Home Arts Carlos Porfírio and Futurism in the Algarve: An Early Chapter in the History of Portuguese Modernism
Chapter
Licensed
Unlicensed Requires Authentication

Carlos Porfírio and Futurism in the Algarve: An Early Chapter in the History of Portuguese Modernism

  • Fernando Paulo Rosa Dias
Become an author with De Gruyter Brill
Explore this Subject How to publish with us
Volume 10 2020
This chapter is in the book Volume 10 2020

Abstract

Carlos Porfírio was a painter, filmmaker, poet and curator from the Algarve who was crucial for the Futurist group that emerged in its capital Faro in 1917. In this essay, I shall discuss Porfírio’s relations with the Futurist group in Lisbon, especially Santa Rita Pintor and José de Almada-Negreiros, and their joint initiatives in Faro. I shall pay particular attention to the “Futurismo” section in the newspaper O heraldo (The Herald) from Faro; the Futurist aspects of the art exhibition held in Faro in 1917, with the participation of Carlos Porfírio, Carlos Lyster Franco and Raul Marques Carneiro; the genesis and birth of Portugal futurista (1917), and Carlos Porfírio’s rôle as its director. Drawing on some recently discovered letters, I shall highlight the key features of Futurism in the Algarve and outline how, in the course of 1917, it shifted to Lisbon and, eventually, to be replaced by a Portuguese/Hispanic notion of Modernism.

Abstract

Carlos Porfírio was a painter, filmmaker, poet and curator from the Algarve who was crucial for the Futurist group that emerged in its capital Faro in 1917. In this essay, I shall discuss Porfírio’s relations with the Futurist group in Lisbon, especially Santa Rita Pintor and José de Almada-Negreiros, and their joint initiatives in Faro. I shall pay particular attention to the “Futurismo” section in the newspaper O heraldo (The Herald) from Faro; the Futurist aspects of the art exhibition held in Faro in 1917, with the participation of Carlos Porfírio, Carlos Lyster Franco and Raul Marques Carneiro; the genesis and birth of Portugal futurista (1917), and Carlos Porfírio’s rôle as its director. Drawing on some recently discovered letters, I shall highlight the key features of Futurism in the Algarve and outline how, in the course of 1917, it shifted to Lisbon and, eventually, to be replaced by a Portuguese/Hispanic notion of Modernism.

Chapters in this book

  1. Frontmatter I
  2. Contents V
  3. Editorial IX
  4. Section 1: Futurism Studies
  5. The Futurist Manifestos of 1909: Dates and Editions Reconsidered 3
  6. Margherita Sarfatti, Novecento and Futurism 35
  7. Network Diagrams in Futurist and other Avant-garde Magazines: The Creation and Self-Positioning of an Imaginary Community 68
  8. The Reception of Italian Futurism in Vienna during the 1920s and 1930s 95
  9. Carlos Porfírio and Futurism in the Algarve: An Early Chapter in the History of Portuguese Modernism 120
  10. Tullio d’Albisola between Futurism and Fascism 149
  11. The Georgian Avant-garde: Futurism and More 172
  12. Futurism and the Birth of Modern Typography 200
  13. Tato and Exhibitions of Futurist Photography in the 1930s 216
  14. In Search of Lost Scents: The Olfactory Dimension of Italian Futurism 247
  15. Satirizing Futurism in France: Roland Dorgelès, André Warnod and their Circle 276
  16. Section 2: Caricatures and Satires of Futurism in the Contemporary Press
  17. At a Sándor Bortnyik Exhibition in Budapest (June 1919): A Hungarian Critic’s Interpretation of ‘Futurism’ 309
  18. Ragnvald Blix’s Caricature of Futurist Painting in the Midst of WWI 315
  19. French Humour and Futurist Music: Luigi Russolo’s intonarumori in a Cartoon by Jean-Jacques Roussau 319
  20. Caricatures of Futurism in Il travaso delle idee 324
  21. Macaronetti, Marie Netti, and the Like: Parodies of Futurism at the Great Zwans Exhibition in Brussels (1914) 328
  22. Returning to the Futurist Fold: A Caricature in Bloodless Murder Magazine (1916) 332
  23. Marinetti Viewed by Antonio Teixeira Cabral, a Portuguese “Caricature-on-the-scene reporter” 336
  24. Section 3: Archive Report
  25. Archive Report: The Archiv der Avantgarden (AdA) in Dresden 341
  26. Section 4: Reviews
  27. A New Study on Italian Futurism and the Machine 359
  28. New Research into Marinetti’s Notebooks 368
  29. Evola’s Path from Futurism to Dada and Beyond 379
  30. Valentine de Saint-Point: Between Carnality and Ideism, Between East and West 383
  31. Contours and Borders of International Futurism 392
  32. Růžena Zátková’s Life and Works Elucidated in a New Study 397
  33. Ukrainian Modernism between Futurism and Constructivism, between Russia and the West 404
  34. Section 5: Bibliography
  35. A Bibliography of Publications on Futurism, 2017–2020 411
  36. Section 6: Back Matter
  37. List of Illustrations and Provenance Descriptions 431
  38. Notes on Contributors 439
  39. Name Index 449
  40. Subject Index 481
  41. Geographical Index 511
https://doi.org/10.1515/9783110702200-005

Chapters in this book

  1. Frontmatter I
  2. Contents V
  3. Editorial IX
  4. Section 1: Futurism Studies
  5. The Futurist Manifestos of 1909: Dates and Editions Reconsidered 3
  6. Margherita Sarfatti, Novecento and Futurism 35
  7. Network Diagrams in Futurist and other Avant-garde Magazines: The Creation and Self-Positioning of an Imaginary Community 68
  8. The Reception of Italian Futurism in Vienna during the 1920s and 1930s 95
  9. Carlos Porfírio and Futurism in the Algarve: An Early Chapter in the History of Portuguese Modernism 120
  10. Tullio d’Albisola between Futurism and Fascism 149
  11. The Georgian Avant-garde: Futurism and More 172
  12. Futurism and the Birth of Modern Typography 200
  13. Tato and Exhibitions of Futurist Photography in the 1930s 216
  14. In Search of Lost Scents: The Olfactory Dimension of Italian Futurism 247
  15. Satirizing Futurism in France: Roland Dorgelès, André Warnod and their Circle 276
  16. Section 2: Caricatures and Satires of Futurism in the Contemporary Press
  17. At a Sándor Bortnyik Exhibition in Budapest (June 1919): A Hungarian Critic’s Interpretation of ‘Futurism’ 309
  18. Ragnvald Blix’s Caricature of Futurist Painting in the Midst of WWI 315
  19. French Humour and Futurist Music: Luigi Russolo’s intonarumori in a Cartoon by Jean-Jacques Roussau 319
  20. Caricatures of Futurism in Il travaso delle idee 324
  21. Macaronetti, Marie Netti, and the Like: Parodies of Futurism at the Great Zwans Exhibition in Brussels (1914) 328
  22. Returning to the Futurist Fold: A Caricature in Bloodless Murder Magazine (1916) 332
  23. Marinetti Viewed by Antonio Teixeira Cabral, a Portuguese “Caricature-on-the-scene reporter” 336
  24. Section 3: Archive Report
  25. Archive Report: The Archiv der Avantgarden (AdA) in Dresden 341
  26. Section 4: Reviews
  27. A New Study on Italian Futurism and the Machine 359
  28. New Research into Marinetti’s Notebooks 368
  29. Evola’s Path from Futurism to Dada and Beyond 379
  30. Valentine de Saint-Point: Between Carnality and Ideism, Between East and West 383
  31. Contours and Borders of International Futurism 392
  32. Růžena Zátková’s Life and Works Elucidated in a New Study 397
  33. Ukrainian Modernism between Futurism and Constructivism, between Russia and the West 404
  34. Section 5: Bibliography
  35. A Bibliography of Publications on Futurism, 2017–2020 411
  36. Section 6: Back Matter
  37. List of Illustrations and Provenance Descriptions 431
  38. Notes on Contributors 439
  39. Name Index 449
  40. Subject Index 481
  41. Geographical Index 511
Sign up now to receive a 20% welcome discount
Institutional Access
How does access work?
Have an idea on how to improve our website?
Please write us.
© 2025 De Gruyter Brill
Downloaded on 6.9.2025 from https://www.degruyterbrill.com/document/doi/10.1515/9783110702200-005/html?srsltid=AfmBOopssk4gfrmJzqm6M6bA8uvpsHLaxSpyZBUfh_5cTsdeaAV-_7D2
Scroll to top button