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A Obra De Eurico Gonçalves Na Perspectiva Do Surrealismo Português E Internacional

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A Obra De Eurico Gonçalves Na Perspectiva Do Surrealismo Português E Internacional UNIVERSIDADE DE LISBOA FACULDADE DE BELAS – ARTES A OBRA DE EURICO GONÇALVES NA PERSPECTIVA DO SURREALISMO PORTUGUÊS E INTERNACIONAL POESIA PINTURA ENSAIO CRÍTICA DE ARTE Dalila d’Alte Rodrigues DOUTORAMENTO EM CIÊNCIAS DA ARTE 2007 A OBRA DE EURICO GONÇALVES NA PERSPECTIVA DO SURREALISMO PORTUGUÊS E INTERNACIONAL POESIA PINTURA ENSAIO CRÍTICA DE ARTE Dalila d’Alte Rodrigues DOUTORAMENTO EM CIÊNCIAS DA ARTE Tese Orientada por: Doutora Cristina de Sousa Azevedo Tavares (Faculdade de Belas-Artes, Universidade de Lisboa) Doutor Perfecto Cuadrado Férnandez (Universidade das Ilhas Baleares, Palma de Maiorca) 2007 DEDICATÓRIA AO AMOR À LIBERDADE À POESIA A Mário Cesariny de Vasconcelos Ao meu Irmão e Pintor Miguel d’ Alte AGRADECIMENTOS Ao Eurico Gonçalves, pela generosidade e autenticidade com que facultou o acesso ao estudo da sua obra e à extensa documentação publicada e reunida ao longo de cerca de 60 anos de actividade (1949-2007) À Professora Doutora Cristina de Azevedo Tavares, pela dedicação, exigência, minúcia e rigor científico com que acompanhou o desenvolvimento desta dissertação Ao Professor Doutor Perfecto Cuadrado pelo seu saber no âmbito da literatura surrealista e pelo entusiasmo com que, desde o início, estimulou esta investigação Ao Rui Mário Gonçalves pelos conhecimentos revelados, em conversas informais, sobre a vida e a obra de Eurico Gonçalves, e pelas informações bibliográficas sobre o Surrealismo Aos pintores e poetas Mário Cesariny e Cruzeiro Seixas, dois expoentes máximos do Surrealismo Português, cujo conhecimento pessoal contribuiu para o aprofundamento deste trabalho Ao Investigador Eduardo Pires Oliveira pela amizade e generosa disponibilidade na pesquisa de documentação geral sobre o Surrealismo, existente na Biblioteca Pública de Braga Ao meu amigo, colega e artista gráfico António Dinis Lourenço, pelo seu empenhamento, paciência e muitas horas dedicadas à formatação de todas estas páginas… À minha irmã Maria da Conceição d’ Alte Rodrigues e à Ana de Carvalho Alves, que gentilmente traduziram para inglês a síntese deste trabalho RESUMO: O Surrealismo pela sua amplitude, enquanto movimento artístico que se fundamenta na intervenção e libertação do homem, contribui para uma nova concepção da arte e da vida, nos modos como assume a consequente dimensão ética e poética. Esta tese surge da necessidade de aprofundar o significado histórico do Surrealismo Português e Internacional, onde se insere a obra poética e plástica de Eurico Gonçalves, cuja pertinente e complementar actividade de professor e crítico de arte não pode deixar de ser considerada no âmbito da educação artística. Neste contexto, o nosso estudo parte de um levantamento de dados que envolvem os antecedentes históricos e o desenvolvimento deste movimento até à actualidade, com especial incidência no percurso de Eurico Gonçalves, autor de uma obra que se define entre dois vectores convergentes, a “inocência original” e a “poética do maravilhoso”, numa inter-relação com o “automatismo psíquico”, a “exploração do acaso” e o “vazio libertador” zen. O encontro do pintor com o surrealismo situa-se num percurso feito de sucessivos “encontros interiorizados” com personalidades que admira. Revelou-se a partir de 1949, através da nova figuração onírica e do “automatismo psíquico”, que nunca deixou de praticar, e que está na origem da sua posterior pintura gestual. Desde o começo dos anos 60, o seu imediatismo, numa relação com a infância, a inocência original e o zen, na sua pureza máxima, sem correcção nem retoque, é consequente do “automatismo psíquico”. Dada-zen foi a designação criada por Eurico para relacionar o vitalismo dada e a atitude filosófica zen. Ambos propõem uma arte despreconceituada e espontânea, aberta à intervenção do acaso e à revelação dos dados imediatos do inconsciente. Pretende-se, através da obra de Eurico Gonçalves, nas suas dimensões ética e poética, contribuir para a análise e reconhecimento da evolução do surrealismo figurativo para o surrealismo abstracto, que alguns críticos, escritores, poetas e artistas ainda têm dificuldade em aceitar, apesar de André Breton ter sido um dos primeiros a compreender a vocação abstracta da pintura surrealista. PALAVRAS-CHAVE Maravilhoso / Surrealismo / Automatismo Psíquico / Acaso / Zen ABSTRACT Owing to its magnitude as an artistic movement of intervention and liberation, Surrealism contributes to a new conception of Art and Life, the way it assumes the consequent ethic and poetic dimension. This research work results from the need to deepen the historical meaning of Portuguese and International Surrealism into which the poetic and pictorial work of Eurico Gonçalves is inserted. His relevant and complementary activities as a teacher and art critic must be considered within the scope of artistic education. In this context, the present study starts from the collection of data including the preceding historical events and the development of this movement up to the present time, paying special attention to Eurico Gonçalves evolution, which can be defined by two convergent vectors: the “original innocence” and the “poetry of the Marvellous”, deeply interrelated with the “psychic automatism”, the “exploitation of the laws of chance” and the Zen “liberating emptiness”. The painter’s adhesion to Surrealism derived from successive “internalized meetings” with personalities he admires. It became visible from 1949 onwards through the new onirical figuration and the psychic automatism which he never ceased to practice, thus originating his subsequent gesture painting. From the 60ths onwards, his immediatism connected with childhood, original innocence and Zen, in its utmost purity, without correction or finishing touch, is a consequence of the “psychic automatism”. Dada-Zen was the singular designation created by Eurico to relate Dada vitalism and Zen philosophical attitude. Both of them propose an unprejudiced spontaneous art, open to the intervention of chance and to the revelation of the immediate data of the unconscious. Through the ethic and poetic dimension of Eurico Gonçalves’s work, we intend to contribute to the analysis and recognition of the evolution of figurative surrealism to abstract surrealism, which some critics, writers, poets and artists can hardly accept, even though André Breton has been one of the first poets to understand the abstract vocation of surrealist painting. KEY- WORDS Marvellous / Surrealism / Psychic Automatism/ Chance / Zen ÍNDICE PARTE I. INTRODUÇÃO I.1 – OBJECTIVOS ...................................................................................................................................... 3 I.2 – METODOLOGIA ................................................................................................................................. 9 I.2.1 – ELEMENTOS DE REFERÊNCIA E DE CONSULTA ................................................................... 9 I.2.2 – ESTRUTURAÇÃO ........................................................................................................... 11 PARTE II. REFERÊNCIAS PRIMORDIAIS DO SURREALISMO PORTUGUÊS E INTERNACIONAL II.1 – PRIMITIVISMO E MODERNISMO .......................................................................................... 15 II.2 – OS ANTECEDENTES: A PINTURA EUROPEIA VISIONÁRIA E FANTÁSTICA .......................... 29 II.3 – REFERÊNCIAS QUE INSPIRAM A POÉTICA DO MARAVILHOSO................................................ 47 II.4 – OS PIONEIROS DO MODERNISMO PORTUGUÊS. O FUTURISMO EM PORTUGAL ............... 55 II.5 – DADAÍSMO. ARTE E ANTI -ARTE OFICIAL. CONTESTAÇÃO E RUPTURA ............................. 63 II.5.1 – PROTO-DADAÍSMO........................................................................................................ 67 II.6 – O SURREALISMO EM PORTUGAL. CARACTERIZAÇÃO GERAL II.6.1 – PIONEIROS DO SURREALISMO EM PORTUGAL.................................................................. 71 II.6.2 – A CONSTITUÇÃO DO GRUPO SURREALISTA DE LISBOA E DO “ANTI-GRUPO” OS SURREALISTAS .......................................................................... 86 II.6.3 – OUTROS GRUPOS SURREALISTAS E SURREALIZANTES. CASOS ISOLADOS ........................ 97 II.6.4 – SURREALISMO-ABJECCIONISMO ................................................................................. 100 II.7 – O SURREALISMO SEGUNDO ANDRÉ BRETON .................................................................. 135 II.8 – O SURREALISMO E O AMOR: A LINGUAGEM DO DESEJO ................................................. 145 PARTE III. A PESSOA E A PERSONAGEM NOS SEUS CONTEXTOS: EURICO POETA, PINTOR, PROFESSOR, ENSAISTA E CRÍTICO DE ARTE III.1 – CONTEXTO FAMILIAR, SÓCIO-CULTURAL E ARTÍSTICO. ENCONTRO COM O SURREALISMO. RECUSA DO ENSINO ACADÉMICO: PINTOR AUTODIDACTA. ENCONTROS INTERIORIZADOS COM PERSONALIDADES, ARTISTAS, POETAS E FILÓSOFOS ........................................... 163 PARTE IV. – O PERCURSO ARTÍSTICO IV.1 – 1949-1957: NOVA FIGURAÇÃO ONÍRICA. A DESCOBERTA DO AMOR .................................. 183 IV.1.1 – 1950 -1951: NARRATIVAS DE SONHOS, POEMAS E TEXTOS AUTOMÁTICOS: AUTOMATISMO PSÍQUICO VERBAL, GRÁFICO E PICTÓRICO ......................................... 184 IV.1.2 – 1949 -1957: PINTURAS A ÓLEO. SÍMBOLOS AMBIVALENTES .......................................... 204 IV.2 – 1957-1962: DA FIGURA AO SIGNO ................................................................................... 227 IV.2.1 – INVENÇÃO DE FIGURAS-SIGNOS: LINEARIDADE PURA E RITMICIDADE ENCONTROS INTERIORIZADOS: ESTUDO DAS
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