Tereza de Arriaga (5 February 1915 – 12 August 2013), born in Belém, Lisbon, stands as a distinguished figure in the realm of Portuguese painting. Embarking on her artistic journey in the 1940s, Arriaga initially found inspiration in Neorealism, gradually evolving her style to encompass abstract compositions characterized by geometric elements. This transformative period laid the foundation for her later artistic endeavors, marking the genesis of a career that would leave an indelible mark on the Portuguese art scene.
The late 1960s witnessed a maturation of Arriaga's artistic expression, as her work attained a newfound consistency. Throughout this phase, she adeptly balanced her innate social sensibility with a deeper exploration of color and lines, forging a distinctive aesthetic that transcended traditional boundaries. Her paintings, marked with a minimalist elegance, bear the unassuming signatures of "Tereza Arriaga" or "Marriage," encapsulating the essence of her creative identity.
Arriaga's oeuvre is a testament to her ability to navigate diverse artistic currents, seamlessly transitioning from the narrative-driven ethos of Neorealism to the abstract intricacies of geometric abstraction. This stylistic evolution reflects not only her adaptability but also an unwavering commitment to the pursuit of artistic excellence.
Beyond the canvas, Tereza Arriaga's legacy extends to her enduring influence within Portuguese art circles. Her nuanced exploration of form, color, and societal themes resonates with art enthusiasts and scholars alike, solidifying her position as a pivotal figure in the nation's artistic narrative.
Tereza de Arriaga's contributions to the world of visual arts transcend mere aesthetic pursuits; they encapsulate a profound commitment to artistic evolution and an unwavering dedication to social awareness. Her impact endures through the timeless resonance of her works, which continue to captivate audiences and enrich the cultural tapestry of Portuguese art.
Early life and education
Tereza Arriaga, born Maria Tereza d'Almeida Pinheiro d'Arriaga, was a notable individual whose lineage traced back to Manuel de Arriaga, the inaugural President of the Portuguese Republic. Her early years were spent in the prestigious Belém Palace, owing to her father's role as the personal assistant to the President. However, the tumultuous events surrounding the May 14 Revolt of 1915 compelled her to evacuate the palace amidst gunfire. Tragically, at the tender age of three, Tereza experienced the loss of her mother to the Spanish flu, an event that marked the beginning of a life shaped by both privilege and hardship.
Tereza's formative years unfolded in a culturally enriched and politically charged milieu, fostering an early awareness of societal issues influenced by Republican ideals. Raised in Monte Estoril, she received education from her father, supplemented by instruction from an English tutor and later at the religious boarding school, Colégio da Pena, situated in Sintra. Subsequently, the family returned to Lisbon, where she completed her primary education at the esteemed Colégio Inglês.
Despite her father's Republican affiliation, Tereza's education aligned with the bourgeois norms of her era. Proficient in reading, writing, piano, and French, her pursuits also led her to explore the arts. Initially drawn to piano studies, Tereza redirected her focus towards preparing for the School of Arts during her adolescence. However, an encounter with Raquel Roque Gameiro, daughter of the renowned watercolorist Alfredo Roque Gameiro, steered her towards a different path. Advised by Raquel to seek more fulfilling endeavors, Tereza shifted her attention to the realm of visual arts.
Undeterred by societal expectations, Tereza Arriaga embarked on a journey of artistic exploration. Night classes at the Sociedade Nacional de Belas-Artes (SNBA) marked her determination to defy gender norms, as she stood as the sole woman in attendance. Under the guidance of Frederico Aires, Tereza honed her craft, utilizing plaster busts from Aires' personal studio for her drawing practice. Subsequently, she enrolled in the School of Arts to pursue a formal painting course, where she crossed paths with Jorge de Oliveira, her future husband. Despite progressing through three years of the program, Tereza chose to suspend her studies in favor of practical work, a decision that reflected her commitment to personal artistic development.
In retrospect, Tereza Arriaga's life unfolded as a dynamic tapestry, interwoven with familial legacy, societal changes, and a steadfast pursuit of artistic excellence. Her contributions to the art world, characterized by resilience and dedication, underscore the enduring legacy of a woman who navigated the complexities of her time with grace and purpose.
Career
In the period spanning 1944 to 1945, Tereza Arriaga resided in Pinhal de Leiria, a tenure marked by her instructional role in drawing at the Industrial School of Marinha Grande. Engaging with the local workforce, she embarked on a creative endeavor inspired by her interactions, resulting in a compelling series of sketches titled "Meninos operários" (Child workers). Executed on packing paper, these sketches vividly depicted the gestures and fatigued countenances of young laborers, etched with the weariness induced by their labor in the nearby glass factories.
In 1952, Arriaga concluded her Painting course, culminating in a substantial thesis—a large-scale oil painting titled "Vidreiros" (Glassmakers)—derived from her experiences in Marinha Grande. This noteworthy piece now finds its place of residence at the Faculdade de Belas-Artes da Universidade de Lisboa (University of Lisbon).
Extending her influence from 1944 to 1985, Arriaga shared her expertise by teaching drawing at various educational institutions, including the Escola de Artes Decorativas António Arroio. Simultaneously, the responsibilities of motherhood, with the birth of her only child in 1948, and her commitment as an educator temporarily relegated her painting career to the background. While her husband, Jorge de Oliveira, actively participated in emerging art movements such as Neorealism and Surrealism, Arriaga's creative impulse persisted. Despite lacking a formal painting career, she continued to sketch on unconventional canvases like train or telephone tickets, often evolving these initial drafts into more refined works.
Arriaga's exploration of artistic expression extended beyond traditional mediums, with watercolor painting becoming a preferred outlet due to its inherent freedom and rapidity. Throughout the 1950s and 1960s, she primarily focused on portraiture, delving into paintings with geometric atmospheres in the early 1950s. In 1966 and 1967, she collaborated with the Sociedade Cooperativa de Gravadores Portugueses, known as Cooperativa Gravura, showcasing her works in their exhibitions.
The late 1960s witnessed a transformative period for Arriaga, as she dedicated herself more prominently to painting. Adopting a stylistic approach that would endure for the remainder of her life, she solidified her status as a consistent and professional painter in 1967.
Arriaga, the artist, classified her studies into three distinct series: Bioburgos, Helioburgos, and Biohélios. These periods encapsulated her pursuit of an ideal of perfection and the expression of internal turmoil. The "bioburgos" symbolized humanity, portraying individuals as biologically interconnected entities within a broader system. In contrast, the "helium" element denoted the interplay between the individual and light. Arriaga's semiological exploration of vital elements reflected an emotional and intellectual quest for cosmic connections, articulated through the ambiguity between dream and emotion, inner and outer realms, proximity and distance, discovery, and loss.
Her artistic vision encapsulated a reverential relationship with living elements, devoid of sacralization, which she aptly termed "comradeship." Describing her paintings as "places to go," Arriaga's plastic project delved into the profound influence of color in conjunction with geometrical shapes, converging in a conceptual and evocative threshold.
The legacy of Tereza Arriaga endures prominently, with her works primarily housed in the collection of the Museu do Chiado, alongside representations in institutional and private collections, both domestically and abroad.
Political resistance
In the environs of Marinha Grande, Tereza Arriaga, propelled by a profound sensitivity to the challenging realities of the post-World War II era and galvanized by burgeoning opposition to the Salazar regime, actively engaged in cultural and political initiatives from the 1940s through the 1950s. Her endeavors materialized in the establishment of working-class clubs and associations, serving as crucibles for intellectual and artistic exchange. The ideological landscape she cultivated extended beyond her immediate surroundings, encompassing conferences on topics such as women's rights, music, and history.
Arriaga's commitment to fostering cultural and political discourse prompted her to bring esteemed intellectuals and artists from Lisbon to industrial towns across the nation. Notable figures in this endeavor included Fernando Lopes Graça, Maria Isabel Aboim Inglês, and the esteemed historian Flausino Torres. These collaborative efforts sought to bridge the intellectual and cultural gap between urban centers and industrial communities, providing a platform for dialogue and fostering a sense of solidarity among diverse social strata. Regrettably, specific citations for these initiatives remain unavailable.
Concurrently, Arriaga became an active participant in antifascist movements, aligning herself with events that opposed the authoritarian policies of the Salazar regime. Her impassioned involvement in these activities attracted the attention of the PIDE, Portugal's secret police, resulting in her arrest. The subsequent 110 days of imprisonment in the notorious political prison of Caxias cast a pall over her professional life, precipitating a series of challenges in the wake of her release.
Tereza Arriaga's courageous commitment to cultural and political initiatives, coupled with her resilience in the face of repression, stands as a testament to her unwavering dedication to societal betterment and the pursuit of justice during a tumultuous period in Portuguese history.
Bibliography
- Carmo, Fernando Infante (editor and preface): Aspectos das Artes Plásticas em Portugal, 1992 (it does not refer to the painter; reproduction of a painting and painter ‘s photo)
- Dacosta, António: Dacosta em Paris – textos, Ed. Assírio e Alvim, s/d, p. 97.
- De Carvalho, Orlando M. P. N.: “Entrevistas a Tereza Arriaga e Jorge de Oliveira, 2005-2007”, documentation Centre of the Museu do Neo-Realismo, Vila Franca de Xira, 2007.
- Exposição Geral de Artes Plásticas, Catalogue, SNBA, July 1946.
- Gonçalves, Rui Mário: Colóquio Artes, nº 19, October 1994, pp. 31–37.
- Santos, Luiza: Tereza Arriaga – Pintura, in Exhibition catalogue 22/06 – 21/07, Câmara Municipal de Vila Franca de Xira, 2007.
- Tavares, Salette: Tereza Arriaga, in Exhibition catalogue in Galeria Diprove, Lisbon, April–May 1974.
- Tereza Arriaga, Helioburgos, Exhibition catalogue in Galeria Espiral, Oeiras.