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Soon after, together with Almada de Negreiros, he defined the correct positioning of the panels, according to the geometrisation and perspective of the tiles in the painting, grounds for naming both as authors of the discovery. This sparked a public dispute in the press, culminating in a fight scene in Chiado square and public recognition of the discovery for Negreiros. Finally, in 1961, he returned to the matter in the pages of the Diário Popular newspaper, attributing its authorship to Grão Vasco or another national painter other than Nuno Gonçalves, also challenging the veracity of various historical documents about the work of art, according to his observations and handwritten notes. In other Art History studies he devoted his attention to the work and styles of the major Portuguese painters of the 16th century and wrote an unpublished monograph on the works of the National Museum of Contemporary Art of Lisbon, continuously encountering a lack of support for the publication of his work. / Works with references to the author : “Bragança, José de”. Grande Enciclopédia Portuguesa e Brasileira. Lisboa-Rio de Janeiro, vol. 5, 1953, p. 15; PINA, Luís de, “Faculdade de Letras do Porto: breve história”. Cale – Revista da Faculdade de Letras do Porto. Porto, vol. 1, 1966, pp. 59-172; ALMEIDA, Jorge Filipe e ALBUQUERQUE, Manuela, Os painéis de Nuno Gonçalves, Lisboa, Verbo, 2000. Francisco Miguel Araújo |
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