To the origins
The Alentejo region is rich in ancient remains. Between the hills, rock paintings and dolmens alternate with fortified cities. Near Santiago, the Escoural Archaeological Park is home to cave paintings dating back 15,000 to 20,000 years. The cave walls reveal drawings of equids, geometric patterns and even a hybrid creature. Paintings and engravings continue in the open air, on a hilltop sanctuary. These Palaeolithic creations, though crude in style, are real finds.
4,000 years ago, Iberians and Celts dominated the region. Later, the Alentejo came under Roman occupation. Remains from this period are more architectural in nature. It wasn't until the Arab-Muslim peoples settled here, from 711 onwards, that a strong aesthetic influence could be identified. Oriental culture extended until the Reconquista in 1249, leaving treasures that are still part of the Portuguese style today. This was a particularly flourishing period. Islamic art is very present in Mértola, nicknamed "the most Arab town in Portugal", thanks in particular to the presence of the only Moorish mosque on Portuguese soil. Now a surprising church-mosque, it is famous for its oriental doors. Nowadays, an Islamic festival is held in May to showcase all the arts. In Évora, the Moorish influence is omnipresent.
The archaeological crypt of Alcácer Castle is the largest of its kind in Portugal. Located beneath the castle, it features remains from the Roman, Islamic and Christian eras. Numerous artefacts and objects of worship retrace centuries of local history.
Affirmation of the painting
Portuguese painting, subject to a variety of influences, began to make its mark in the 15th century. The town of Castelo de Vide was home to the "maranes", a Jewish community that had converted to Catholicism and built churches without abandoning its rituals. From this period onwards, the churches were equipped with pictorial creations inspired by Flemish painting. The attention to detail and the use of oil paint are to the credit of the Flemish. The most famous Portuguese painter, Nuno Gonçalves (1448-1481), was clearly influenced by the dual Flemish-Italian style. His polyptych of São Vincente de Fora, preserved in Lisbon's Museu nacional de Arte Antiga, is considered the first group representation and psychological painting in European art. This taste for portraiture, manifested by wealthy individuals who wanted to show themselves in their finest finery, led Portuguese painters to perfect their technique in the tradition of Nuno Gonçalves.
Religious scenes were particularly popular in the 16th century. With the rapid circulation of images, the Flemish influence grew stronger. A 1530 depiction of Saint Peter by Vasco Fernandes, known as Grão Vasco, shows a typical Northern European landscape in the background. Another characteristic of Portuguese painting from this period is the impact that the discovery of Brazil had on the artists' imagination. In a famous depiction of the Adoration of the Magi in 1503, Melchior becomes Brazilian.
The great discoveries led by Vasco da Gama, a native of Alentejo, greatly benefited the country's culture. Royal residences were enriched with works of art.
Azulejos, between tradition and modernity
Azulejos, or hand-painted earthenware tiles, embellish the facades and interiors of civil and religious buildings. Imported by the Moors to Spain, the technique was brought to Portugal by King Manuel I, who fell under its spell while visiting Seville, and decided to adorn his Sintra palace with it in 1503. In the 17th century, azulejos became a predominant mode of artistic expression. In the 18th century, at the height of the Baroque period, these tiles, often blue and white, formed panels evoking biblical, mythological or rural scenes.
The arcaded cloister of today's University of Évora is home to some magnificent 18th-century azulejos. Plato and Aristotle are shown delivering their teachings to their disciples.
Évora, the city-museum
The capital of Alentejo is a veritable history book. Long a Roman city, Évora boasts Roman baths and a Templo romano, or Temple of Diana, in the historic center. Witness to centuries of Catholicism, Évora Cathedral (Sé) is the largest Gothic cathedral in Portugal, while the igreja de São Francisco combines Gothic and Baroque traditions.
The medieval city recently welcomed its first urban frescoes. Created to conceal construction work, these collective paintings have been validated by the municipality. And as you travel through the region, you'll come across street art in some surprising places. The peaceful village of Brejão is covered with portraits of fado singer Amalia Rodrigues.
Contemporary art
In the 1990s, the situation in the country led to the widespread closure of art galleries. Little by little, Porto became the focus of almost all Portuguese galleries.
The beating heart of the Beja region, the Jorge Vieira Museum pays tribute to the 20th-century sculptor famous for his terracotta creations. This space has become a meeting place not to be missed. Jorge Vieira (1922-1998), Portugal's first abstract sculptor, made his debut in Lisbon in 1949; his career spanned the globe for almost fifty years. His silhouettes, sometimes in bronze, lie somewhere between mythology and the timeless.
The Museu de Arte Contemporânea de Elvas (MACE) houses António Cachola's landmark collection of contemporary Portuguese art. Painting, graphic art, sculpture, installation, photography and video art make up a diverse panorama of current creation.
The João Carpinteiro Museum of Photography, also in Elvas, combines photographic technique and art, telling the story of local history through thematic exhibitions. For an alternative approach!
