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The Museum seeks to follow a trajectory going from modernity to contemporaneity.
Specific characteristics of the Portuguese Naturalism are exemplified with works by Acácio Lino and António Carneiro. However, most of the Portuguese Symbolism can already be understood in the work of António Carneiro.
Amadeo is the main reference and patron of the Museum, and the approach to his work makes it an instrument of a pedagogy of modernity, with the visible paths from Cubism to Abstraction, with the news of Futurism, the marks of Expressionism and the premonitions of Dadaism and its absurdities.
Contemporaneity is witnessed in sensitive samples, from informalism and gesturalism to conceptualism, to the contamination of languages, to derision, to a new naivety and a new figuration.
In addition to the artists mentioned, several other artists are part of the Museum’s collection, including: Lourdes Castro (1930-2022), Armanda Passos (1944-2021), Paulo Neves (1959).
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Discover the multimedia exhibition of the Municipal Museum Amadeo de Souza-Cardoso on the Google Arts & Culture platform.
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The programming of the Municipal Museum Amadeo de Souza-Cardoso is based on the presentation of permanent and temporary exhibitions.
Architecture
The Municipality and the Museum occupy the 16th century building of Convent of São Gonçalo, whose heterogeneous layout was significantly altered during the course of over four centuries of history.
Located in the heart of Amarante, despite the changes suffered, the building continues to maintain a very strong presence in the profile of the surrounding buildings, constituting, together with the river and an old bridge, the image of the city.
The intervention aimed mainly at restoring the Convent to its authenticity, accepting the contradictions resulting from its multiple experiences: sometimes introducing modern structures capable of responding to new functions, other times selectively exalting paths, spaces and more expressive architectural elements.
The application of these generic concepts finds its most significant practical consequence in the reconstitution of the two cloisters, whose original spaces were distorted by the demolition of the body that separated them.
In view of the state of degradation of the building structures, the hybrid character of the architecture and the historical documentation, the recovery of the ensemble could not be and was not, in this case, understood as meaning archaeological restoration. It results first and foremost from the interpretation – necessarily subjective – of the spatial organization and typological characters of an extremely receptive construction. Alcino Soutinho, Architect
Architect
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© “A Modernidade em Debate”Alcino Soutinho
Graduated from the School of Fine Arts of Porto in 1957, the year in which he began his activity as an architect, Alcino Soutinho received a grant from the Gulbenkian Foundation in 1961 to continue his research studies on Museology in Italy, where he took contact with several Italian architects who influenced him early in his career. He worked until 1971 at Fundação das Caixas da Previdência, where he designed several affordable housing projects in the Northern Portugal.
See moreGraduated from the School of Fine Arts of Porto in 1957, the year in which he began his activity as an architect, Alcino Soutinho received a grant from the Gulbenkian Foundation in 1961 to continue his research studies on Museology in Italy, where he took contact with several Italian architects who influenced him early in his career. He worked until 1971 at Fundação das Caixas da Previdência, where he designed several affordable housing projects in the Northern Portugal. From 1973, he was a professor at the Faculty of Fine Arts and later at the Faculty of Architecture of the University of Porto. The design of the new building for the Amadeo de Souza-Cardoso Museum in Amarante, in 1977, brought him international recognition and, in 1982, he received the “Europa Nostra” Prize for the work of restoration of the Castle of Vila Nova de Cerveira and its adaptation into a Pousada. In 1984, he was awarded the International Association of Art Critics Prize. However, it is with the work of the new Town Hall of Matosinhos, completed in 1987, that he obtained national and international acclaim.
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