From the Viola to Orpheu magazine: Amadeo de Souza-Cardoso, sensationism and the four hors-textes destined to Orpheu, vol. 3.

Abstract

http://dx.doi.org/10.5007/2175-7917.2015v20n2p116

Trou de la Serrure Parto da Viola Bon ménage Fraise Avant-garde (Keyhole Viola in Labour Bon ménage Avant-garde strawberry) entitles a work of the Portuguese painter Amadeo de Souza-Cardoso. Parto da Viola was painted in Manhufe (the painter’s hometown in the north of Portugal) at the same time the Orpheu modernist magazine erupted in Lisbon. Despite the painter’s recurrent integration in the history of the literary magazine (mostly thanks to Almada Negreiros narrative), there are still few comparative efforts focusing on Amadeo de Souza-Cardoso’s works and the artistic framework surrounding Orpheu. The sensationist movement, created by Fernando Pessoa and Mário de Sá-Carneiro, provides several ways of approaching the literary and the artistic works. In this article, I suggest that sinaesthesia allows a rereading of Souza-Cardoso’s oeuvre that strengthens bonds between literature and painting within Orpheu. Following that inderdisciplinary path through the modernist magazine, I will reveal the results of a research that took place in Amadeo de Souza-Cardoso’s estate and provides new important data for the painter’s role within the literary magazine.