endeavors under a single banner. Its core mission is to strengthen Northern Portugal’s position as a global hub for contemporary art, ensuring accessibility and sparking dialogue both locally and internationally.

    Diverse Artistic Expressions:

    Unlike traditional museums focused on singular narratives, RPAC Norte champions a multiplicity of voices and mediums. Visitors embark on an exploration encompassing painting, sculpture, photography, video art, installations—each offering a distinct perspective on the evolving artistic landscape. Rotating exhibitions guarantee fresh discoveries for seasoned connoisseurs and inspire newcomers alike.

    Architectural Marvels: Buildings That Breathe Art

    What distinguishes RPAC Norte isn’t merely its collection but also its architectural pedigree. Each museum within the network embodies a carefully considered aesthetic, reflecting Portugal's rich artistic heritage and embracing modern design principles. From repurposed historic spaces—such as Vila Nova de Gaia’s Museu Serralves, which reimagines an industrial complex into a serene oasis of art and gardens—to strikingly contemporary structures like Centro Internacional das Artes António Vieira in Porto, these buildings serve as canvases themselves.

    Historic Integration:

    Museums like Museu Júlio Xavier Aragão skillfully blend architectural grandeur with the charm of Vila Nova de Gaia’s historic Ribeira district.

    Modern Innovation:

    Conversely, Centro Internacional das Artes António Vieira pushes boundaries with its innovative design—a bold statement against conventional museum architecture and a celebration of artistic vision.

    Celebrating Artistic Legacy: Artists and Exhibitions

    RPAC Norte’s curators prioritize showcasing both established masters and emerging talents, fostering an environment where creativity flourishes. Gerardo Burmester de Almeida's minimalist paintings—characterized by their contemplative stillness and subtle color palettes—offer a profound reflection on artistic form and conceptual depth. Alongside him, Mário Cesariny de Vasconcelos’ poetic verses and surrealist imagery capture the spirit of Portugal under Salazar’s regime, challenging societal norms with audacious brilliance.

    Notable Exhibitions:

    RPAC Norte regularly hosts exhibitions that delve into pressing social issues, explore artistic experimentation, and champion diverse cultural perspectives.

    A Singular Approach to Artistic Engagement

    Ultimately, RPAC Norte’s success lies in its holistic approach—combining captivating architecture, stimulating exhibitions, and a supportive ecosystem for artists. It's an institution that invites visitors not just to observe art but to actively engage with it, fostering intellectual curiosity and nurturing appreciation for Portugal’s contribution to the global artistic dialogue.

    Discover More

    For detailed information about RPAC Norte and its member museums, please visit:

    https://artsandculture.google.com/partner/rede-portuguesa-de-arte-contemporanea-a-norte-rpac-norte

    Where to read more

    Find this online

    QR code linking to the download page for Blown figures

    artsdot.com/en/art/download/mario-cesariny-de-vasconcelos-blown-figures-D7TATT-en/

    Cite this artwork

    MLA
    vasconcelos, mário cesariny de. Blown figures. 1947, Rede Portuguesa de Arte Contemporânea a Norte. https://artsdot.com/en/art/mario-cesariny-de-vasconcelos-blown-figures-D7TATT-en/
    APA
    vasconcelos, mário cesariny de (1947). Blown figures [Painting]. Rede Portuguesa de Arte Contemporânea a Norte. https://artsdot.com/en/art/mario-cesariny-de-vasconcelos-blown-figures-D7TATT-en/
    Chicago
    mário cesariny de vasconcelos. Blown figures. 1947. Rede Portuguesa de Arte Contemporânea a Norte. https://artsdot.com/en/art/mario-cesariny-de-vasconcelos-blown-figures-D7TATT-en/
    Harvard
    vasconcelos, mário cesariny de (1947) Blown figures. Rede Portuguesa de Arte Contemporânea a Norte. Available at: https://artsdot.com/en/art/mario-cesariny-de-vasconcelos-blown-figures-D7TATT-en/

    Look closely

    Blown figures — mário cesariny de vasconcelos

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: surrealism, figures, dreamlike. Do you agree? What would you add, or take away?
    4. Look back at Um pouco antes da foda/ Hoje não fodemos, tá bem?, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Surrealism: Dream logic painted with waking precision: impossible things shown as if they were ordinary. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.