{"id":271,"date":"2025-02-19T12:08:10","date_gmt":"2025-02-19T12:08:10","guid":{"rendered":"https:\/\/vieira-batista.controlinkdev.pt\/?page_id=271"},"modified":"2025-03-10T10:12:19","modified_gmt":"2025-03-10T10:12:19","slug":"criticas","status":"publish","type":"page","link":"https:\/\/vieira-batista.controlinkdev.pt\/en\/criticas\/","title":{"rendered":"Feedbacks"},"content":{"rendered":"
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Feedback's<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\tPortuguese art is poorly known in France. But will there truly be\nnationalist arts? Not for sure. There are currents, expressions that\nare internationalized and mix with the cultures specific to each\ncountry. Vieira-Baptista illustrates this fusion well...\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLe Figaro, Paris, 24\/07\/1986 <\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\u201cColpa \u00e8 di chi m\u2019a destinato al foco\u201d.\nIn this final verse of one of Michelangelo's most beautiful\nsonnets, we are faced with, at the same time, the tragic\nawareness of a destiny that really has to be assumed like fire\nand the endorsement of the respective responsibility to an\nunknown force that cannot even be named.\nAlthough it is a love sonnet, it is certain that all true artists feel\nand act in a similar way, in relation to their expressive\nmodalities; and in this \u201cfire\u201d to which such an ignorant force\ncondemns them, naturally include the themes that impose\nthemselves on them, the reasons that choose them, the\nchallenges that excite and guide them. All fire, always.\nThis is what happens, then, with Vieira-Baptista, who also has\nan intrinsic vocation of fire.
\nAnd here we have, at a distance of more than four centuries,\nupdating in new and very personal chromatic games, in\nreworked textures, in reformulated plans and perspectives, the\nvisual \u201cmessage\u201d of the Italian demiurge. \n\n

\nAnd here we have, at a distance of more than four centuries,\nupdating in new and very personal chromatic games, in\nreworked textures, in reformulated plans and perspectives, the\nvisual \u201cmessage\u201d of the Italian demiurge. \t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tDavid Mour\u00e3o-Ferreira, Abril de 1990 <\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\tVieira-Baptista shows himself every day to be the master of a\nmore dazzling creative power, with less and less need to resort\nto superfluous devices to reveal to us the message he intends\nto convey. Take an image that is known to us and surround it or\nmake it live, in a well-constructed ambience, with beautiful and\nappropriate tones, transparencies and opacities, providing the\nviewer with a spiritual delight in observing the global and an\never-renewed expectation in reading the particular. \t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tSantiago Jervis Ponce, Outubro de 1996<\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\tLu\u00eds Vieira-Baptista is now more than a name, a renowned artist, a\nvisionist, who paints dreams, truths and criticisms, a style and a\nwork that involves us all, in a sensorial poetics that cannot be\nmeasured in texts or in retrospective exhibitions. \n

\nIn Vieira-Baptista's canvases there are ghostly shadows of lyrical,\ntheatrical, historical and dreamlike figures, impregnated with color,\nbiblical or mythical characters, who dance, in silence, under a\ntranslucent veil of magic. \t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
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\n\t\t\t\t\t\tWith a pluriform palette of stylistic resources, Vieira-Baptista\ncreates works in stages, marked by countries and people that\nleave a mark of fidelity and authenticity.

\nProbably Lu\u00eds Vieira-Baptista, who is already great, will be an even\ngreater genius, in another time, the future, which already belongs to\nhim. It has earned a place in the history of art that it is gradually\nconsolidating, with rigor and detail. \n

\nAlways ahead of his time, with an unusual touch of modernity, he\npromised and has delivered on a renewal of the visual arts when\neverything seems to have already been invented or recreated. \t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
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\n\t\t\t\t\t\tIn an unusual way, with a very safe and characteristic line, between\nlight and shadow, color and neutrality, calm, fatal or passionate\nfaces emerge, with a serene, disenchanted or provocative look, like\nthe women he portrays, always harmoniously tempting and\nirresistible, living sculptures with a soul.\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
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\n\t\t\t\t\t\tIn Vieira-Baptista, there are tensions and passions, lyricism and\nrealism, spirit and matter, something new, anti-conformism, in\npermanent gestation and mutation. There is, almost always, a\ngreat, enormous, aesthetic sensitivity, which no faculty or school in\nthe world can grant to anyone who does not already have it in their\nsoul, or in another hidden place within themselves, somewhere\nbetween the heart and the soul.

\nVieira-Baptista discovers, innovates, recreates, consecrates\nhumble ingredients and transforms them, then returning them into\nimmortal goods such as heaven, fire, water and earth. \n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
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\n\t\t\t\t\t\tA man who abandoned several things to be able to paint causes\nand, because of his talent and the courage he has in affirming it, in\nhis own way, free from critical weights and intellectual prejudices,\nhe risks remaining in history where so many just pass by, without\nleaving a trace or a trace.\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tAna Paula Almeida, Jornalista da SIC, Televis\u00e3o, 2005 <\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Metaphysics in Art \n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Review by Nathalie Becker, Luxembourg 2007 \n<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Superiorly finished with exemplary patina and iconography with\nsurprising depth, this is the painting by Lu\u00eds Vieira-Baptista, an\ninternationally renowned Portuguese artist whose creations can\ncurrently be seen at Galeria Rectoverso.\u00a0<\/span><\/p>

The man is haughty, with a refined elegance, his way of being\ndenotes a rich personal ease and a beautiful inner harmony.\nLife is a precious asset for him, a treasure that he venerates\nwith each passing day and that he honors in his painting. He,\nthe baby who suffocated at birth because of the umbilical cord\nand who survived the case, makes the most of the beauty of\nexistence with avidity and recognition.\u00a0<\/span><\/p>

Thus, his creations are invitations to an inner journey and lead\n\nthe viewer to their own introspection. With a frontal and anti-\nconformist temperament, Lu\u00eds Vieira-Baptista could not be\n\ncontent with being against the current and as a fiery plastic\nvocabulary was imposed on him, he therefore decided to\ncreate his own style at the end of the eighties, his personal\nmovement which he named \u201cVisionism\u201d.\u00a0<\/span><\/p>

Yes, Vieira-Baptista is very visionary and visionary. His inner\nworld is fixed on the canvas by a confident line, a rich palette,\na studied enlightenment and with dreamlike, ghostly and\nmetaphysical visions.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Lift the veil \n<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ancient civilizations, forgotten rituals, legendary and biblical\ncharacters, mythological heroes, women in all their sensual\nsplendor and charm, natural elements and life appear in his\ncompositions theatricalized by \u201ctrompe-l\u2019oeil\u201d effects and telluric\nframes.\u00a0<\/span><\/p>

\u00a0Water, the original broth where life germinates, is omnipresent, as\nare telluric and magmatic forces. The desert sand sends us back to\nsome lonely and ascetic wildernesses while the bodies, often\nrelegated to fragments as if they were mutilated ancient sculptures,\nevoke the strength of love and its pulsations. In addition, there is\nalso an oval shape that becomes recurrent.\u00a0<\/span><\/p>

Philosophy and religions also find a particular echo in his work, as\nin the series where the painter evokes the initiatory figure of\nHermes Trismegistus, the one who must have lived three lives and\nwho is at the origin of Hermeticism, a philosophical-religious\ndoctrine where astrological and alchemical beliefs are anchored.\u00a0\u00a0<\/span><\/p>

First of all, the painter himself is a true alchemist as he\nmetamorphoses simple figurative elements, sacralizing them and\nproviding them with a great spiritual aura. His creations are not\neasily detached from the viewer. They invite our eyes to search, to\nlift the veil of the well-done work, to penetrate it in order to read it\nbetter and thereby enrich ourselves.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Feedback’s A Arte portuguesa \u00e9 mal conhecida em Fran\u00e7a. Mas haver\u00e1 verdadeiramente artes nacionalistas\u2019 N\u00e3o com certeza. H\u00e1 correntes, express\u00f5es que se internacionalizam e se misturam \u00e0s culturas pr\u00f3prias de cada pa\u00eds. Vieira Baptista ilustra bem essa fus\u00e3o.. Le Figaro, Paris, 24\/07\/1986 \u201cColpa \u00e8 di chi m\u2019a destinato al foco\u201d: neste verso final de um […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-271","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/pages\/271","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/comments?post=271"}],"version-history":[{"count":22,"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/pages\/271\/revisions"}],"predecessor-version":[{"id":1413,"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/pages\/271\/revisions\/1413"}],"wp:attachment":[{"href":"https:\/\/vieira-batista.controlinkdev.pt\/en\/wp-json\/wp\/v2\/media?parent=271"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}