https://devlaravel.imosver.com/en/libros/pintura-00101268630010126863PINTURA55.92Esta edição de Pintura de Amadeo de Souza-Cardoso foi publicada por ocasião da exposição «Amadeo de Souza-Cardoso 1887-1918», organizada pela Fundação Calouste Gulbenkian e pela Réunion des Musées Nathttps://static.arnoia.com/imagenes_small/9789898/978989883415.jpgLibrosLibros/PINTURA, ESCULTURA, DANZA Y TEATROSin stockDOCUMENTA000https://static.arnoia.com/imagenes_small/9789898/978989883415.jpg00101268600010126861001012686258.8652.942016/01/019789898834157De Souza-Cardoso, AmadeoLibrosaño_2016idioma_PortuguesePautor_De Souza-Cardoso, Amadeosaga_SEM COLEÇAO
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Esta edição de Pintura de Amadeo de Souza-Cardoso foi publicada por ocasião da exposição «Amadeo de Souza-Cardoso 1887-1918», organizada pela Fundação Calouste Gulbenkian e pela Réunion des Musées Nationaux - Grand Palais, em Paris, de 20 de Abril a 18 de Julho de 2016. «Amadeo de Souza-Cardoso é a primeira Descoberta de Portugal na Europa do século XX. O limite da Descoberta é infinito porque o sentido da Descoberta muda de substância e cresce em interesse ù por isso que a Descoberta do Caminho Marítimo prá Índia é menos importante que a Exposição de Amadeo de Souza-Cardoso na Liga Naval de Lisboa.» José de Almada Negreiros, Exposição de pintura: amadeo de souza cardoso, Liga Naval de Lisboa, 1916 «Para os miúdos da altura, todos declaradamente incréus, o Amadeo tinha a força de uma crença. Náufragos que nos sentíamos entre um país em farrapos e uma cultura de sacristia a separar-nos da Europa em chamas, o exemplo de Amadeo atestava a esperança de um dia podermos chegar a terras de gente.» Júlio Pomar, JL - Jornal de letras, artes e ideias, 2006 «O trabalho de Amadeo herda aquilo que o cubismo teve de melhor, uma prática densamente desestruturante. Só que esta prática não é em Amadeo fruto de um método; antes desestruturando métodos, fazendo-os cruzar, entrelaçar, entregolfar sem inquietações ou porquês. As suas pinturas passam de uma situação em que predomina o jogo como é o caso dos cubismos, futurismos, impressionismos, etc., para uma produção movida pela brincadeira. A própria ideia de paródia se ausenta, uma vez que esta dimensão de brincadeira anula a possível carga reactiva.» Pedro Proença, Expresso, 1987