Igreja de Santo Condestável
A Igreja de Santo Condestável em Campo de Ourique é do arquitecto Vasco Regaleira e data de 1951. É uma arquitectura austera e sombria, com um projecto reminiscente do gótico misturado com uma estilização modernista.
The Church of Our Lady of Fátima, the work of architect Pardal Monteiro, was inaugurated on October 13, 1938. It was the first church with modernist architecture in Portugal and the first to express, in the arts it incorporated, the renewal movement in Christian art.
Several artists were commissioned to decorate the interior and exterior of the church. Almada Negreiros was in charge of an extensive program of stained glass windows, mosaics, fresco paintings and even a wrought iron gate. The stained glass windows he designed were executed by Ricardo Leone (stained glass artist and mosaicist) and Mário Costa (stained glass painter). José de Almada Negreiros' stained glass work is part of the interest that this medium aroused among modern artists throughout the 20th century, who updated the original medieval techniques thanks to the developments of the industrial revolution. In the 20th century, the use of stained glass emerged in the context of the notion of the total work of art and the consequent integration of the arts with architecture. On the other hand, stained glass allowed experimentation with the composition of a fragmented image based on fields of color and the geometrization of the themes represented, which were dear to the pictorial research of several artists at the time. Almada created a very extensive program of stained glass, including the representation of the Fountain of Life in the baptistery, repeated in a semicircle reminiscent of Art Nouveau; the stained glass of the Expulsion from Paradise, at the entrance to the baptistery; the important panels of Calvary and Our Lady of Sorrows (or Pity), in the mortuary chapel. In the last two, Almada updates iconographic themes with compositions in which the expression of suffering is accentuated by the contortion of the figures and by a chromaticism that departs from convention. For example, the figure of Mary is not white, and the Christ of Calvary is turning green, which is significant because in Almada the color green is an identity, a kind of signature color. This color is also very present in the church's stained glass windows. Almada also made the side windows depicting incense burners; the large stained glass window in the chancel with angels holding musical instruments or praying; the large stained glass window in the choir, depicting the Trinity; and the ten stained glass windows that dot the central nave of the church, with various religious scenes depicted in narrow bands in which the figures fit on top of each other, concentrated vertically in an ingenious way.
José de Almada Negreiros' stained glass work is part of the interest that this medium aroused among modern artists throughout the 20th century, who updated the original medieval techniques thanks to the developments of the industrial revolution.
In the apse Almada painted the four Evangelists in fresco, St. Matthew, St. Mark, St. Luke and St. John. They are represented by the canonical symbols: a man, a lion, a bull and an eagle, respectively, but Almada makes a switch...
As well as stained glass windows, Almada made the mosaics for the baptismal chapel, with animal and plant motifs, the baldachin and the niches with sculpted religious figures. He also designed the wrought iron fish gate of the baptistery. He also painted the dome in fresco. Also very probably from Almada is the blue starry dome with the Lamb of God outside, at the entrance to the church, and the simple, synthetic rosary painted on the ceiling of the entrance.
The building aroused some controversy from some of the more conservative Catholic sectors because of its modernist and daring aesthetic choices.
Mariana Pinto dos Santos
The Church of Our Lady of Fátima, the work of architect Pardal Monteiro, was inaugurated on October 13, 1938. It was the first church with modernist architecture in Portugal and the first to express, in the arts it incorporated, the renewal movement in Christian art.
Several artists were commissioned to decorate the interior and exterior of the church. Almada Negreiros was in charge of an extensive program of stained glass windows, mosaics, fresco paintings and even a wrought iron gate. The stained glass windows he designed were executed by Ricardo Leone (stained glass artist and mosaicist) and Mário Costa (stained glass painter). José de Almada Negreiros' stained glass work is part of the interest that this medium aroused among modern artists throughout the 20th century, who updated the original medieval techniques thanks to the developments of the industrial revolution. In the 20th century, the use of stained glass emerged in the context of the notion of the total work of art and the consequent integration of the arts with architecture. On the other hand, stained glass allowed experimentation with the composition of a fragmented image based on fields of color and the geometrization of the themes represented, which were dear to the pictorial research of several artists at the time. Almada created a very extensive program of stained glass, including the representation of the Fountain of Life in the baptistery, repeated in a semicircle reminiscent of Art Nouveau; the stained glass of the Expulsion from Paradise, at the entrance to the baptistery; the important panels of Calvary and Our Lady of Sorrows (or Pity), in the mortuary chapel. In the last two, Almada updates iconographic themes with compositions in which the expression of suffering is accentuated by the contortion of the figures and by a chromaticism that departs from convention. For example, the figure of Mary is not white, and the Christ of Calvary is turning green, which is significant because in Almada the color green is an identity, a kind of signature color. This color is also very present in the church's stained glass windows. Almada also made the side windows depicting incense burners; the large stained glass window in the chancel with angels holding musical instruments or praying; the large stained glass window in the choir, depicting the Trinity; and the ten stained glass windows that dot the central nave of the church, with various religious scenes depicted in narrow bands in which the figures fit on top of each other, concentrated vertically in an ingenious way.
José de Almada Negreiros' stained glass work is part of the interest that this medium aroused among modern artists throughout the 20th century, who updated the original medieval techniques thanks to the developments of the industrial revolution.
In the apse Almada painted the four Evangelists in fresco, St. Matthew, St. Mark, St. Luke and St. John. They are represented by the canonical symbols: a man, a lion, a bull and an eagle, respectively, but Almada makes a switch...
As well as stained glass windows, Almada made the mosaics for the baptismal chapel, with animal and plant motifs, the baldachin and the niches with sculpted religious figures. He also designed the wrought iron fish gate of the baptistery. He also painted the dome in fresco. Also very probably from Almada is the blue starry dome with the Lamb of God outside, at the entrance to the church, and the simple, synthetic rosary painted on the ceiling of the entrance.
The building aroused some controversy from some of the more conservative Catholic sectors because of its modernist and daring aesthetic choices.
Mariana Pinto dos Santos
The Church of Our Lady of Fátima, the work of architect Pardal Monteiro, was inaugurated on October 13, 1938. It was the first church with modernist architecture in Portugal and the first to express, in the arts it incorporated, the renewal movement in Christian art.
Several artists were commissioned to decorate the interior and exterior of the church. Almada Negreiros was in charge of an extensive program of stained glass windows, mosaics, fresco paintings and even a wrought iron gate. The stained glass windows he designed were executed by Ricardo Leone (stained glass artist and mosaicist) and Mário Costa (stained glass painter). José de Almada Negreiros' stained glass work is part of the interest that this medium aroused among modern artists throughout the 20th century, who updated the original medieval techniques thanks to the developments of the industrial revolution. In the 20th century, the use of stained glass emerged in the context of the notion of the total work of art and the consequent integration of the arts with architecture. On the other hand, stained glass allowed experimentation with the composition of a fragmented image based on fields of color and the geometrization of the themes represented, which were dear to the pictorial research of several artists at the time. Almada created a very extensive program of stained glass, including the representation of the Fountain of Life in the baptistery, repeated in a semicircle reminiscent of Art Nouveau; the stained glass of the Expulsion from Paradise, at the entrance to the baptistery; the important panels of Calvary and Our Lady of Sorrows (or Pity), in the mortuary chapel. In the last two, Almada updates iconographic themes with compositions in which the expression of suffering is accentuated by the contortion of the figures and by a chromaticism that departs from convention. For example, the figure of Mary is not white, and the Christ of Calvary is turning green, which is significant because in Almada the color green is an identity, a kind of signature color. This color is also very present in the church's stained glass windows. Almada also made the side windows depicting incense burners; the large stained glass window in the chancel with angels holding musical instruments or praying; the large stained glass window in the choir, depicting the Trinity; and the ten stained glass windows that dot the central nave of the church, with various religious scenes depicted in narrow bands in which the figures fit on top of each other, concentrated vertically in an ingenious way.
José de Almada Negreiros' stained glass work is part of the interest that this medium aroused among modern artists throughout the 20th century, who updated the original medieval techniques thanks to the developments of the industrial revolution.
In the apse Almada painted the four Evangelists in fresco, St. Matthew, St. Mark, St. Luke and St. John. They are represented by the canonical symbols: a man, a lion, a bull and an eagle, respectively, but Almada makes a switch...
As well as stained glass windows, Almada made the mosaics for the baptismal chapel, with animal and plant motifs, the baldachin and the niches with sculpted religious figures. He also designed the wrought iron fish gate of the baptistery. He also painted the dome in fresco. Also very probably from Almada is the blue starry dome with the Lamb of God outside, at the entrance to the church, and the simple, synthetic rosary painted on the ceiling of the entrance.
The building aroused some controversy from some of the more conservative Catholic sectors because of its modernist and daring aesthetic choices.
Mariana Pinto dos Santos
Almada Negreiros by Mário Viegas