To the origins
The region of Alentejo is rich in thousand-year-old vestiges. Between the hills, rock paintings and dolmens alternate with fortified cities. Near Santiago, the Archaeological Park of Escoural is home to cave paintings dating back 15,000 to 20,000 years. The walls of the caves reveal drawings of equids, geometric patterns and even a hybrid creature. Paintings and engravings continue in the open air, on a sanctuary perched on the top of a hill. Although of summary invoice, these achievements of Palaeolithic constitute finds.
4 000 years ago, the Iberians and the Celts exercised their domination on the territory. Later, the Alentejo was subjected to Roman occupation. The remains of this period are more of an architectural nature. It was not until the establishment of the Arab-Muslim peoples, from 711, that a strong aesthetic influence was identified. The oriental culture extends until the Reconquista in 1249 and leaves treasures that still participate today in the Portuguese style. This corresponds to a particularly flourishing period. Islamic art is very present in Mértola, nicknamed "the most Arab city in Portugal", especially thanks to the presence of the only Moorish mosque on Portuguese soil. It has become a surprising church-mosque, known for its oriental doors. Nowadays, an Islamic festival honors all the arts, in May. In Évora
, the Moorish influence is omnipresent. The archaeological crypt ofAlcácer Castle is the largest of its kind in Portugal. Located under the castle, it shows vestiges of the Roman, Islamic and Christian eras. Numerous objects of use and worship trace centuries of local history.Affirmation of the painting
Portuguese painting, subject to various influences, became famous in the 15th century. The town of Castelo de Vide was home to the "Maranes" community, a Jewish population that converted to Catholicism and built churches without abandoning its rituals. From that time on, the churches were equipped with pictorial works inspired by Flemish painting. The attention to detail and the use of oil painting are to the credit of the Flemish. The most famous Portuguese painter, Nuno Gonçalves (1448-1481), was clearly influenced by both the Flemish and Italian styles. His polyptych of São Vincente de Fora, preserved in the Museu nacional de Arte Antiga in Lisbon, is considered the first group representation and the first psychological painting in European art. This taste for portraiture, manifested by wealthy people who wanted to show themselves in their finest attire, led Portuguese painters to perfect their technique in the tradition of Nuno Gonçalves.
Religious scenes were particularly prized in the 16th century. With the rapid circulation of images, the Flemish influence was reinforced. A representation of Saint Peter, painted in 1530 by Vasco Fernandes, known as Grão Vasco, shows a typical northern European landscape in the background. Another characteristic of Portuguese painting of this period is the impact that the discovery of Brazil may have had on the imagination of artists. In a famous representation of the Adoration of the Magi in 1503, Melchior becomes Brazilian.
The great discoveries, led by Vasco de Gama, native of Alentejo, greatly benefited the culture of the country. The royal residences were enriched with works of art.Azulejos, between tradition and modernity
Azulejos, or hand-painted tiles, embellish the facades and interiors of civil and religious buildings. Imported by the Moors in Spain, the technique was brought to Portugal by King Manuel I who fell under its spell while visiting Seville, and decided to adorn his palace in Sintra in 1503. In the 17th century, azulejos
became a predominant mode of artistic expression. In the 18th century, in the middle of the Baroque period, these tiles, often blue and white, form panels evoking biblical, mythological or rural scenes. The cloister with arcades of the current University of Évora preserves magnificent azulejos of the XVIIIth century. Plato and Aristotle can be seen teaching their disciples.Évora, the city-museum
The capital of Alentejo is a real history book. Long Roman, Évora preserves Roman baths, a Templo romano, or Temple of Diana, in the historical center. Witnesses of centuries of Catholicism, the cathedral of Évora (Sé)
is the largest cathedral in Portugal, in Gothic style, while the igreja of São Francisco combines Gothic and Baroque traditions. The medieval city recently hosted its first urban frescoes. These collective paintings were done to conceal works and have been validated by the municipality. In the same way, while travelling through the region, you will come across street art in surprising places. The peaceful village of Brejão is covered with portraits of the fado singer Amalia Rodrigues.Contemporary art
In the 1990s, the situation in the country resulted in a generalized closure of art galleries. Gradually, Porto became the channel for almost all Portuguese galleries.
The beating heart of the Beja region, the Jorge Vieira Museum pays tribute to the 20th century sculptor famous for his terracotta creations. This space has become an essential meeting place. Jorge Vieira (1922-1998), the first Portuguese abstract sculptor, began his career in Lisbon in 1949 and continued throughout the world for almost fifty years. His silhouettes, sometimes in bronze, are situated between mythology and the timeless.
The Museu de Arte Contemporânea de Elvas (MACE
) houses the reference collection of Portuguese contemporary art, constituted by António Cachola. Painting, graphic art, sculpture, installation, photography and video art make up a diverse panorama of current creation. The João Carpinteiro Museum of Photography, also in Elvas, combines photographic technique and art, telling the local history through thematic exhibitions. For an alternative approach!
