Portugal 2024: Lisbon - Marvila Tile Museum, Flight Home

Our final excursion in Lisbon was in the Marvila neighbourhood north of Chiado, where the National Tile Museum of the Azulejo is housed in the former 16th Century Madre de Deus Convent.  Open since 1971, the museum's collection showcases the evolution of Portuguese azulejo tilework spanning from the 15th century to the present day, reflecting the history and culture of Portugal.  Meaning "polished stone" in Arabic, azulejo is a form of Portuguese/Spanish painted tin-glazed ceramic tile art.  Because of its distance from the city’s historic centre, we mistakenly believed that this would a less popular, off the beaten path destination.  We were surprised to arrive just before the doors opened, to find a lineup waiting ahead of us that continued to grow in length before we were let in.  We passed by many beautiful tileworks after paying our admission fees but decided to look at those later.  Noting that the Chapel would close for several hours in the afternoon, we decided to rush over and view that first.

The lavish and opulent Madres de Deus Church was built in Portuguese Baroque style during the reign of King Joao III.  It features gilded woodwork and large scaled Portuguese paintings on the walls and ceilings, as well as azulejos tilework including pieces by Dutch artists such as Jan van Oort and Willem van der Kloet.  The main altar is framed by a triumphal arch with intricate gilded carvings complemented by oil paintings and azulejo (tile) panels depicting religious scenes from the lives of Saint Francis and Saint Clare.  On the church walls, large tile panels depict rustic court scenes,  religious imagery including the lives of hermit saints Anthony and Paul, Franciscan monks praying, and allegorical scenes.  A large-scaled nativity scene (circa 1700) is attributed to Dionísio and António Ferreira.  Made from polychrome terracotta, then painted and decorated with gold and silver, the figures depict shepherds and the Magi visiting Mary and baby Jesus with cherubs and angels hovering above.

Created by Marçal de Matos in 1580, the Altarpiece of Our Lady of Life (Retábulo de Nossa Senhora da Vida) is one of the most important pieces in the collection.  Employing the trompe l’oeil technique with a wide range of tones, almost 1500 tiles are used to simulate a 3-piece altar on painted board. The centre panel depicts the “Adoration of the Shepherds” who arrive to view baby Jesus.  At the top of the altarpiece, an open space was left to let light in through a window in its original location within the Church of Santo André, where the sunbeam that shone through represented the path the dove flew to reach Mary during the Annunciation.

The museum includes two cloisters or covered walkways.  The walls of the larger one features a chronological retrospective of azueljo tiles through the centuries.  We started by touring the Small Cloister which was designed in 16th Century Manueline style and features 19th-century diamond-patterned tiles on the ground floor.  It is one of the few surviving elements of the original Madre de Deus monastery.  Baroque 17th Century set of azulejo, Portuguese painted tiles that cover the walls of the second floor come from other convents including Convento de Santa Ana.  The blue and white tileworks depict a series of seated women including a lady grasping a mask and a lute, a queen brandishing a sword while also holding a harp, and an idyllic scene of a pensive woman with a book on her lap surveying her surroundings.

The panel designed in 1630 for the staircase in the St Benedict Convent is unique because it is comprised of diamond-shaped tiles laid out to match the slope of the stairs to create the illusion of movement. The blue, white and yellow design depicts mythological figures with goat hooves who are meant to protect shepherds and their flocks.  They are surrounded by blue curlicue patterns, as well as cupids, masks, satyrs and coats of arms including the one for the Order of St. Benedict, which consists of a lion holding a shepherd’s staff.  A fake stairway was built in the museum to illustrate how the piece was mounted.

The Chicken’s Wedding panel is a large, (probably satirical) panel designed by Manuel Francisco (circa 1660-1667) and is a prime example of “Singerie”, a popular 16th Century visual trope where fashionably dressed monkeys are depicted displaying human behaviour.  The entourage of monkeys, playing musical instruments, riding on horses and in carriages, seem to be escorting a chicken in a gilded carriage which is driven by yet another monkey.  In Western art, monkeys are often associated with foolish behaviour while the chicken might represent a Queen.  One interpretation suggests that the piece is possibly criticizing the defeated side of the War of Restoration (1640-1668).

The Hunting Room is a gallery dedicated to the display of a series of 17th Century panels which were originally located in the now-demolished Praia Palace in Belém.  The works depict dynamic hunting scenes with a variety of animals (mostly dogs) chasing or attacking their prey including a lion and a bull. The animals are surrounded by yellow and green decorative scrolls and acanthus leaves.  The tiles were made of maiolica (tin-glazed pottery) which was influenced by Italian Renaissance ceramics. The Leopard Hunt (1650) continues this theme while also emphasizing Portuguese taste for exoticism in distant lands.  Depicted are native hunters wielding bows and arrows and using various types of traps to capture spotted leopards.

The Lisbon Tile Museum provides a chronological history of the evolution of azulejo tiles in Portugal, starting with probably the oldest tiles dating back to the 14th to 15th centuries which once covered the floor of Leiria Castle in Leiria Portugal.  Shaped like green stars and honey-coloured crosses, the tiles fit together to form a “chessboard-like design”.  In the early 16th Century, Muslim influence resulted in tile panels that simulated Muslim tapestries, decorated with patterns that looked like sparkling night stars from afar.  In the 17th Century, patterns resembling camellia flowers were actually inspired by Oriental porcelain decorated with peonies.  This type of pattern was usually found in areas dedicated to the Virgin Mary.  In late 17th Century, designs for works were created based on etchings, such as “Fisher of Hearts” (1697) by Gabriel del Barco, which was an allegory to the month of March, based on an engraving from Henri Bonnart representing the 12 months of the year.  Tiles of “Individual Figures” were popular from 1700-1750, featuring depictions of an entire image or scene on a single tile.  These were often made as practice tiles for apprentices before attempting more complicated patterns on multiple tiles.  This century also saw the start of satirical panels such as one from 1725 depicting a doctor administering a needle to a bare-assed patient.

The 18th century produced complex figurative tile designs that depicted religious scenes such as Saint Lawrence’s Martyrdom (1710-1730), created by Policarpo de Oliveira Bernardes for the nave of the Church of St. Lawrence.  Dutch artist Willem van der Kloet (1707) depicts the daily life of aristocracy in a palatial environment in his work titled "Dancing Lesson".  In 1790, Real Fábrica de Louça ao Rato created the equivalent of a “comic strip” in tile with his series depicting the “Story of Antonio Joaquim Carneiro, Hat Maker”.  A set of seven panels in the neoclassical style narrates the rise in society of a country lad who went to work at his uncle’s shop and learned the trade of a hatter, becoming a successful and respected businessman. Carneiro built a factory in the outskirts of Lisbon for which he had these azulejo panels created.  This is one of the first times where tiles were created for and depicted the life of a middle-classed businessman.

The 19th century was the period of industrial production where figurative azulejo works were replaced by systematic patterns used for decorating façades. There was more use of molded relief in the tiles, making some of them seem more sculptural in nature.  Styles also changed, moving from Baroque and Rococo influences towards Neoclassical and Romantic with softer colours, more delicate floral motifs and themes that reflected day to day life as opposed to merely religious or historical scenes.  Tiles started to be used for other purposes including eavestroughs, drains and waterspouts.  The use of faience (decorated tin-glazed earthenware used to make azulejo tiles) began to be applied to sculptures including an ornate table centre piece with protruding sea nymphs (1896) created by Rafael Bordalo Pinheiro.

Tiles produced in early 20th Century reflected the Art Nouveau style prevalent in those times with a focus on nature.  In 1905, Rafael Bordalo Pinheiro expanded his repertoire by creating a panel with patterns depicting butterflies flanked by red flowers and ears of corn with a pumpkin-orange background, as well as one with grasshoppers resting on two honey-coloured wheat sheafs on a light green background.  Both panels were done in relief and are 3-dimensional.  A beautiful peacock was also designed in the early 20th century.  The panel titled “Threshing of Wheat” (1920-25) depicts the traditional technique of processing wheat before it was replaced by modernization and machinery.  This panel covered the wall of a bakery.  “Lisbon in Many Colours” (1937) by Paolo Ferreira was created for the Paris Expo and depicts a panoramic view of Lisbon as seen from the Tagus River with Praça do Comércio at the centre and Rossio, Carmo Convent, Bairro Alto and other squares in the background.

Looking at items on display from the mid 20th century, there were several sculptures by Jorges Barradas that were on loan from the Museum of Chiado including a female head with flowers in her hair and a girl holding a yellow hat, both from 1945, as well as an allegorical ceramic relief panel from 1954. During this timeframe, tilework started to be used for advertising as shown in the panel created for Schweppes soft drinks (1956-65) and was displayed in public and commercial spaces.  The 1950s saw the beginning of construction of Lisbon’s subway lines, which was accompanied by a tile art project led by ceramist Maria Keil who created tile art for 17 stations between 1958-1972.  Her 1955 piece titled “The Shepherds” provided an example of her talent as she employed the chequered technique where triangular or trapezoidal-are arranged to form diagonal, checkerboard-like patterns to accent her reclining and sitting figures.

While there were no obvious examples of Keil’s Lisbon subway work in the museum, there were some by other artists.  Maria Helena Vieira da Silva’s "Philosopher" (1988) is a replica of a section displayed in the Cidade Universitária Metro Station.  Júlio Pomar’s stylistic depiction of renowned writer Fernando Pessoa (among other noted artists, poets and authors including Luís de Camões) ca be found at the Alto dos Moinhos Metro Station and was created in 1989. Julio Resende’s 1995 tilework at on Sete Rios Metro Station has been titled “Jardim Zoológico”, representing animals and lush plants in a style that has the feel of an Impressionist painting.  Other works from the 20th Century included a couple of sculptural panels including the 3-dimensional “Eyeballs” (1972) by Maria de Loudes Castro, and Querubim Lapa’s 1957 contribution to the Portuguese Pavilion at the Comptoir Suisse International Fair in Lausanne where his panel represented a mythological mermaid figure, surrounded by fish and other marine elements, in reference to Portugal’s fishing and canning industries.  In 1991, he also created a cubic pattern where the cubic shapes seem to rise as if made in relief.  This was achieved by using various types of clays and glazes in different white tones.  The black figurative moulding at the top seem to represent a snail, a sphinx and some towers being struck by lightning.  A more recent work on display was the vibrant 2001 piece of vase of flowers surrounded by bugs, butterflies, birds and a cheeky little money that is attributed to Bela Silva.

In viewing the retrospective of azulejo tiles through the centuries, as we approached the last 200 years, we saw many examples from the company Viúva Lamego, Portugal’s most historic and influential ceramics factory, which has been producing ceramic works since 1849. During our visit, the rotating special exhibition on display at the Lisbon Tile Museum celebrated the anniversary of 175 years of ceramic tile design and production at Viúva Lamego with techniques and patterns changing through the years from traditional to contemporary.  In this exhibit, we were drawn to the more contemporary works including another example of Maria Helena Vieira da Silva’s creations for the Cidade Universitária Metro Station, this time featuring stylized owls.  Another work that might have been by Maria Emília Araújo seemed like an amalgamation of Modigliani’s long neck/limbed females mixed with Picasso’s cubic forms and Van Gogh’s bedroom in Arles but made from tiles.  Other abstract faces appear pixelated up close but become more in focus as you walked further away included a representation of actress Rita Hayworth by Pedrita Studio and a female profile in blue and white (2024) by Alexandre Farto (aka Vhils).  We also Noé Duchaufour-Lawrance’s depiction of Waves (2022) made from hand-modeled, bisque-fired relief tiles which were hand painted with glazes and uniquely, displayed on the ground.

On the top floor of the museum is a monumental 23-metre-long tile panel by Spanish artist Gabriel del Barco depicts a panoramic view of Lisbon circa 1700, before the devastating 1755 earthquake.  Depicted is 14km of the city as viewed from the Tagus River, “The Great Panorama of Lisbon” serves as crucial iconographic documentation of structures that were destroyed by the earthquake such as the Royal Palace, as well as the ones that remain, including St George’s Castle, Monastry of Saint Vincente de Fora, and the Monastery and Tower of Belém.  On the far right can be seen the convent that now holds the Tile Museum.

Our final stop at the Tile Museum was in the café with an indoor space covered appropriately with food-themed azueljo tiles depicting hanging fish, fowl and other game meats.  There is also a lovely covered “Winter Garden” decorated with plants, shrubs and garden sculptures.  The café offers a range of drinks, light snacks and simple meals. We ordered cold drinks and a large fruit salad to share and rested our feet before heading back to our rental apartment.  We were very glad to have visited this museum, which gave us a better understanding about why Azulejo tiles are so important to Portugal’s history and culture and how the use, design, and subject matter of these tiles evolved through the centuries.

After 17 fun-filled days in Portugal visiting Porto, Sintra and Lisbon, it was time to head home.  We were able to make a short downhill walk to the Chiado-Baixa metro station which was so much easier with our luggage than the trek we made from the train station when arriving in Lisbon from Sintra.  The metro took us directly into the airport station with just one subway transfer so the entire journey was very smooth.  At the Aeroport Metro Station, a series of 50 caricatures of key figures from Portugal’s recent history adorned the walls.  Created by Portuguese cartoonist António Moreira Antunes, the images included pop culture icons, artists (e.g. Rafael Bordalo Pinheiro), writers (Poet Fernando Pessoa), musicians (e.g.Fado singer Amália Rodrigues), athletes (Football legend Eusébio) and other noted personalities. We became familiar with some of these names during our trip but did not know what they looked like.

Prior to boarding our flight, we were able to spend time in Lisbon’s Ana Lounge, making use of the free lounge passes that came with our credit card.  It was an uneventful flight home and at Toronto’s Pearson airport, we breezed through customs and security checks by using our recently obtained Nexxus cards for the first time.

Portugal 2024: Lisbon - Belém - Monastery, Monuments, Museums

Located by the Tagus River about 5km west of Lisbon’s city centre, Belém is a historic area known for its role during Portugal’s Age of Discoveries when explorers like Vasco da Gama set sail towards India and other foreign locations.  Today, many landmarks and cultural institutions can be found in this district.

We started our day at Fábrica de Pastéis de Belém, the famous pastry shop where the pastéis de nata (egg custard tart) has been sold since 1837.  The nata was invented by monks at Jerónimos Monastery prior to the 18th Century when they needed to find use for excess egg yolks after using egg whites to starch clothes.  The original recipe for the nata, which consists of a buttery pastry shell filled with a creamy egg custard that is caramelized on top, was kept secret until the Liberal Revolution dissolved religious orders.  The monks eventually sold their recipe and the new owners opened this bakery, which is still the only location using the original recipe.  As a result, Fábrica de Pastéis de Belém has become quite the tourist attraction.  Knowing that it gets really busy later in the day, we arrived at the bakery just as it opened and were shown to a table without needing to wait.  For breakfast, we ordered a nata and coffee for each of us and shared a duck and spinach pie.  The shop is covered with azulejo tiles and has historic photos on the walls detailing the production of natas.  We had eaten natas in Porto, Sintra and elsewhere in Lisbon, but it was a special treat to sample them in the historic location where they were first sold.

Our next stop was the Jerónimos Monastery which also has the reputation of being extremely busy with long lineups.  As usual in these situations, we pre-purchased the earliest entry ticket and arrived 20 minutes before that time to join what felt like an already lengthy line.  We would realize later that this was a relatively short line since by the time we left, the lineup was multitudes longer, stretching down the entire length of the monastery and around the corner at the end of the street.  The monastery stretches over 300 meters long and is comprised of a large two-story cloister, a Chapter House (Meeting Place), Refectory (Dining Hall), Library (for studying manuscripts), Funerary Chambers containing tombs for royalty and national figures, and two museums (National Archaeological Museum and Maritime Museum) which have taken over the West Wing. At the time of our visit, we did not know about the museums and missed them entirely.  But given the packed itinerary of our day in Belém, we probably would have skipped them anyways as we had many other sites to get to.

Jerónimos Monastery is a UNESCO World Heritage Site that was commissioned by King Manuel I in 1496 to commemorate the exploration of India by Vasco da Gama.  Built with golden limestone and designed in Gothic-Manueline style, the façade features ornate detailing and maritime motifs common to Manueline architecture including ropes, seashells, sea creatures, botanical forms and armillary spheres reflecting Portugal’s seafaring heritage, but also Gothic influences including a large rose window, pointed arches, ribbed vaults, gargoyles and Christian crosses.  We joined the lineup to enter the Cloisters which would also give us access to some of the other rooms. At the entrance, we passed many sculptures including one of a kneeling Queen Maria of Aragón by French sculptor Nicolau Chanterene.  Following a marked path, visitors are led up a flight of stairs to first view the upper cloister before descending to the lower portion. At the top of the staircase is an ornate ceiling and on the wall is an 18th Century Arms of the Order of St. Jerome, a gilded woodcarving that features the coat of arms of Portugal on the left, a lion (symbol of St. Jerome) on the right and a mitre hat at the top as well as a painting of St. Jerome.

The two-storied cloister was a fine example of Manueline and Spanish Plateresque design with lace-like stonework, a double arcade (succession of arches) and columns decorated with intricate carvings of nature and nautical motifs.  From the upper cloister, there is a nice view of the central courtyard and we spotted various carvings of faces, statues and coats of arms high up on the outer walls.  We could also examine the ornate Manueline carvings adoring the rounded arches up close.

The lower cloisters featured hallways with high-vaulted ceilings that would lead to monastic rooms including the Refectory, Chapter Room and rooms containing tombs of noted figures.  We found carvings of mythical or fantastical creatures on the walls and columns, and a stone fountain with a lion sculpture (symbol of St. Jerome) that was used by the monks to wash their hands before entering the dining area.

On display in one of the rooms of the Monastery was the tomb of Alexandre Herculano (1810-1877), a writer, poet and historian credited with introducing Romanticism and the Historical Novel to Portugal. A liberal thinker and political figure, Herculano participated in the movement against absolute monarchy and reflected his views in his writing.  Interestingly, his elaborate, Neo-Gothic tomb designed in 1887 was simplified in 1940 to ensure that it was not more impressive than the tombs of those considered more important, including Luís de Camões and Vasco da Gama whose tombs are in the Church of Santa Maria.  The Chapter Room is a grand hall originally used by monks to gather and discuss community matters.  It has a huge star-shaped vaulted ceiling, elaborate stonework, stained glass windows and 16th century frescos depicting scenes from the life of St. Jerome.  The Refectory has beautiful 17th and 18th Century azulejo tiles depicting biblical scenes including “The Miracle of Bread and Fish” and episodes from the life of Joseph in Egypt.

Exiting the Cloisters of Jerónimos Monastery, we walked to the adjoining Church of Santa Maria de Belém and had to wait briefly in a new lineup to enter.  The Church is free to access and is not part of the Monastery admission ticket.  Completed in 1541 in the Gothic Manueline style, like the Monastery, the church is known for the elaborate stone carvings on its façade with a 32-metre entrance adorned with almost 40 statues.  The central figure at the top of the arch is the Virgin Mary, patron saint of seafarers, holding a cup with gifts from the Magi.  Above her is the Archangel Michael, the guardian angel of Portugal, overseeing the entrance and the church.  Below her is the statue of Henry the Navigator depicted as a knight in armour, in honour of his role in Portuguese Discoveries.  Flanking the central portal are the statues of the 12 apostles, prophets and other saints.  Friezes in half-relief above the doors depict scenes from the life of Saint Jerome.  Above the friezes are the coats of arms of King Manuel I and of Portugal as well as the armillary sphere, symbolizing Portugal’s Age of Discovery.  This impressive work is considered a masterpiece of Manueline design.

The interior of the church is laid out like a Latin cross with three aisles or naves of equal height under a single expansive ribbed vault ceiling supported by six ornate, sculpted columns, creating a huge open space with the feeling of grandeur. Religious paintings adorn the back of the altar and beautiful stained-glass windows let in light from the sides.  A pipe organ sits to the right of the altar.

Royal tombs can be found on either side of the main chapel including the sarcophaguses of King Manuel I and his wife Maria of Aragon, which are supported by marble elephants.  Other notable tombs in the church include those for explorer Vasco da Gama and writer Luís de Camões. They are indeed more elaborately decorated than the tomb of Herculano that we saw in the monastery.

In retrospect and despite the hype, were we to plan this trip again, we would have skipped the not-insignificant expense and long lineups to visit the cloisters and museums of Jerónimos Monastery and just head to this Church to view the amazing sculptures on the façade and see the cool tombs.

Leaving the monastery, we walked west across Av. Brasilia passing a stretch of street art murals including a long, multi-paneled work depicting the celebration over the triumph of the Carnation Revolution of April 25, 1974.  We had spotted other street art works in Belém including a tile work attributed to the design studio Pedrita titled “Muscovy Duck” that was installed in 2012 and consisted of 559 pieces of colourful tiles from a variety of factories.  The contemporary artist Robert Panda added one of his signature humanoid forms from his “The Stupids” series, resulting in a pot-belled pink form sitting on top of the wall over the tile art.  The juxtaposition makes for a humorous sight when spotted at the end of a narrow street.  We also found yet another piece by street artist Bordalo II—this one titled “Half Fox” similar to the “Half Rabbit” we saw in Porto.  We would see one more near the contemporary art museum that we were headed to later in the day.

At the west end of Av. Brasilia, we crossed a small pedestrian bridge which led us to the waterfront area of Belém.  Our first stop was the Belém Tower Garden where we would check out the eponymous tower.  Also known as the Tower of Saint Vincent, the 4-story, 30-meters-tall Belém Tower is a 16th Century fortification located on the north bank of the Tagus River.  It was built to defend Lisbon from enemy ships and served as a ceremonial gateway to the city.  Later it was used as a customs post, a telegraph station, a lighthouse, and even a state prison.  Designed in the Manueline style with elements of Gothic, Renaissance and Moorish influences, the tower and its bastion are decorated with maritime motifs such as ropes, armillary spheres and a rhinoceros carving.  While we settled for viewing the tower from the garden, it is possible to tour the interior including the basement, various Halls and the terrace with battlements.  Walking across the garden, we admired a stainless-steel life-sized replica of the Fairey III biplane, used by Portuguese aviators for the first aerial crossing of the South Atlantic.  Continuing towards the Discovery Monument, we found the Belém Lighthouse, a non-functional decorative structure created as a tourist attraction to reflect on the area’s maritime heritage.

The Monument to the Discoveries is a gigantic and truly monumental work of art that was created in 1939 by architect José Ângelo Cottinelli Telmo and sculptor Leopoldo de Almeida as a temporary structure for the Portuguese World Exhibition in 1940, celebrating Portugal’s Age of Discovery.  Between 1958-1960, a permanent version was recreated to commemorate the 500th anniversary of the death of Prince Henry the Navigator who championed Portuguese exploration of foreign lands.  The monument is 170 feet tall, made of concrete and rose-tinted stone shaped to resemble the prow of a “carvel”, the small Portuguese sailing ship used during the Age of Discovery.  From both sides of the monument, limestone statues mount the prow, headed by Henry the Navigator.  Behind him are 32 other figures representing explorers, noblemen, military men, monarchs, cartographers, scientists and missionaries.  Of note are sculptures of explorers Vasco de Gama, Pedro Álvares Cabral, and Ferdinand Magellan.  Visitors can pay to access an observation deck towards the top of the monument.

The wavy tile pattern covering the plaza in front of Monument of Discoveries is similar to ones we have seen in other squares throughout Lisbon and references Portugal’s maritime history.  At the base of the monument is a large marble mosaic which was a gift from South Africa.  Measuring 50 metres in diameter, the tilework depicts a compass mapping out the routes of Portuguese explorers across the globe.

Housed in the Centro Cultural de Belém (CCB) building, the rebranded Museum of Contemporary Art (MAC-CCB) opened in 2023.  It replaced the Berardo Collection Museum which operated since 2007 on the same site with over 1000 works from the 20th and 21st centuries from the collection of Portuguese businessman José Berardo, whose Art Deco Museum we saw a few days prior.  The Museum of Contemporary Art expanded its scope by including works from other collections as well as acquiring new art pieces, making it a major cultural institution dedicated to modern and contemporary art.  Several sculptures are found in the garden outside of the museum including Henry Moore’s bronze “Reclining Figure, Arched Leg” (1969) and Niki de Saint-Phalle’s “Les Baigneuses” (The Bathers – 1985) made from vibrantly painted polyester resin.  On the side of a nearby building, we saw our last Bordalo II work, this one called “Big Racoon”. 

The first work that we encountered as we walked into the museum was Stephan Balkenhol’s  installation titled “Angel, Devil, World” (1994) consisting of three sculptures made from painted wood representing the three elements in the title.  The work is meant to explore “archetypes and everyday humanity”, representing the dichotomies of good, evil and the human condition.  Highlights from the original Berardo collection include Salvador Dali’s “White Aphrodisiac Telephone” (1936) with a handset shaped like a lobster, Andy Warhol’s painting of Judy Garland (1979) and Picasso’s “Femme dans un Fauteuil” (woman in an armchair 1929).  This work of Picasso’s was compared to Louise Bourgeois’ Cell XXV (View of the World from a Jealous Wife – 2001) since both deal with feelings of jealousy and emotional tension.  Bourgeois’ sculptural installation depicts a cage that holds two headless mannequins.  One wearing a white dress is positioned above two large marble balls which together are arranged as a visual pun to a man’s penis, invoking the theme of sexual betrayal.  The green dress (depicting envy or jealousy) represents the betrayed party.  The piece is autobiographical reflecting the Bourgeois’ father’s infidelities and her mother’s suffering.  A partial blue blouse hanging above the mannequins could represent Louise herself as a child.

One of the most important and influential works in the collection is Spanish artist Juan Genovés's “El Abrazo” (The Embrace – 1976), an acrylic on canvas painting in Expressive Photorealism style that depicts a group of people celebrating the death of Franco after 40 years of dictatorship and oppression.  Interestingly depicted from the back so no faces are shown, the image came to represent Spain’s transition into democracy and reconciliation of the Spanish people after Franco’s death.  There were many fun and funky pop art works including Roy Lichtenstein’s “Interior with Restful Paintings” (1991), one of his comic book-inspired paintings using “Ben-Day dots” to mimic the look of mass-produced commercial printing.  Tom Wesselman’s “Great American Nude #52” (1963) is one of a series of 100 collage-like works that blend sensual depictions of the female nude with images of pop culture, art history and American consumerism.  His #52, made from paint and fabric on plywood, includes cutouts of a couple that could have come out of the TV show “Mad Men” standing in front of a reclining nude whose image is cut off just above her neck and below her knees, rendering the nude de-personalized and abstract.  “Mel Ramos’ Virnaburger” (1965) depicts Italian actress Virna Lisi sitting nude with her legs crossed on top of a hamburger.  The work exemplifies Ramos’ signature style of combining erotic pin-up imagery with commercial products.  American painter Peter Saul’s “Ducks in Bed” (1964) was typical of his colourful, cartoonish and often satirical works that blended Pop Art, Surrealism and Expressionism, often featuring comic book or cartoon characters including ducks, which were a common motif.  Despite its title, you have to look carefully at this piece to find the ducks, let alone the bed!

MAC-CCB has a whimsical and eclectic collection of sculptural art from the 1960s and 70s starting with Claes Oldenburgh’s “Soft light switches - Ghost Version” (1963) where he continues his tradition of creating enormous versions of everyday objects.  Lucas Samaras’ “Shoe Box” (1965) features a shoe stuffed with tangled steel pins sitting on top of a box decorated with multi-coloured yarn with cloud-like tuffs of cotton emerging from the open lid.  His mixed media “Boxes” are reminiscent of Pandora’s box, mixing sharp and soft materials to create a visual and tactile contrast, while “creating a tension of allure and danger.”  Niki de Saint-Phalle’s “La Mariée” (1963) explores and satirizes feminism and traditional roles pre-assigned to women in society.  Painted all in grey, a grim-faced giant doll is dressed in a wedding gown made up of plastic toys, dolls, artificial flowers and trinkets, subverting the idealized image of a bride.  César Baldaccini’s polished and patinated bronze sculpture “Expansion Valise” (1970) depicts an open suitcase with its contents liquified and spilling out from both sides.  His “Expansion” series explores the properties of industrial materials and challenges the boundaries of sculptural form.  Finally, George Segal’s life-sized installation “Flesh Nude Behind Brown Door” (1978), made of painted plaster, wood, and painted metal, features a female nude standing in front of a doorway that is slightly ajar, creating a narrative tension and sense of voyeurism.  You need to walk around the piece to see the full effect.

While we saw paintings hung on the walls and sculptures positioned on the ground, many of Pop Art works were a mixture where the art hung on the wall expanded beyond the framed scope of a regular painting or drawing.  Peter Phillips’ AutoKUSTOMotive (1964) is an oil on canvas piece with inserted panels that allow the front end of a colourful automobile to protrude beyond the two-dimensional space.  This work is an example of Phillips’ fascination with American custom car culture, industrial design and commercial aesthetics. The middle of the title (KUSTOM) is a play on the word “custom”.  Similarly, Allen Jones’ “La Sheer” (1968) refers to a disembodied pair of legs seductively wearing sheer nylons and stilettos, ascending a flight of green and white checkered steps that extend outward beyond the canvas.  Raymond Hains’ “Seita” (1970) is part of a series works made from mixed media on wood that depict matchbooks with a varying number of matches used up.  Seita refers to a French company producing tobacco and matches.  The large-scale matches harken to works of Claes Oldenburg and deal with consumerism and packaging.  French artist Martial Raysse’s “Bel été concentré” (Beautiful, concentrated summer - 1967) consists of an androgynous figure (possibly a self-portrait) created as a silk-screen on vinyl surrounded by an acrylic box.  The figure is dressed in contemporary attire with a green tie, blazer and slacks, exploring the tension between commercial imagery and personal identity.  The artist’s name is emblazoned with at the top and from afar, it appears like the figure is in a phone booth.

Museum of Art, Architecture and Technology (MAAT) offers an interesting mix of art, architecture, and technology, with exhibitions by contemporary artists, architects, and thinkers.  It consists of two buildings—an early 20th century Modernist Industrial building and an ultra-modern space-aged 21st century one.  Sitting side by side on a boardwalk area connected by a landscaped park called “MAAT Garden”, the two buildings provide stark contrast with one another.  Facing the Tagus River, you can get stunning views of the April 25th Bridge and the Cristo Rei sculpture in Cacilhas.  The museum was open in 2016 once construction of the newer building was completed.

Known as Centro Tejo, the older building was a former power station built in 1908 and supplied electricity to Lisbon until it was decommissioned in 1975.  It then served as the Museum of Electricity since 1990 before reopening in 2016 to become part of MAAT and is dubbed “MAAT Central”.  Today it houses the museum’s permanent exhibits, highlighted by the “Electricity Factory” which explores the history and technology of electricity in Lisbon including original machinery and industrial displays.  Rotating temporary exhibits are also held in this building, such as "The World of Charles and Ray Eames" which was the inaugural exhibition showcasing the work and legacy of these pioneers of modern architecture.

The new building (MAAT Gallery) was designed by Amanda Levete Architects and resembles the Starship Enterprise from afar.  It features a distinctive white ceramic-tiled façade, an overhanging roof that reflects sunlight into the main gallery, panoramic rooftop and public spaces that engage with the riverfront environment.  Ramps and stairs rise from each side of the building’s central arch, leading to the roof and acting as viewing platforms for its stunning surroundings.  The MAAT Gallery is dedicated to rotating, temporary exhibitions, installations, cultural programing and events, showcasing contemporary art, architecture, and technology from both Portuguese and international artists.  Unfortunately, it was late in the day and we did not have enough time to explore the Museum itself, but it was fun walking around outside and admiring the architecture.

There were so many eclectic sights to see and experiences to have in Belém that we could not get to them all in a day and had to make some tough choices.  If we had more time or if it was not so far to get to that we pop back briefly on another day, we would have spent more time going into or up some of the towers and monuments and museums.  The Coach Museum, Popular (Folk Art) Museum as well as the Maritime and Archaeological Museums inside the Jerónimos Monastery did not make the cut. But all in all, we were happy with the choices that we did make and enjoyed our visit here immensely.

Portugal 2024: Lisbon - Aeeiro - Gulbenkian Art Museum

After the debacle we experienced the previous day of trying to take the bus to our destination, we were lucky that we could take the much more reliable Metro to the Areeiro district to tour some art museums.  The Calouste Gulbenkian Museum is named after a British/Armenian oil magnate and philanthropist (1869-1955) who amassed a large art collection of over 6400 pieces spanning from Antiquity to 20th Century art.  The museum is divided into two buildings situated on either ends of a landscaped garden and park.  The first building houses the “Founder’s Collection” with about 1000 rotating pieces from Gulbenkian’s original collection including Egyptian, Greco-Roman, Mesopotamian, Islamic Orient, Armenian, Far East and Western art.  A separate room highlights a set of jewels and glassware by René Lalique.  The second building contains Modern Art by internationally renowned Portuguese artists as well as a large collection of 20th Century British works.  This building reopened in September 2024 after four years of major renovation led by Japanese architect Kengo Kuma that added 900 square meters of exhibition space and added a 100-meter-long canopy with Portuguese tiles.

We started out at the Founders building where two magnificent sculptures were found in the lobby.  The first was a beautiful limestone Art Deco piece titled “The Spring or Homage to Jean Goujon (Renaissance sculptor)” created by Alfred-Auguste Janniot for the 1925 Paris International Exhibition of Decorative Arts, Ruhlmann Pavilion. Depicted is the Goddess Diana hunting with a buck at her feet, flanked on either side by nymphs.  The waves of their hair and vertical lines of their robes exemplify the Art Deco style.  Also on display is a replica of one of the figures from Auguste Rodin’s famous 1889 work “The Burghers of Calais”. Jean d’Aire, one of the leaders of the French city of Calais, holds the keys to the city in his hands in a sign of submission and sacrifice to prevent the English from destroying the city and people in 1347.

The Egyptian section of the Founder’s collection includes several decorative funerary ornaments.  A “Winged image of Goddess Isis” (664-525 BCE) is made with green faience (ceramics) and acts as an amulet in mummification rituals. The “Solar Barque of Djedhor” (380-343 BCE) is an ancient Egyptian, bronze artifact modeled after the ceremonial boats used to transport statues of gods during religious processions and temple ceremonies.  The barque sits on a crocodile, representing Sobek, the god of the Nile.  Other divinities represented include Isis and Nephthys, guardians of the temple, the falcon-headed god Horus and Amun-Ra, God of the Sun.   Moving on to the Middle East, an Assyrian low-relief carved from a large slab of Alabaster (c 884-859 B.C.) depicts a winged figure known as “apkallu” with its right hand raised ritualistically and its left hand holding a container of holy water.  The piece is likely from Nimrud, Mesopotamia (present day Iraq) during the reign of Ashurnasiirpal II.  Hung on walls of palaces and office buildings, these figures were thought to turn away harm or evil.

There were many examples of Eastern Islamic objects including ceramics, gilded teapots, rugs, and wall hangings.  A ceramic bowl (c.12-13th Century) depicts a young prince sitting on a throne surrounded by knights on horseback playing polo and images of falcons   The scene is possibly Iranian since polo was popular in the Iranian court. Persian potters developed a technique called “minai” that allowed them to use a range of colours including blue, red, green, violet, black and gold. Other bowls are decorated with exotic birds and flowers including one with a pair of peacocks (1575) from Ottoman Turkey.  A beautiful 14th Century tile from Kashan, Iran is adorned with a phoenix and is made from stone paste, moulded and painted with glaze in luster.  There was also a blue and white ceramic teapot with a gilded base, handle and lid, as well as an ornate Turkish rug (1592) from the Ottoman Empire.

Items from the Far East include various ornamental items from China.  These include male and female Chinese guardian lions made of Jade where the male holds an orb representing the world and the female holds a baby cub, a beautiful jade hanging vase supported by an intricately carved wooden frame, large porcelain urns decorated with floral patterns, and some eggshell enameled porcelain plates from the Qing Dynasty (c.1740).  From Japan is a 19th Century silk hanging depicting a pair of exotic birds.

The Founders’ collection had a relatively small number of paintings and wall hangings on display but some of them were quite striking.  Pascal Dagnan-Bouveret ‘s “Breton Women at a Pardon" (1887) won the grand prize at the 1889 Paris Salon.  It depicts the ceremony of Pardon which the Church grants to the faithful.  While this may not be the intent, the standing men towering over the group of women feel ominous to me.  Sir Edward Burne-Jones’ oil painting “Mirror of Venus” (1877) depicts a group of women, clad in colourful gowns, looking at their reflections in water.  Painting in the style of “aestheticism” which promotes beauty in art for its own sake without the need for moral or political statements, this painting has a dreamlike, poetic quality.  A portion of Giulio Romano’s massive tapestry titled “Children Playing” (1540) covers an entire wall of the museum.  Comprised of four large tapestries and two fragments made from wool, silk, gold and silver threads, portions of this work have been on loan from Mantua, Italy through the past few years.  The portion titled “The Dance” was on display during our visit.

There were many impressive sculptures in the Founder’s collection including Jan van logteren’s 18th Century marble bust of Bacchus, God of Wine.  In 1900, Auguste Rodin created a sculpture titled “The Blessings” to honour French workers.  The work depicts two winged angels descending from Heaven to bless the work of man.  There were at least three works by sculptor Jean-Baptise Carpeaux. Like Rodin and his Burghers of Calais sculpture, Carpeaux allowed components of a larger composite sculptural piece to exist separate from the whole.  His marble work “L’Amour a la Folie” (1872) is part of a larger sculpture called “The Dance” that was made for the façade of the Paris Opera House.  This reclined child/cupid figure holding up a jester-like puppet doll can be found at the feet of several other dancing figures in the larger piece.  He also created a bust of his painter friend Bruno Chérier, who returned the favour by painting Carpeaux’s portrait.  Carpeaux’s “Flora” (1873) is a marble sculpture of a young smiling girl crouching while adorning her hair with flowers. The face and smile of the girl is said to be modeled after Anne Foucart, the daughter of Carpeaux’s friend.

There were some interesting and elegant pieces of furniture and decorative arts in the collection.  An astronomical clock (1712) by Andre-Charles Boulle and Jacques Thuret is made of oak with ebony, brass, tortoiseshell inlays, and gilded bronze.  It was commissioned by Cardinal Pietro Ottoboni whose insignia and coat of arms can be seen in the upper sculptures.  Chronos lies at the base next to a small cupid, representing the allegory of time.  A bronze Parisan clock (c. 1760-70) was shaped like a globe hoisted by a trio of muscular nudes with the time shown in Roman numerals around the centre of the globe.  A pair of silver mustard pots (1751) Antoine-Sébastien Durand depict small boys carrying bows and quivers (possibly Cupid figures) pushing wheel barrels supported at the base by eagles.  Each pot came with a silver spoon and was said to be made for Madame de Pompadour.  What looks like a porcelain teapot(?) is elaborately decorated with a gold base and gilded phoenix or dragon attached to the handle and lid.  A mechanical desk (1760) by Jean-Francois Oeben is made of oak, limewood, other exotic woods, lacquer and bronze.  Intricate mechanisms allow the piece to expand into a writing desk with book stand or contract into an ornate end table.

A special room in the Founders Building is dedicated to the gorgeous works of Art Nouveau jewelry and glass designer René Lalique including 77 wearable items (broaches, necklaces, pins) incorporating diamonds, sapphires, opals, pearls, moonstones, aquamarines, glass enamel, quartz, gold and other materials.  One highlight is his dragonfly pin which he created for the 1900 Paris Expo, consisting of gold, silver and enamel with wings made from stained glass accented by diamonds.  As with many of his jewelry pieces, the face or figure of a female emerges from the insect, transforming it into a hybrid creature.  Lalique frequently combines the female form with elements of flora and fauna.  One notable exception is his Cockerel Diadem, a free-standing rooster’s head made from gold mesh and enamel with a three-prong horn comb and an amethyst in the rooster’s mouth.

In addition to jewelry, the Lalique collection also includes teapots, vases, sculptures, mirrors and other engraved or decorative glassworks.  In all, over 200 pieces are part of the collection that was amassed between 1899 to 1927.  A “Snake Sugar Bowl” (1897-1900) was made by blowing amber-coloured glass into hollowed-out structure of patinated cast silver made to resemble an entangled group of snakes.  The handle of the bowl is a coiled snake, while a snake with a raised body acts as the handle for the lid. A mould-blown “Gorgon Vase” (c.1913) is patinated in amber and decorated with the heads of gorgons, creatures of Greek myth with hair in the form of snakes.  A green, smoked “Cluny Vase” (1925) is decorated with press-moulded black glass masks from Greek Theatre on either side with handles shaped like a group of serpents whose heads face towards the opening of the vase.

Completing our tour of the Founders Building which we thoroughly enjoyed, we moved on to the new Modern building.  In general, we were less impressed with the Calouste Gulbenkain Modern collection, perhaps because the building had just reopened and not all of the collection was on display yet.  There were several temporary exhibitions but in most cases, we did not quite understand what the theme or purpose was for an exhibition, despite reading the lengthy descriptions which came across as “art-speak” that did not translate to what we were seeing.  So rather than try to understand the overarching message being conveyed from each show, we merely looked for individual works that appealed to us.

The exhibition called “Tide Line" was described as “…using art to reflect on political, ecological and existential revolutions” spanning from the Carnation Revolution of 1974 to present day.  We did not find many explicit references to the Carnation Revolution, which we saw a much more comprehensive exhibit about in the Serralves Museum Porto.  In this exhibit, I was fascinated by the sculpture of a humanoid figure lying on the ground with arms and legs spread to form an “X”.  Titled Close II (1993) by Antony Gormley, the piece is made from lead, fibreglass and plaster and is said to “explore the human figure and its relationship to space”.  I took photos of it from various angles and wondered what Close I looked like.  A hyper-realistic painting of a piece of raw meat called “Chop” (2013) by Rosa Carvalho comments on environmental effects of our dietary choices.  Portuguese Expressionist painter Mário Eloy’s The Flight (1938) reflects his own flights to escape WWII and the loss of his German wife who would not return with him to his native Portugal. Antonio Dacosta’s surrealistic painting Serenata Açoreana (1940) has been described as a “reinterpretation of Adam and Eve and the original sin”.  Jorge Pinheiro’s “Stabat mater” (Suffering Mother - 2006) shows a distressed female figure, bleeding, with broken spectacles (reflecting an iconic image from the 1925 movie Battleship Potemkin) while her arms hold up a shroud and the photo of a soldier (her son?).

“The Occidental Calligrapher – Fernando Lemos and Japan” displays examples of Lemos’ study of Japanese art and writing, and his own interpretations of what he saw.  I particularly liked his rendition of traditional Japanese women in their kimonos. There was also a example of the colour-block printing process where a wooden block is made for each single colour of diluted water-based ink and then applied in an overlapping fashion to produce the final image.

The Calouste Gulbenkain Modern Museum has an “Open Storage” section that stores art works that are not currently on view in the galleries or loaned to other institutions. Paintings are stored on moveable iron railings that can be pulled back and forth to review other works.  This reminded us of a similar architectural feature found in the former home and now museum of architect John Soane in London where his collection of Hogarth's Rake's Progress is hidden within layered sliding shelves.

Following our visit to the two Gulbenkian art museums, we decided to walk back to Chiado, passing through Parque Eduardo VII and then down Avenida da Liberdade (Liberty Avenue), which is Lisbon’s grand boulevard built between 1879-1886 and inspired by Paris’ Champs-Élysées.  This route would take us past large parks, interesting architecture, monumental sculptures, street art and luxury shops.  A portion of Avenida da Liberdade features a central tree-lined pedestrian promenade with decorative mosaic tiles, benches and sculptures, that separates the lanes for vehicular traffic heading in either direction.

As we were leaving the grounds and gardens of the Calouste Gulbenkian Foundation, we came across the sculpture of Calouste Gulbenkian sitting in front of Horus, the Egyptian falcon god.  There were also crenulated walls and mini turrets of the former stables/carriage house of the Palace of São Sebastião which are now part of the foundation’s property. We passed by interesting architecture before reaching Jardim Amália Rodrigues, renamed in 2000 to honour a famous fado singer. Sitting just north of and considered an extension of Parque Eduardo VI, this elevated green space features a circular lake with an outdoor terrace and bar, an amphitheatre, and the bronze sculpture “Maternidade” (Maternity) by Fernando Botero.

Continuing south, we reached Parque Eduardo VII, the largest park in central Lisbon spanning 63 acres.  Originally named Parque da Liberdade (Liberty Park), the park was renamed in 1903 to honour British King Edward VII after his visit to Lisbon.  The central lawn features symmetrical, mosaic-patterned box hedges leading towards Praça Marquês de Pombal and two landscaped gardens on either side.  Statues and fountains are found throughout the park, including a 1958 sculpture by Euclides Vaz of a female figure standing on a horse that rises out of an ornamental water basin.  Other sculptures include a female with a dog that might be the Goddess Diana, and a seated female nude by one of the entrances.

The parks on either side of the central lawn include walking paths, landscaped greenery, floral plantings, and benches for sitting.  The eastern side is home to Pavilhão Carlos Lopes, a historic pavilion decorated with azueljo panels and sculptures. The pavilion was originally built in 1921 for the Rio de Janeiro International Exhibition before being rebuilt in the park between 1929-31.  Through the years, it was used as a sports facility, a municipal palace for festivals and exhibitions and currently it is a rental space for conferences, trade fairs, concerts and cultural events.  Featuring a large Portuguese flag flanked by two large pillars on either side, the 25th April Revolution Monument by João Cutileiro commemorates the 1974 Carnation Revolution which ended decades of dictatorship in Portugal. Inaugurated in 1997, the monument consists of a fountain shaped like a rock in a basin with a crumbling wall and broken columns.

Just south of Parques Eduardo VII and marking the start of Avenida de Liberdade is Praça Marquês de Pombal, a historic, circular plaza that acts as the gateway to central Lisbon.  At the centre is a monumental statue featuring Sebastião José de Carvalho e Melo, the Marquis of Pombal at the top of a tall column, accompanied by a lion symbolizing power and leadership.  The Marquis was instrumental in rebuilding Lisbon after the devastating earthquake of 1755.  At the base of the column are enormous allegorical sculptures representing the Marquis’ reforms in education, agriculture and politics, as well as sculptures recalling the earthquake and accompanying tsunami.  The floor of the plaza is paved with mosaic tiles depicting a large ship adorned with Lisbon’s coat of arms.  This magnificent sculpture requires a 360-degree inspection to view all the components.

Leaving Praca Marques de Pomba, we finally reached Avenida da Liberdade and walked along the central promenade with the densely tree-lined walking path adorned with black and beige mosaic designs.  The benches on the path were decorated by the parish of Santo António for International Music Day on October 1, celebrating the diversity of music and its global significance, raising awareness of Portuguese-language music.  Each bench features a different artist or group with a QR code allowing you to hear their music on your phone.  Both modern and historic sculptures lined the avenue.  There is a sculpture dedicated to Almeida Garrett, noted poet, playwright, politician and journalist.  We had visited a square named after him when in Porto.  A large, 1931 “Monument to the Fallen of the Great War” by local sculptor Maximiano honors the Portuguese soldiers who fought in the First World War. It depicts a soldier on top of a pedestal being crowned by a robed figure carrying a flag, who is the personification of the Fatherland.  At the sides of the column are two muscular figures struggling to hold up the nation.  A bit further south on the avenue is the sculpture of Simón Bolívar, known as the “Great Liberator” of South America.

Avenida da Liberdade seems to be Lisbon’s version of a “Mink Mile” with a slew of luxury stores including Dior, Louis Vuitton, Gucci, Versace, Burberry, Rolex, Mont Blanc and more.  Many of the outlets including the Prada reside in beautiful old buildings.  The façade of the interior design store Casa do Passadiço looks like a gilded panel from St. Marks Cathedral in Venice.  Rich wandered into the Vacheron Constantin boutique to try on a watch that he can’t afford, as is his habit in most new cities that have high end watch stores.  Across from Avenida da Liberdade is one of several decorative water basins found on the central promenade.  This one is headed by a bearded allegorical figure holding a spade and a water jug.  Continuing south, once we spotted one of the historical trams, we knew that we were back in familiar territory near our apartment.  This walk from Calouste Gulbenkian Museum back to Chiado proved to be both scenic and historic.