Six centuries of artistic creation
HOW IT ALL BEGAN
The story of the beginning of a Collection
The Collection was created in 2017 from a dispersed set of works, from different origins and eras, coming from various rooms of the Bank's administration and branches from north to south of the country. The artistic heritage of the Bank was the starting point for the constitution of the Painting Collection, based on three objectives: the investigation and descriptive study of the works, making the works available to the public on an online platform, and above all, giving a useful meaning to the Collection, making it an active part in bringing art closer to diverse audiences, through partnerships with museums, from north to south of the country, continent and islands, with a particular focus on institutions located outside major urban centers.
The Collection in numbers
The collection comprises 94 works from Portuguese and foreign painters, between the 16th and the 20th century, with a significant group of national painting from the 19th century.
To this Collection were added 4 portulans from the 16th to the 19th centuries, works of nautical cartography with interesting representations from the geographical and iconographic point of view, constituting rare documents of Mediterranean and Atlantic navigation.
ABOUT THE WORKS
Six centuries of artistic production
In its chronological, stylistic and thematic diversity, the works of this Collection allow us to trace relevant moments of European Art History for over six centuries. The portrait, the landscape, the still life, the narrative, are the main themes of the works from the 16th to the 18th century, with authors such as Quentin Metsys, Peter Brueghel the Younger, Josefa de Ayala (Josefa d'Obidos), Louise Vigée Le Brun, Joseph Vernet, Jean-Baptiste Pillement.
From the late 19th century to the early 20th century, naturalistic painting stands out, represented by José Malhoa, José Júlio Souza Pinto, Tomás da Anunciação, among others. The new plastic values that mark the 20th century until the 1970s, which are the issues surrounding the apprehension of space or figuration-abstraction, are represented in the works of Vieira da Silva, Eduardo Viana, João Hogan, Nikias Skapinakis, D'Assumpção, Julio Pomar and Jorge Pinheiro. From the last third of the 20th century, the paintings by Julio Resende, Angelo de Sousa, Ricardo da Cruz-Filipe, Graça Morais, Menez, Maluda, Malangatana and Paulo Quintas stands out.
Some of the works are of great importance for their iconography, such as the 17th century painting depicting the “Solemn Entry into Lisbon of Monsignor Giorgio Cornaro”, a rare representation of a coaching procession in the Terreiro do Paço before the 1755’s earthquake. The work was incorporated into the National Coach Museum, integrated in the permanent exhibition, in the room where coaches of the 17th century are located, identical to those represented in the painting.
The Cartographic production
The portolans recorded the destinations that were being discovered and traced the characteristics of an art of representing the world. They are the graphic and documentary expression of the communication between geographies and peoples, the commercial conditions of connection between ports and the way of observing the world from the sea.
This nautical maps allows us to punctuate the context of the production of these “sea cards” and the models that circulated in Europe. We have two Mediterranean portolans by Juan Oliva, dating from 1595 and 1627 and two of the Atlantic, representing the north and south, by José Fernandes Portugal and dating from 1804.
PARTNERSHIP FOR SHARING CULTURAL HERITAGE
The protocol with the Ministry of Culture and the incorporation in the Museums
The project to incorporate the works of the Painting Collection in various Museums is in accordance with the protocol established between NOVO BANCO and the Portuguese State, through the Ministry of Culture, thus ensuring the permanence of the works in the country and its availability to the public.
The choice of museums that host them is guided by the parameters resulting from a joint reflection. The works are intended to be an added value in the exhibition circuit, both for their historical, artistic and iconographic expression, as well as for the possibility of establishing bridges with other narratives and reflections, being an incentive for new museum projects, through the possibility of constitution of new nuclei. One of the premises of the protocol is that the works should be integrated in the permanent exhibition circuit, to be visible to all audiences.
At this day there are 58 WORKS in 28 MUSEUMS of 16 REGIONS.
Museums where you can see the works of NOVO BANCO's Painting Collection
- National Coach Museum [Lisbon] . "Monsignor Giorgio Cornaro’s Entrance Procession in Lisbon in 1693", unknown author (17th century)
- Francisco Tavares Proença Júnior Museum [Castelo Branco] . Jan Fyt (attributed), "Still life with flowers and parrot” (17th century)
- Museu Nacional de Arte Antiga (MNAA) [Lisbon] . Louise Vigée Le Brun, "Portrait of Anne Catherine Le Preudhomme, Countess of Verdun" (18th century)
- Guarda Museum [Guarda] . Five works from the 20th century : Nikias Skapinakis, Still life XXV” (1967), João Hogan, “Untitled” (1968), José de Guimarães, “3 Fétiches” (1992), Júlio Resende, “Coladera” (1994) and Luís Pinto Coelho “Papa morto” [Dead Pope] (late 20th century)
- José Malhoa Museum [Caldas da Rainha] . José Malhoa, “Late afternoon” (1881) and “The collector” (1888)
- Museum and Arts Center of Figueiró [Figueiró dos Vinhos] . José Malhoa, “Care of love” (1905)
- Palace of the Dukes of Bragança [Guimarães] . Jean-Baptiste Nicolas Pillement, “Landscape with peasants and sheep flock” (18th century)
- Municipal Museum of Setúbal - Convento de Jesus [Setúbal] . Morgado de Setúbal, “The musicians” (1794), João Vaz “Último ancoradouro” (circa 1902) and Silva Porto, “Boat in land” (19th century)
- Grão Vasco National Museum [Viseu] . Jean-Baptiste Pillement, “River landscape with fishermen” (1785) and “Landscape with shepherds and flock” (1785)
- Municipal Museum Carlos Reis [Torres Novas] . João Reis, "No Tejo" [At Tagus river] (1944)
- Municipal Museum of Óbidos [Óbidos] . Josefa de Ayala, "Still Life with easter cakes, flowers and embroidered cloth" (circa 1660)
- Museum of Contemporary Art [Madeira - Calheta] . Jorge Pinheiro, “Untitled” (1969) and “Aquiles” (1981) and Ricardo Cruz-Filipe “Mares” (2003)
- Carlos Machado Museum [Azores - Ponta Delgada] . José Fernandes Portugal, two Portolan maps representing the North and the South of the Atlantic Ocean (1804) . at the Sacred Art Exhibit (Igreja do Colégio)
- Angra do Heroísmo Museum [Azores – Angra do Heroísmo] . Júlio de Souza Pinto, "Volta do Rio" [return from the river] (1905) and "Chamando a barcaça" [calling the small boat] (1909)
- Municipal Museum of Faro [Faro] . "Tower of Babel", unknown Flemish painter (late 17th century)
- Regional Museum Rainha Dona Leonor [Beja] . Josefa de Ayala, "Still life with cheese and flowers" and "Still life with mushrooms and arbutus berries" (circa 1660-1670)
- National Museum Frei Manuel do Cenáculo [Évora] . Pieter Bruegel the Younger, "Peasant Wedding" (1620)
- Belém Palace [Lisbon] . Eduardo Viana, "Sintra landscape" and " Algarve landscape" (1925) and the work by King Carlos de Bragança, "Navy” (1904)
- Arpad Szenes-Vieira da Silva Museum [Lisbon] . Maria Helena Vieira da Silva, "Untitled” (1947) and "Le grand navire" (1966)
- Portalegre - Guy Fino Tapestry Museum. [Portalegre] . Carlos Botelho, a painting “Lisbon seen from São Pedro de Alcântara” (1961) and a tapestry “View of Lisbon” (1980)
- Municipal Museum of Crato [Crato] . Five works from the 20th century : Maria Helena Vieira da Silva, “L’aube chromatique” (1969), Manuel Trindade D'Assumpção, “Solidão” [Loneliness] (1968), Júlio Resende, “Mulher” (1981), Menez, “Untitled” (1988) e Malangatana, “Percurso Humano” (1998)
- Nadir Afonso Contemporary Art Museum [Chaves] . Five works from the 20th century : Maria Helena Vieira da Silva, “La musique” (1950), Júlio Pomar, “Mai 68” (1968), Jorge Pinheiro, “Untitled” (1969), Ângelo de Sousa, “Verão 83” [Summer 83] (1983) e Paulo Quintas, “Abstrato 2” (2003)
- Museum of Neo-Realism [Vila Franca de Xira] . Júlio Pomar, “Boats (Ericeira)” (1953) and Mário Dionísio, “Between Pisces and Taurus (2nd version)” (1993)
- Museum of Lamego [Lamego] . Claude-Joseph Vernet (attributed), "View of Spoleto" (1753)
- Biscainhos Museum [Braga] . William James (attributed), “Return of the Bucintoro on Ascension Day” (circa 1755-1760)
- Museum of Leiria [Leiria] . David Teniers the Younger (attributed), "Village feast" (circa 1640-1650)
- ATALAIA - Ourique Gallery of Art [Ourique] . Günther Förg, "Untitled" (2000), group of 6 works