A ilustração na obra de Graça Morais : a pintora e os escritores

• Autor(a) principal: Faria, Helena Paula Proença de Campos Ramos
• Data de Publicação: 2023
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/59489
• topic: Morais, Graça, 1948-; Saramago, José, 1922-2010; Torga, Miguel, pseud; Andresen, Sofia de Melo Breyner, 1919-2004; Ilustração; Literatura portuguesa - séc.20; Escritores portugueses - séc. 20; Pictórico; Domínio/Área Científica::Humanidades::Artes

The main aim of this work was to highlight Graça Morais’ dimension as an illustrator, framing the illustration in the body of her work and also the relationship of the artist’s work with literature and writers. A historical review was carried out on the illustration of literary works in Portugal in the twentieth century, analysing the career and the main stylistic and pictorial characteristics of ten artists – illustrators that we considered the most relevant in the last century: Rafael Bordallo Pinheiro, Mily Possoz, Américo da Silva Amarelhe, Jorge Barradas, Sarah Affonso, Estrela Faria, Cândido Costa Pinto, Maria Keil, Lima de Freitas and Paula Rego. The main body of this dissertation analysed in detail works as disparate as” O Ano de 1993”, one of the few books of poetry written by the Portuguese Nobel Prize winner José Saramago, where Graça Morais reveals a surreal pictorial matrix, using oneiric imagery of expressionist stamp; “Um Reino Maravilhoso” by Miguel Torga, another great figure of Portuguese literature and a fellow countryman, characterised by a strong complicity of imagery from Trás-os-Montes. And also, two works by Sophia de Mello Breyner, as creative as they are pictorially different; “Orpheu e Eurydice”, a book of poems inspired by a mythical tale from Greek tragedy, so to the taste of Sophia’s classical culture, illustrated in sepia on sheets of musical staves, and “O Anjo de Timor”, a lyrical children’s tale, where the idiosyncrasies of Timorese culture and Sophia’s humanistic concern for the problems of this martyred people are present. Graça Morais occupies an unquestionable place in the history of contemporary Portuguese painting due to the diversity of her work, her technical and pictorial quality, and her permanent renewal, while maintaining intact her essentiality, widely recognised by critics. The maturity and timelessness of the artist’s work is reflected in her presence in the most important art collections in Portugal