Can the art and tradition of a country be worn by your feet?
More than praising national talent and portraying an identity, these campaigns aim to open a door to the outside world. At their core, they intend to value the heritage of the past, and what we do best, to make our quality and beauty appreciated by everyone. In an increasingly fast and unstable world, by intersecting with other talents and cultures, we intend to be an example of something that charms, continues, and lasts, but is always improving towards the future.
More than praising national talent and portraying an identity, these campaigns aim to open a door to the outside world. At their core, they intend to value the heritage of the past, and what we do best, to make our quality and beauty appreciated by everyone. In an increasingly fast and unstable world, by intersecting with other talents and cultures, we intend to be an example of something that charms, continues, and lasts, but is always improving towards the future.
Inspired by - O Fado, 1910, José Malhoa
It is one of the most national iconic paintings. Authored by José Malhoa, this work-of-art contains such stories that could be transformed into a film script. Let us explain: there are two identical works from José Malhoa, the 1909 version and the 1910 version, which is the most known.José Malhoa intended to portray the essence of fado. The musical style was becoming more appreciated among the bourgeois and intellectuals, despite being still linked to a certain marginality. First, Malhoa hired models, but soon realized the essence could not be captured there. So, the painter set out to discover the authenticity he longed for: after walking through Lisbon’s neighbourhoods, he found in Mouraria the ideal protagonists.
Amâncio Augusto Esteves, guitar player, fado singer and ‘tough guy’, and Adelaide da Facada ("of stab”, so known for the scar on the left side of the face), a cashier and prostitute. The artist went several times to Adelaide’s house and even to the prison to be able to paint the two characters. The attempts to paint Adelaide showing her breasts did not work due to Amâncio’s jealousy. Even king D. Manuel intervened, asking Malhoa to remove Adelaide’s tattoos, poorly connoted at the time.
The painting was unwell received at first, as it portrayed the marginality of fado. The first version is in a private exhibition. The last, from 1910, belongs to the City Council of Lisbon and can be seen at the Fado Museum. The two works were admired side by side, for the first time in 2010, at the National Society of Fine Arts, in Lisbon.
The painting was unwell received at first, as it portrayed the marginality of fado. The first version is in a private exhibition. The last, from 1910, belongs to the City Council of Lisbon and can be seen at the Fado Museum. The two works were admired side by side, for the first time in 2010, at the National Society of Fine Arts, in Lisbon.