Italians like to tell an anecdote about a baker’s helper who, apparently suffering from a drinking problem, arrived to work with a bottle of beer and accidentally poured a drop
By 1863, Eça had become a member of a local Boheme and, influenced by new friendships, discovered the pleasures of exotic food and sophisticated clothing, started wearing a monocle, ceased to believe in God, and declared himself a romantic.
The duo behind Abacaxi Lab are two fabulous ladies: Aleksandra “Laura” Schedler and Vanda Aragão. As brave and colorful as their art, they talked with Atlas just before the opening
In a well-lit room, a man sits on the edge of a bed. Around him, two women — daughter and wife — struggle to pull a jacket over his inert
Polish artist Weronika Anna Rosa came to Lisbon and fell in love at first sight. When she moved here for good, the city’s light and colors — and the country’s azulejos — would shape her paintings as well. Atlas sat down for a chat.
When rebuked about not talking enough about her work, the modernist painter Vieira da Silva once retorted: “And what does one paint for? Isn’t it to make the canvas speak? The painter’s language is the paintings themselves!”
In her hometown, Porto, the cellist Guilhermina Augusta Xavier de Medin Suggia was affectionately known as “the eccentric Englishwoman.” This nickname, earned by someone who was, in fact, flesh-and-blood Portuguese, reflects the extent Suggia was ahead of her times — as a cellist and as a woman.
The founder of Jardim Botânico da Ajuda may not be well known, but his influence over the project was immeasurable, and his bad luck a lesson to us all.
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