MARIA KEIL de propósito OBRA ARTÍSTICA Centro de Artes de Sines (CAS) e Centro Cultural Emmerico Nunes — Sines EXPOSIÇÃO | 11 JULHO · 26 OUTUBRO 2014 | Segunda a Domingo MARIA KEIL on purpose ARTISTIC WORK Sines Arts Centre and Emmerico Nunes Cultural Centre — Sines EXHIBITION | 11 JULY · 26 OCTOBER 2014 | Monday to Sunday FolhetoMariaKeil_Sines_03.indd 1 12/06/14 11:48 José Rocha. Her first solo painting that tiles became recognised as a utilizou com rara felicidade criando Ferro em 1940, chamou a si um e revistas, cartazes e anúncios for tile compositions. others designed for promotional decoration were cited as examples ‘Portalegre stitch’, Maria Keil decided exhibition was held in 1939 at the form of artistic expression during novas histórias a partir de mitos conjunto de criadores como Bernardo publicitários, selos), cenários e Her incursions in the advertising purposes, or for personal projects. of the image of ‘Portugueseness’ to work in tapestry again, on large- Galeria Larbom, in Lisbon. In 1941 the Portuguese architectural renewal antigos (decoração para cinema Marques, Mily Possoz, Paulo Ferreira, figurinos, design de móveis e de field were connected to the largest From one book to another, through championed by the SPN/SNI scale pieces, for two commissions she won the Souza-Cardoso prize for that took place between the 1950s Monumental); ou inventando novos Tom e Maria Keil. interiores, cartões para tapeçaria e advertising agency in the country commissions and requests, using (Portuguese National Information for the Estoril Hotel and Casino in the emerging talent with her self-portrait. and the 1960s. The research that she seres a partir da observação do Foi para o Verde Gaio e para o para composições azulejares. in the forties, the ETP – “Estúdio different modes of expression and Secretariat) in its magazine Panorama, 1960s. During this period she also Other collaborations followed, at the undertook in seeking out new visual quotidiano (Motauros de 1997/98). espetáculo Lenda das Amendoeiras As suas incursões na publicidade Técnico de Publicidade” (Technician disciplines, she never tired of playing from 1941 onward. The Tito produced three tapestries for TAP National Propaganda Secretariat and expressions and their connection to Maria Keil soube envelhecer, que esta artista algarvia desenhou ficaram ligadas àquela que foi a maior Advertising Studio), acronym which or, in other words, experimenting. restaurant, in downtown Lisbon – a offices in New York, Copenhagen and the National Fine Arts Society. The architecture and the functionality of desenhando sempre, com rara pela primeira vez cenários e figurinos, agência de publicidade do país nos was relaunched in 1936 under the With elegant, expressive outlines or 1939 collaboration with her husband, Madrid. She completed one last piece 1950s marked the beginning of her the sites where the tiles were used are sabedoria, numa obra final de iniciando-se, assim, nas artes anos quarenta, o “Estúdio Técnico de direction of José Rocha. Maria bold brushstrokes and fields of bright the architect Keil do Amaral – typified with Manufactura de Tapeçarias de inspired and continuous career as a two of the most important aspects of observação do que a cerca e, de palco. Com música de Jorge Publicidade” – ETP, sigla relançada Keil joined the team that regularly colour, on glass or blotting paper, her this approach; an even better example Portalegre in 1995, while in the busy tile artist – her work for Lisbon’s Metro a body of work that is personal and mais ainda, de observação de si Croner de Vasconcelos, coreografia em 1936 sob a direção de José collaborated with J. Rocha and where technique always serves to express is the Pousada de São Lourenço, final years of her life this century she stations, among many other examples, attentive to its surroundings and that mesma, em trabalhos de ironia e de Francis Graça e argumento de Rocha. Maria Keil integrou a equipa the influence of Fred Kradolfer was movement to the full, a perfect in Serra da Estrela, designed by the was offered a major project, which guaranteeing her an undeniable place reinterprets influences and history in desprendimento. Fernanda de Castro, o bailado que regularmente colaborava com J. notable since his arrival in Portugal in setting for the modern elegance of architect Rogério de Azevedo. In remained unfinished. in Portuguese art history. She was also the light of new challenges. teve a sua primeira apresentação Rocha e onde pontificou a influência 1924. He transmitted to our creators her figures, standing proud and in this vast decorative project, from a prolific and innovative illustrator for By using a language that was PAINTING AND DRAWING no espetáculo de estreia daquela de Fred Kradolfer que, desde a a new understanding of graphic harmony. Almost unwittingly, she 1948, she reinterpreted vernacular FICHA TÉCNICA / CREDITS Autorretrato no 80º aniversário, 1994 many decades, illustrating children’s dominated by geometric abstraction This groups of paintings and drawings companhia de dança, em Novembro sua chegada a Portugal em 1924, arts with processes that led to the makes a moral suggestion: alert to our furniture, proposing ornamental motifs Edição / Edition literature and text books. Maria Keil and a certain degree of visual spans more than seven decades from de 1940, no Teatro da Trindade. transmitiu aos nossos criadores um affirmation of graphic design in our surroundings, each one of us – like carved into dark wood, textiles from Museu da Presidência da República also excelled in other forms of artistic experimentation, her work reflects the late 1920s, when the artist was As criações apresentadas pelo Grupo novo entendimento das artes gráficas, country. these characters – is born to be a tree the Beiras region and cast iron light Coprodução / Co-production Museu da Presidência da República Maria Keil (Silves, 1914-Lisboa, 2012), expression, such as stamp design, a constant attempt to find new a young apprentice in the fine arts, de Bailados Verde Gaio espelham provocando processos projetuais que Although the ETP team had developed dancing at the centre of the square. fittings. Centro de Artes de Sines/Câmara Municipal de Sines frequenta a Escola de Belas Artes de furniture and decoration, costumes solutions and to reinvent elements to the restlessness and tranquillity of o modelo de “estilização moderna conduziriam à afirmação do design several works for the “National Choosing a different aesthetic Centro Cultural Emmerico Nunes Coordenação Geral / Coordination Lisboa e é aluna de Veloso Salgado. and scenery, photography, tiles and which, despite being used recurrently, old age. However, rather than being a e urbanização do folclore” também gráfico no nosso país. Propaganda Secretariat” (SPN), direction, her 1955 exhibition at Diogo Gaspar; Gaspar Matos; Isabel Silva Em 1933 casa com o arquiteto tapestry. continually take on new identities. mere chronology, the collection draws presente nos Ballets Russes, matriz Ainda que o grupo da ETP tenha directed by António Ferro, Maria MOBILIÁRIO E DECORAÇÃO Galeria Pórtico in Lisbon was a key Curadoria / Curators Alexandre Arménio Tojal; Rui Manuel Almeida Francisco Keil do Amaral. Três anos The distinctive geometrization of a map in which life counts for more inspiradora da companhia de bailado desenvolvido vários trabalhos para Keil, eternal experimentalist, through Do início dos anos 40 até meados da moment for artist-designed furniture. Projeto Museográfico / Museographic project Paulo Venâncio mais tarde inicia colaboração com her work could have resulted in a than time. portuguesa. o Secretariado da Propaganda the forms, colors, motifs sought to década de 50 de Novecentos, Maria In the exhibition she managed Comunicação / Communication o Estúdio Técnico de Publicidade, AZULEJO certain coldness as a reflection of Maria Keil’s memories of the Fine Nacional (SPN), dirigido por distance herself from historical and Keil dedicou-se empenhadamente ao to combine contemporary and Óscar Casaleiro; Paula Cerejeiro; Pedro Matias; Câmara Municipal de Sines fundado por José Rocha, para o qual Fundamental no reconhecimento do an overly rational observation of Arts School are not the best, and her SCENOGRAPHY AND COSTUME António Ferro, Maria Keil, eterna folkloric themes, that some authors desenho de mobiliário para interiores cosmopolitan design with carved Design de Comunicação / Communication design trabalham também Carlos Botelho, azulejo enquanto expressão artística, visual language. However, the strong real training was in advertising and DESIGN experimentalista, através das formas, developed in consonance with the comerciais, ligados à restauração e à and tiled details, reflecting her solid José Eduardo Real Conteúdos Multimédia / Multimedia content Fred Kradolfer, Ofélia e Bernardo no enquadramento da renovação presence of Maria Keil’s sensitivity graphic design, the influence of which The Ballet Company Verde-Gaio, cores, motivos, procurou afastar-se spirit of the time. If it is certain that hotelaria, e para interiores domésticos, understanding of the Portuguese Carlos Figueiredo; Bruno Saraiva; Vasco Duque Marques. Realiza a primeira exposição arquitectónica ocorrida em Portugal, imbues her work with a vibrant and is clearly seen in her studies for her created by António Ferro in 1940, dos temas folclóricos e históricos there is a persistence in figurative aqui com especial modernidade. furniture tradition. The pieces were Produção / Production Amândio