- Av. Berna 26 C
1069-061 Lisboa
Portugal - (please use e-mail - j.cunhaleal@fcsh.unl.pt)
- Architecture, Art History, Visual Studies, Urban Studies, Popular Culture, Art Theory, and 36 moreVisual Culture, Narrative, Modern Art, Vernacular Architecture, Historiography (in Art History), Modernism (Art History), Nineteenth-century Art, Structuralism (Architecture), Popular Arts, Urban History, Modernism, Public Art, Garden History, Collage, Lisboa urbanismo arquitectura, Heteropias, History, Critical Theory, Culture, Cultural Theory, Contemporary Art, Art Criticism, Artists' Books, Design History and Theory, Political Art, Lisbon Reconstruction, Pombaline Architecture, Pombaline Buildings, Pedro Cabrita Reis, Art-Writing, History of Perspective in Painting, Portuguese Art, Artist As Historian, Anthropology, Cultural Studies, and Cultural Historyedit
- Joana Cunha Leal was awarded her MA (1997) and PhD (2006) from Universidade NOVA de Lisboa (UNL). She is Assistant Pr... moreJoana Cunha Leal was awarded her MA (1997) and PhD (2006) from Universidade NOVA de Lisboa (UNL). She is Assistant Professor at the Department of Art History of Faculdade de Ciências Sociais e Humanas at the same University (http://www.fcsh.unl.pt/faculdade/docentes/jdcl). She teaches courses at graduate and post-graduate levels on 19th century Art and Architecture, Modernism, Art Theory and Theory and Methodology of Art History and Urban studies (also taught as an invited lecturer at the Universitat de Barcelona, Spain 2008-2010).
Other data:
. IR for the project Southern Modernisms (funded by the Portuguese Foundation for Science and Technology)
• Fulbright Research Fellowship (Visiting Scholar at the School of the Art Institute of Chicago, Spring Semester 2011).
• Fellow of the Stone Summer Theory Institute 2010 and 2011 – “Beyond the Aesthetic and the Anti-Aesthetic” and “Farewell to visual studies” (Chicago, July 2010 and 2011)
• Vice-director of the Art History Institute of Universidade Nova de Lisboa and head of its research line on theory and disciplinary practices of art history
• Editor of the Art History Institute’s journal on practices of theory (N.10, 2012).
• Author of several articles and books including To and Fro: Modernism and Vernacular Architecture (co-edited in 2013) and “Trapped bugs, rotten fruits and faked collages: Amadeo Souza Cardoso’s troublesome modernism” (published in Konsthistorisk tidskrift/Journal of Art History, 2013)
(vita at http://www.degois.pt/visualizador/curriculum.jsp?key=6527414735826486)edit
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This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró... more
This essay considers art historical discourses on the work produced during the First World War by two painters born and living in the Iberian Peninsula: the Portuguese Amadeo de Souza Cardoso (1887–1918) and the Catalan Joan Miró (1893–1983). It considers the dialogues and relations maintained by these painters in their war-affected national artistic milieus and with the equally disrupted, international avant-garde circles, while discussing historiographical biased assumptions about production-places and their meanings, namely how localness was read as expressing isolation, distance, and lack of aesthetic significance.
Follow the link to the RIHA Journal
Este artigo pretende analisar e discutir o lugar da representação na pintura de Amadeo de Souza Cardoso (1887-1918). Propõe-se paralelamente observar e debater o modo como a inscrição da sua obra nos padrões internacionais do... more
Este artigo pretende analisar e discutir o lugar da representação na pintura de Amadeo de Souza Cardoso (1887-1918). Propõe-se paralelamente observar e debater o modo como a inscrição da sua obra nos padrões internacionais do modernismo e das vanguar- das foi considerada face à sua pertença regional, i.e. à sua portugalidade.
Em estudo neste artigo estarão as pinturas-colagem realizadas por Amadeo de Souza Cardoso entre 1916 e 1917 e a hipótese de lhes ter estado reservado um horizonte de interpretação paradigmático do “regime” de visibilidade modernista na história da arte e, portanto das narrativas épicas consagradas do abstraccionismo como destino da pintura do século xx. Parte-se, assim, da discussão da tese de José-Augusto França de que Amadeo foi vítima da sua condição periférica e não conseguiu acompanhar as orientações internacionais do modernismo e das vanguardas, para a discussão da pos- terior consagração do pintor como tendo superado essas orientações e construido uma obra radicalmente original. Debate-se por último o facto de em qualquer dos casos a inscrição de Amadeo num regime representativo ter permanecido desvalorizada ou meramente ignorada.
Em estudo neste artigo estarão as pinturas-colagem realizadas por Amadeo de Souza Cardoso entre 1916 e 1917 e a hipótese de lhes ter estado reservado um horizonte de interpretação paradigmático do “regime” de visibilidade modernista na história da arte e, portanto das narrativas épicas consagradas do abstraccionismo como destino da pintura do século xx. Parte-se, assim, da discussão da tese de José-Augusto França de que Amadeo foi vítima da sua condição periférica e não conseguiu acompanhar as orientações internacionais do modernismo e das vanguardas, para a discussão da pos- terior consagração do pintor como tendo superado essas orientações e construido uma obra radicalmente original. Debate-se por último o facto de em qualquer dos casos a inscrição de Amadeo num regime representativo ter permanecido desvalorizada ou meramente ignorada.
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Collage and abstractionism play a central role in modernism’s history, as they paved the way that outshined illusionist representation and supported the ideal of pure formalist research putatively implied by their practice. This article... more
Collage and abstractionism play a central role in modernism’s history, as they paved the way that outshined illusionist representation and supported the ideal of pure formalist research putatively implied by their practice. This article revisits well-known debates on this subject (positions either striving to question formalist-structuralist interpretations, or determined to settle and reinforce them) from an outer perspective: the work of Amadeo Souza Cardoso (1887-1918), still a relatively unknown Portuguese modernist painter. By analyzing Souza Cardoso’s work, this article aims to discuss and disrupt art historical dichotomies such as center/periphery, high/low, leading artist/second-hand follower, as well as to question the place of representation, narrative and the manipulation of signs within collage. Within this framework, the article considers both Souza Cardoso’s extensive use of faked collages, and the terms of his close friendship with Robert and Sonia Delaunay (both in Paris, and during their common war time exile in Portugal). Eventually, art historical accounts on their friendship, mutual influences, and unaccomplished projects will be revised, by way of rethinking the asymmetry implicit in notions such as “indebtedness” and “decorativeness” assigned to Souza Cardoso’s painting.
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"Although it is currently considered to be one of the major achievements in Portuguese art history, the recovery of Lisbon after the 1755 earthquake was not always recognized as such. Monotony, pragmatism, parsimony, repetitive patterns... more
"Although it is currently considered to be one of the major achievements in Portuguese art history, the recovery of Lisbon after the 1755 earthquake was not always recognized as such. Monotony, pragmatism, parsimony, repetitive patterns and a lack of fantasy and originality were powerful anathemas that cast a vast shadow over the city built under Marquis de Pombal’s government. In 1949, Pardal Monteiro, one of the most important Portuguese modernist architects, was the first author to re-evaluate the pombaline city fabric arguing that its architecture and urbanism foreshadowed the Modern Movement. However the terms of his appraisal prompted significant interest, the main critical discourses kept on reflecting a negative assessment of Pombal’s undertaking. José-Augusto França’s Lisboa Pombalina e o Iluminismo (Pombaline Lisbon and the Enlightenment) published in 1965 was the turning point in this regard – despite the fact that the negative discourse still endures in its own preface contributed by Pierre Francastel, the recognition of the reconstructed city as a Public Interest heritage in 1978 was a direct outcome of this study. França’s complete and thorough analysis placed the new city within the aesthetics of the Enlightenment and emphasised the symbolic dimension both of its urban plan and of its plaza real. Yet França did not grant any artistic value to its housing typology – even if he recognises that the housing block is the very Pombaline building.
My argument points out the theoretical framework that supported those discourses, while addressing the paradox implied on França’s thesis – i.e. the simultaneous recognition of the architectonic importance of the housing typology and its lack of aesthetics qualities."
My argument points out the theoretical framework that supported those discourses, while addressing the paradox implied on França’s thesis – i.e. the simultaneous recognition of the architectonic importance of the housing typology and its lack of aesthetics qualities."
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A reflexão que proponho assenta na necessidade de (re)equacionar alguns factores estruturantes na construção da imagem de Lisboa num momento particular da sua história - os anos do Romantismo. A proposta parte de um quadro abrangente de... more
A reflexão que proponho assenta na necessidade de (re)equacionar alguns factores estruturantes na construção da imagem de Lisboa num momento particular da sua história - os anos do Romantismo. A proposta parte de um quadro abrangente de pesquisa e análise sobre a arquitectura e o urbanismo na capital no século XIX. Este trabalho foi pensado a partir de um exemplo muito específico: o jardim de S. Pedro de Alcântara. (Re)definida em meados de Oitocentos, essa microestrutura espacial foi, e é, fundamental para as muitas leituras a que a cidade se tem oferecido. É por essa razão que, revisitar a história e o entendimento historiográfico deste espaço se apresenta como uma via de problematização e confronto com algumas das proposições mais repetidas nessas leituras.
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Research Interests: Art Theory and Public Art
Sob o título modernismos do sul temos vindo a desenvolver uma investigação exploratória de cariz teórico e historiográfico. As duas palavras associadas no título do projecto expõem à partida a carga problematizante do seu enfoque: o... more
Sob o título modernismos do sul temos vindo a desenvolver uma investigação exploratória de cariz teórico e historiográfico. As duas palavras associadas no título do projecto expõem à partida a carga problematizante do seu enfoque: o termo modernismos contrapõe a noção canónica de Modernismo, inserindo o projecto na dinâmica revisionista lançada no final do século passado; o segundo termo ancora o foco de análise no sul da Europa – Portugal, Espanha, Itália e Grécia são os territórios fixados para a selecção de casos de estudo no campo das artes visuais e da arquitectura. A demarcação deste campo de análise teve em conta, por um lado, a exequibilidade da investigação, e, por outro, a aposta na construção de estudos comparativos capazes de romper os limites das histórias nacionais, elegendo como foco de análise os cruzamentos, os encontros, as transferências culturais e os diálogos artísticos transnacionais.
A nossa abordagem tem pois um ponto de partida duplamente crítico: à vontade de contribuir para uma revisão da definição dominante de Modernismo no campo da história da arte alia-se a eleição de um território de estudo – o sul da Europa – que produziu manifestações tidas em regra como periféricas, deslocadas, ou incompatíveis com essa definição.
A nossa abordagem tem pois um ponto de partida duplamente crítico: à vontade de contribuir para uma revisão da definição dominante de Modernismo no campo da história da arte alia-se a eleição de um território de estudo – o sul da Europa – que produziu manifestações tidas em regra como periféricas, deslocadas, ou incompatíveis com essa definição.
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"This paper starts from the well-established premise that the reconstruction of Lisbon after the 1755’s Earthquake produced a radical transformation of the city image. I will discuss this transformation emphasizing the major role... more
"This paper starts from the well-established premise that the reconstruction of Lisbon after the 1755’s Earthquake produced a radical transformation of the city image. I will discuss this transformation emphasizing the major role attributed by Pombaline architects to common housing, and focus my analyses on what I believe to be the tremendous effect this had once the erudite-designed bourgeois multi-familiar building was expanded in an unprecedented city-scale. Lisbon’s residential landscape global transformation can be followed through the study of Pombaline buildings’ prospective impact in outer areas of the city (external to the area covered by the 1758’s Plan) throughout XIXth century. Its study shows us that Pombaline architecture was somewhat soon perceived as a common sense standard for both aesthetic evaluation and basic dwelling requirements in late XVIIIth and XIXth centuries.
Based on data collected in a long-term research, I will therefore defend the idea of a thorough reconfiguration of the expectations horizon (H.R. Jauss) of Lisbon’s inhabitants and builders (architects, landlords, owners, politicians, etc). This reconfiguration, caused by the assimilation of Pombaline regular and standardized architectural program, can be gauged in the continuing expansion and densification of Lisbon’s residential areas because it prompted an increasing level of exigency concerning the minimum requisites of common housing concurrently lowering tolerance towards anything that would not dignify the city image (from inappropriate behavior to inappropriate vernacular solutions in the realm of common architecture). It proves that the Pombaline residential standard permeated the whole of the urban territory, appearing both as a structure flexible enough to be (re)interpreted, re-worked and enriched in the city center and as the prototype to be used in other areas leading to the abandonment, or at least the adjusting, of the preceding vernacular way of building.
"
Based on data collected in a long-term research, I will therefore defend the idea of a thorough reconfiguration of the expectations horizon (H.R. Jauss) of Lisbon’s inhabitants and builders (architects, landlords, owners, politicians, etc). This reconfiguration, caused by the assimilation of Pombaline regular and standardized architectural program, can be gauged in the continuing expansion and densification of Lisbon’s residential areas because it prompted an increasing level of exigency concerning the minimum requisites of common housing concurrently lowering tolerance towards anything that would not dignify the city image (from inappropriate behavior to inappropriate vernacular solutions in the realm of common architecture). It proves that the Pombaline residential standard permeated the whole of the urban territory, appearing both as a structure flexible enough to be (re)interpreted, re-worked and enriched in the city center and as the prototype to be used in other areas leading to the abandonment, or at least the adjusting, of the preceding vernacular way of building.
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"The last texts written by PVA, many of which remain unpublished, are specifically devoted to the survey published under the title Portuguese Popular Architecture, or had discussions on it at their outset. Ever since PVA first mentioned... more
"The last texts written by PVA, many of which remain unpublished, are specifically devoted to the survey published under the title Portuguese Popular Architecture, or had discussions on it at their outset.
Ever since PVA first mentioned the survey in Raul Lino’s catalog (1970) a thorough historical, critical, and theoretical approach to the survey was carried out by him. The presentation of the research project Portuguese Popular Architecture. A critical look, undertaken under his coordination until September 2011, is a direct and rather important outcame of this long-standing work.
This paper aims to bring in to discussion such a pervasive concern with the survey’s main questions and deep theoretical and critical implications in PVA’s writings."
Ever since PVA first mentioned the survey in Raul Lino’s catalog (1970) a thorough historical, critical, and theoretical approach to the survey was carried out by him. The presentation of the research project Portuguese Popular Architecture. A critical look, undertaken under his coordination until September 2011, is a direct and rather important outcame of this long-standing work.
This paper aims to bring in to discussion such a pervasive concern with the survey’s main questions and deep theoretical and critical implications in PVA’s writings."
Research Interests:
Eclecticism seems to be one of the most recognized features of Chris Marker’s work. He is often presented as a filmmaker and a photographer, a poet, a translator, a cartoonist, a visual artist, an editor, a software designer and a... more
Eclecticism seems to be one of the most recognized features of Chris Marker’s work.
He is often presented as a filmmaker and a photographer, a poet, a translator, a cartoonist, a visual artist, an editor, a software designer and a television and video director. Given the 50 years since the release of his most well-known film, La Jetée (1963), this volume fosters discussion of the intertwining of photography and cinema within a framework that analyses Marker’s influence in film and photography’s scholarship.
In the last ten years, many books have been published on the subjects of photography and cinema, discussing not only the history of both media, but also the transformations they have undergone through digital revolution that came to blur the frontiers between them. Furthermore, the theory of photography has been raised to a new level, presenting new and fresh thinking, raised through innovative philosophical, historical and cultural approaches, as well as through the recognition of the importance and impact that photography and cinema, as documentary media, have had in the field of modern and contemporary art.
Acknowledging this rich context, this book builds on recent research on photography and cinema, recognizing how digital technology has brought about new ways of working with images, in addition to raising new theoretical issues concerned with them. No author could be more stimulating and inspiring than Marker to start such a journey; his movies, La Jetée in particular, have consistently been a source of inspiration to future generations of directors, as well as critics and scholars.
He is often presented as a filmmaker and a photographer, a poet, a translator, a cartoonist, a visual artist, an editor, a software designer and a television and video director. Given the 50 years since the release of his most well-known film, La Jetée (1963), this volume fosters discussion of the intertwining of photography and cinema within a framework that analyses Marker’s influence in film and photography’s scholarship.
In the last ten years, many books have been published on the subjects of photography and cinema, discussing not only the history of both media, but also the transformations they have undergone through digital revolution that came to blur the frontiers between them. Furthermore, the theory of photography has been raised to a new level, presenting new and fresh thinking, raised through innovative philosophical, historical and cultural approaches, as well as through the recognition of the importance and impact that photography and cinema, as documentary media, have had in the field of modern and contemporary art.
Acknowledging this rich context, this book builds on recent research on photography and cinema, recognizing how digital technology has brought about new ways of working with images, in addition to raising new theoretical issues concerned with them. No author could be more stimulating and inspiring than Marker to start such a journey; his movies, La Jetée in particular, have consistently been a source of inspiration to future generations of directors, as well as critics and scholars.
Research Interests: Photography and Cinema
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O presente livro constitui o segundo volume de um conjunto de publicações que acolhe os contributos de investigadores participantes nos Encontros Interdisciplinares sobre a Matéria do Património. Trata-se um programa de discussões... more
O presente livro constitui o segundo volume de um conjunto de publicações que acolhe os contributos de investigadores participantes nos Encontros Interdisciplinares sobre a Matéria do Património. Trata-se um programa de discussões nascido em 2002 por iniciativa da Sociedade de Geografia de Lisboa.
Este volume é um recurso comparativo de reflexão para ajudar ao esclarecimento de questões que hoje confrontam investigadores e de técnicos envolvidos com matérias do património, e cujo trabalho se vê condicionado por novas realidades impostas por legislação nova e solicitações institucionais multiplicadas.
Este volume é um recurso comparativo de reflexão para ajudar ao esclarecimento de questões que hoje confrontam investigadores e de técnicos envolvidos com matérias do património, e cujo trabalho se vê condicionado por novas realidades impostas por legislação nova e solicitações institucionais multiplicadas.