Hearsay
Throughout the time that Almada Negreiros designed and executed his mural paintings at the marine stations, several newspaper reports and interviews about these works were published.
After the murals were completed, the artist also referred to them in statements, giving an account of his difficulties and constraints, and leaving some clues about the controversy and the risks surrounding those at the Rocha do Conde de Óbidos Marine Station. Years later, after Almada’s death, painter Sarah Affonso, his wife, also left an important testimony about how his work at the Marine stations unfolded, and how she herself had helped her husband with the second station’s murals.
In parallel, a series of official documents have reached us, which account for the systematic request for advisory opinions on Almada’s murals to the “6th Section of the National Education Board”, the body of the Estado Novo dictatorship responsible for overseeing matters relating to the decoration of public works. At that time, architect Porfírio Pardal Monteiro and João Couto, the Director of the National Museum of Ancient Art, were members of this Board, and their advice was decisive for the hiring of Almada, for the approval of the budget and, finally, for the preservation of the murals at the Rocha do Conde de Óbidos Marine Station.
Official documents, including opinions, orders and contracts can be accessed on both screens. When the telephones ring, visitors can pick them up and listen to some of the interviews and testimonials reproduced on the table, where newspaper articles about the opening of the Marine stations can also be found.
CHRONOLOGY OF THE MURAL PAINTINGS AT THE MARINE STATIONS
1941 — Almada Negreiros begins preparatory studies for the composition of the mural paintings at the Alcântara Marine Station.
1943 — On July 17, the opening ceremony of the Alcântara Marine Station is held. According to letters and testimonies, the Minister of Public Works, Duarte Pacheco, made a verbal agreement with Almada Negreiros, by which the budget for the Alcântara murals was established at 200 contos on the condition of setting at 500 contos that of the Rocha do Conde de Óbidos murals. On November 16, Minister Duarte Pacheco died and was succeeded by Augusto Cancela de Abreu.
1945 — Almada Negreiros completes the mural paintings at the Alcântara Marine Station.
1946 — Opinions are requested from the 6th Section of the National Education Board on whether the second station’s mural paintings should be commissioned to Almada. João Couto’s written advice indicates that the mural paintings at the Alcântara Marine Station had caused controversy and distrust. The General Directorate of National Monuments and Buildings decides in favor of Almada.
Almada Negreiros presents the budget verbally agreed with Duarte Pacheco, which is considered excessive. A new round of opinions is requested, and the budget is set at 450 contos.
1947 — The Minister of Public Works Augusto Cancela de Abreu is replaced in office by José Frederico Casal Ribeiro Ulrich on February 4.
On February 17, Almada signs a contract to execute the mural paintings at the Rocha do Conde de Óbidos Marine Station.
1948 — On June 18, the opening ceremony of the Rocha do Conde de Óbidos Marine Station is held. In November, Pardal Monteiro issues an opinion approving the composition for the second triptych at the Rocha do Conde de Óbidos Marine Station, which he calls “Quay” and corresponds to what is currently known as The Departure of Emigrants. The General Directorate of National Monuments and Buildings confirms the approval.
Almada will start working on the mural at the end of the year. His wife, painter Sarah Affonso, will help him to enlarge the preparatory sketches and to transfer the drawings onto the wall.
1949 — Almada finishes the mural paintings at the Rocha do Conde de Óbidos Marine Station. According to statements from the artist himself and from Sarah Affonso, the paintings spark a controversy. It was Minister José Frederico Casal Ribeiro Ulrich who allegedly led the campaign against Almada’s work.
In November, opinions issued by Pardal Monteiro and João Couto in defense of the paintings were apparently decisive in preventing their destruction.