23 Oct. 1997 // 20 Apr. 1998

"Resende – the years 1940/90"

Júlio Resende

Galeria do Acervo | Collection Gallery

In confession mode

The object of my search? Perhaps the reconciliation of two things apparently irreconcilable.
To discover the form that suits "feeling" and "reflection".

The truth is that the analysts claim that my work reveals a lyrical expressionism. The person who first said that was a Flemish crític, 36 years ago.

If the expressionism in me is not deliberate, maybe the lyricism occurs for reasons underlying a whole people, viewed as submerged in the Atlantic mists, as seems to be the case for Portugal.

That’s probably it.

Ambivalence in feeling and reflecting, is certainly to blame for many hesitations along the way, but it is really justifiable in creative research that is based on a desire for authenticity which I have never moved away from, and do not relinquish now.

The proof is in the fact that I missed out on neo-realism (1940s), abstractionism (1947/48) and all others “isms”, not arrogantly, but always faithful to the feeling and aesthetic thinking that were born with me.

I accept, therefore, to be placed in the "Index" of a contemporaneity marked by the lack of definition of “ephemeral”, “minimalist” things, even if credible, and even by all the resulting humbug of consumerism. I also accept the aesthetic testimony of this contemporaneity, despite its vertigo making it difficult to establish time boundaries. Would a week not be enough for the contemporaneous to cease being so?

The History of Art analyst will respond later.

It is very clear that I do not speculate with painting, although I accept and can understand that others do.

I am only a plastic painter.
1944 | Rapaz do tambor | 61,0 X 46,0 | Tinta da China e pincel
1944 | Rapaz do tambor | 61,0 X 46,0 | Tinta da China e pincel
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