{"id":4876,"date":"2025-06-03T14:16:57","date_gmt":"2025-06-03T14:16:57","guid":{"rendered":"https:\/\/rootartgallery.com\/?p=4876"},"modified":"2025-10-10T13:01:45","modified_gmt":"2025-10-10T13:01:45","slug":"julio-pomar","status":"publish","type":"post","link":"https:\/\/rootartgallery.com\/?p=4876","title":{"rendered":"J\u00falio Pomar"},"content":{"rendered":"\t\t
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J\u00daLIO POMAR<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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N<\/strong>asceu em 1926 em Lisboa. Frequentou a Escola de Artes Decorativas Ant\u00f3nio Arroio e as Escolas de Belas-Artes de Lisboa e Porto, tendo participado em 1942 numa primeira mostra de grupo, em Lisboa, e realizado a primeira exposi\u00e7\u00e3o individual em 1947, no Porto, onde apresentou desenhos. Nesses anos, a sua oposi\u00e7\u00e3o ao regime de Salazar acarretou-lhe uma estada de quatro meses na pris\u00e3o, a apreens\u00e3o de um dos seus quadros pela pol\u00edcia pol\u00edtica e a oculta\u00e7\u00e3o dos frescos, com mais de 100 m2, realizados para o Cinema Batalha no Porto. Permaneceu em Portugal at\u00e9 1963, ano em que se instalou em Paris. Viveu e trabalhou entre Paris e Lisboa at\u00e9 morrer, em maio de 2018, em Lisboa.<\/span><\/div>

De uma obra que se prolonga por oito d\u00e9cadas, o autor destaca, ap\u00f3s o per\u00edodo inicial, dito neo-realista, as exposi\u00e7\u00f5es \u00abTauromachies\u00bb e \u00abLes Courses\u00bb (Galerie Lacloche, Paris, 1964 e 1965); a participa\u00e7\u00e3o numa mostra dedicada ao quadro de Ingres,\u00a0Le Bain Turc,<\/em>\u00a0no Museu do Louvre (1971); as s\u00e9ries de pinturas\u00a0Mai 68<\/em>\u00a0(CRS SS) e\u00a0Le Bain Turc<\/em>\u00a0(Galeria 111, Lisboa); as exposi\u00e7\u00f5es \u00abL\u2019Espace d\u2019Eros\u00bb (Galerie de la Diff\u00e9rence, Bruxelas, 1978) e \u00abTh\u00e9\u00e2tre du Corps\u00bb (Galerie de Bellechasse, Paris, 1979); \u00abTigres\u00bb (Galerie de Bellechasse e Galeria 111, 1981 e 1982); \u00abUm ano de desenho \u2013 quatro poetas no Metropolitano de Lisboa\u00bb (estudos preparat\u00f3rios para a esta\u00e7\u00e3o Alto dos Moinhos) em 1984, no Centro de Arte Moderna da Funda\u00e7\u00e3o Calouste Gulbenkian, que j\u00e1 em 1978 promovera a sua primeira exposi\u00e7\u00e3o retrospetiva; \u00abEllipses\u00bb (Galerie de Bellechasse, Paris, 1984) e \u00abMascarados de Piren\u00f3polis\u00bb (Galeria 111, ARCO, Madrid, 1988).<\/p>

No in\u00edcio da d\u00e9cada de 1990, uma estada no Alto Xing\u00fa, na Amaz\u00f3nia, est\u00e1 na origem das exposi\u00e7\u00f5es \u00abLos Indios\u00bb (Galeria 111, ARCO, Madrid) e \u00abLes Indiens\u00bb (Galerie Georges Lavrov, Paris), em 1990, a que se segue \u00abPomar\/Brasil\u00bb, antologia organizada tamb\u00e9m pelo CAM e apresentada em Bras\u00edlia, S\u00e3o Paulo, Rio de Janeiro e Lisboa. O Minist\u00e9rio da Cultura franc\u00eas convidou J\u00falio Pomar a realizar um retrato de Claude L\u00e9vi-Strauss, que precedeu o do presidente M\u00e1rio Soares para a galeria oficial do Pal\u00e1cio de Bel\u00e9m (1991). Seguiram-se as exposi\u00e7\u00f5es \u00abPomar et la Litt\u00e9rature\u00bb (Charleroi, B\u00e9lgica, 1991), \u00abFables et Portraits\u00bb (Galerie Piltzer, Paris, 1994), sendo a tem\u00e1tica ficcional retomada em \u00abO Para\u00edso e Outras Hist\u00f3rias\u00bb (Culturgest, Lisboa, 1994), e \u00abL\u2019Ann\u00e9e du cochon ou les m\u00e9faits du tabac\u00bb (Galerie Piltzer, 1996). A presen\u00e7a da Amaz\u00f3nia reaparece em \u00abLes Joies de Vivre\u00bb (Galerie Piltzer, 1997) e \u00abLes Indiens \u2013 Xing\u00fa 1988-1997\u00bb (Festival International de Biarritz). A s\u00e9rie La Chasse au Snark \u00e9 mostrada em Paris (Galerie Piltzer, 1999) e em Nova Iorque (Salander-O\u2019Reilly Gallery, 2000).<\/p>

Mostrou \u00abPinturas Recentes\u00bb, in\u00e9ditas em Portugal, no Centro de Congressos de Aveiro em 2000, e em 2002 volta \u00e0 Galeria 111 com a exposi\u00e7\u00e3o \u00abOs Tr\u00eas Efes \u2013 F\u00e1bulas, Farsas e Fintas\u00bb, a que se sucedem \u00abTrois travaux d\u2019Hercule et quelques chansons r\u00e9alistes\u00bb e \u00abM\u00e9ridiennes \u2013M\u00e8res Indiennes\u00bb (Galerie Patrice Trigano, Paris, 2002 e 2004); \u00abFables et Fictions\u00bb, esculturas e suas fotografias por G\u00e9rard Castello-Lopes (Galerie Le Violon Bleu, Sidi Bou-Said, Tun\u00edsia, 2004), que se prolonga em \u00abA Raz\u00e3o das Coisas\u00bb, assemblages e bronzes, tamb\u00e9m fotografados por Jos\u00e9 M. Rodrigues, Casa de Serralves, Porto (2009, depois itinerante).<\/p>

Em 2004, Marcelin Pleynet comissariou uma exposi\u00e7\u00e3o antol\u00f3gica no Sintra Museu de Arte Moderna \u2013 Colec\u00e7\u00e3o Berardo a que deu o nome \u00abAutobiografia\u00bb, e as d\u00e9cadas recentes da obra de J\u00falio Pomar foram antologiadas por Hellmut Wohl no Centro Cultural de Bel\u00e9m, sob o t\u00edtulo \u00abA Com\u00e9dia Humana\u00bb. Em 2008, o Museu de Arte Contempor\u00e2nea de Serralves, no Porto, incluiu numerosas assemblages in\u00e9ditas na mostra \u00abCadeia da Rela\u00e7\u00e3o\u00bb, comissariada por Jo\u00e3o Fernandes. Em 2009 exp\u00f4s \u00abNouvelles Aventures de Don Quixote et Trois (4) Tristes Tigres\u00bb (Galerie Patrice Trigano), e em 2012-13 \u00abAtirar a albarda ao ar\u00bb na Cooperativa \u00c1rvore, Porto, e Galeria 111, Lisboa.<\/p>

Al\u00e9m da obra de pintura, desenho, escultura, cer\u00e2mica, gravura, etc., J\u00falio Pomar escreveu\u00a0Catch: th\u00e8mes et variations, Discours sur la c\u00e9cit\u00e9 du peintre, Et la peinture?<\/em>\u00a0(\u00c9ditions de la Diff\u00e9rence, Paris, 1984, 1985 e 2000), os dois \u00faltimos traduzidos para portugu\u00eas por Pedro Tamen com os t\u00edtulos\u00a0Da Cegueira dos Pintores<\/em>\u00a0(Imprensa Nacional, 1986) e\u00a0Ent\u00e3o e a Pintura?<\/em>\u00a0(Dom Quixote, 2003); e duas colet\u00e2neas de poesias\u00a0Alguns Eventos<\/em>\u00a0e TRATAdoDITOeFEITO<\/em>\u00a0(Dom Quixote, 1992 e 2003).<\/p>

J\u00falio Pomar instituiu em 2004 uma Funda\u00e7\u00e3o com o seu nome.<\/p><\/div>

Fonte: https:\/\/www.ateliermuseujuliopomar.pt\/julio-pomar\/<\/a>\u00a0 <\/strong>(consultado em 03\/06\/2025).<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Algumas das obras do artista:<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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” Varina Comendo Melancia “<\/strong><\/span><\/p>

Data: 1949<\/p>

T\u00e9cnica: \u00d3leo sobre tela<\/p>

Dimens\u00f5es: 100 x 100 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” D. Quixote e os Carneiros “<\/strong><\/span><\/p>

Data: 1961<\/p>

T\u00e9cnica: \u00d3leo sobre tela<\/p>

Dimens\u00f5es: 129 x 162 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” Almada I “<\/strong><\/span><\/p>

Data: 1970<\/p>

T\u00e9cnica: Acr\u00edlico sobre tela<\/p>

Dimens\u00f5es: 130 x 163 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” A refei\u00e7\u00e3o do menino ou almo\u00e7o “<\/strong><\/span><\/p>

Data: N\/D<\/p>

T\u00e9cnica: Litografia em papel<\/p>

Dimens\u00f5es: 63,5 x 44,6 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” L’odalisque \u00e0 l’esclave II, d’apr\u00e9s Ingres “<\/strong><\/span><\/p>

Data: 1969<\/p>

T\u00e9cnica: Acr\u00edlico sobre tela<\/p>

Dimens\u00f5es: 184,3 x 157,5 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” Praia “<\/strong><\/span><\/p>

Data: 1953<\/p>

T\u00e9cnica: Tecelagem manual em l\u00e3<\/p>

Dimens\u00f5es: 204 x 117 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” Fernando Pessoa “<\/strong><\/span><\/p>

Data: 1983<\/p>

T\u00e9cnica: Marcador e colagem em papel vegetal<\/p>

Dimens\u00f5es: 90 x 206 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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” Mulheres na Praia “<\/strong><\/span><\/p>

Data: 1950<\/p>

T\u00e9cnica: \u00d3leo sobre tela<\/p>

Dimens\u00f5es: 122,5 x 93,5 cm<\/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<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

J\u00daLIO POMAR Nasceu em 1926 em Lisboa. Frequentou a Escola de Artes Decorativas Ant\u00f3nio Arroio e as Escolas de Belas-Artes de Lisboa e Porto, tendo participado em 1942 numa primeira mostra de grupo, em Lisboa, e realizado a primeira exposi\u00e7\u00e3o individual em 1947, no Porto, onde apresentou desenhos. Nesses anos, a sua oposi\u00e7\u00e3o ao regime […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"postBodyCss":"","postBodyMargin":[],"postBodyPadding":[],"postBodyBackground":{"backgroundType":"classic","gradient":""},"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[110],"tags":[],"class_list":["post-4876","post","type-post","status-publish","format-standard","hentry","category-blog-pt"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/rootartgallery.com\/index.php?rest_route=\/wp\/v2\/posts\/4876","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rootartgallery.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rootartgallery.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rootartgallery.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rootartgallery.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4876"}],"version-history":[{"count":61,"href":"https:\/\/rootartgallery.com\/index.php?rest_route=\/wp\/v2\/posts\/4876\/revisions"}],"predecessor-version":[{"id":6466,"href":"https:\/\/rootartgallery.com\/index.php?rest_route=\/wp\/v2\/posts\/4876\/revisions\/6466"}],"wp:attachment":[{"href":"https:\/\/rootartgallery.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4876"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rootartgallery.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4876"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rootartgallery.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4876"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}