Paper
Name Class Date

Mário Cesariny De Vasconcelos, Untitled (DD2CSF) (1958), National Theatre and Dance Museum. Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Mário Cesariny De Vasconcelos wahooart.com/en/artists/mario-cesariny-de-vasconcelos/
Artist’s dates
1923 – 2006
Painted
1958
Held at
National Theatre and Dance Museum wahooart.com/en/museums/national-theatre-and-dance-museum-lisbon/

In context

Untitled (DD2CSF) — Mário Cesariny De Vasconcelos

When was this painted?

  1. 1920
  2. 1930
  3. 1940
  4. 1950
  5. 1960
  6. 1970
  7. 1980
  8. 1990
  9. 2000

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 83 at death.

Painted when the artist was 35. The artist lived to 83. 2 of the 11 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Mário Cesariny De Vasconcelos (1923–2006) ▲ this work, 1958 every dated painting, decade by decade

First works: up to 1958 Main working years: 1958–1973 Late works: from 1973

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/mario-cesariny-de-vasconcelos-untitled-dd2csf-DD2CSF-en/

Colours

Measured from the image

    Main colour

    Quinacridone Magenta #645e5c

    Catalogued palette

    • #645E5C
    • #EBE7E5
    • #A09785
    • #383838

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Quinacridone Magenta
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Balanced How much the colours differ in lightness and saturation across the picture.
    Harmony
    Softly Mixed Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Mário Cesariny De Vasconcelos over the last twelve months — 1 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 100.0%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 5 most looked-at works by Mário Cesariny De Vasconcelos

    1. 1 Painting, 1972 25.0%
    2. 2 Kipghízia 25.0%
    3. 3 Occultist Fernando Pessoa, 1981 25.0%
    4. 4 Untitled, 1973 25.0%
    5. — Untitled (DD2CSF), 1958 this painting 0.0%

    Together these works take 100.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 13 works by this artist, of which 4 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Artist and museum

    Artist

    Mário Cesariny De Vasconcelos

    Born in Lisbon, Portugal

    Mário Cesariny de Vasconcelos: A Surrealist Poet and Painter of Portugal

    Born in Lisbon, Portugal, on August 9th, 1923, into a family marked by both privilege and quiet turmoil, Mário Cesariny de Vasconcelos emerged as one of the most distinctive voices of Portuguese surrealism. His life, inextricably linked to the political landscape of his nation – particularly under the authoritarian rule of António de Oliveira Salazar – fueled a rebellious spirit that permeated his art, poetry, and ultimately, his very being. More than just an artist, Cesariny was a chronicler of his time, a subversive voice challenging societal norms through dreamlike imagery and provocative verse.

    Cesariny’s early life wasn't defined by idyllic comfort. His father, Viriato de Vasconcelos, a skilled goldsmith, and his mother, María de las Mercedes Cesariny, a Spanish woman of French descent, experienced marital difficulties that cast a shadow over the family home. This atmosphere of instability profoundly shaped young Mário’s perspective, fostering a sense of alienation and a desire to escape the confines of conventional expectations. He found solace in art from an early age, developing a natural talent for drawing and painting – skills he honed largely through self-study, inspired by visits to the Gulbenkian Museum Foundation in Lisbon, a treasure trove of artistic heritage.

    The Surrealist Awakening and Lisbon’s Underground

    Cesariny's immersion into the surrealist movement began around 1945 or 1946, sparked by his discovery of Maurice Nadeau’s History of Surrealism. This seminal work introduced him to the principles of automatic writing and dream imagery – techniques that resonated deeply with his own rebellious sensibilities. He quickly joined the burgeoning Lisbon Surrealist Group, led by Alexandre O'Neill, becoming a central figure in Portugal’s surrealist scene. This group operated largely underground, challenging the conservative values of Salazar’s regime through their art and poetry. The political climate demanded secrecy; any overt expression of dissent could lead to severe repercussions from the PIDE (Portuguese Secret Police).

    The period between 1960 and 1974 was particularly fraught for Cesariny. His outspoken views, coupled with his homosexuality – a taboo subject in Portugal at the time – made him a target of surveillance by the PIDE. He frequently found himself on the police’s radar, forced to live under constant threat and often seeking refuge in exile in Great Britain and France. Despite these pressures, he continued to create, using his art as a form of resistance—a defiant assertion of freedom against oppression.

    A Poetic and Pictorial Universe

    Cesariny’s artistic output spanned both poetry and painting, though his poetic work ultimately became more widely recognized. His poems are characterized by their dreamlike quality, often blending personal experiences with social commentary and surrealist imagery. Recurring themes include love, freedom, and the absurdity of existence—all viewed through a lens of critical observation. Titles like “you are welcome to elsinore” reveal his willingness to confront uncomfortable truths about Portuguese society under Salazar’s rule.

    His paintings, while less frequently exhibited than his poetry, are equally compelling. Rather than adhering to traditional painting techniques, Cesariny employed collage, assemblage, and found objects to create layered, evocative works that defy easy categorization. He described his artistic process as a circular one—poetry informing painting, and vice versa—a testament to the interconnectedness of his creative endeavors. Notable works include “Untitled (DD2CNP)” and “National Theatre and Dance Museum,” both showcasing his distinctive use of color, texture, and symbolic imagery.

    Legacy and Recognition

    Mário Cesariny de Vasconcelos passed away on November 26th, 2006, leaving behind a rich legacy as a poet and painter who challenged the status quo. His work continues to resonate with audiences today, offering a poignant reflection on themes of freedom, identity, and the complexities of human experience. His contributions have been acknowledged by platforms like AllPaintingsStore.com and featured in collections such as the National Theatre and Dance Museum in Lisbon and the Rede Portuguesa de Arte Contemporânea a Norte in Porto. Cesariny’s art remains a vital part of Portuguese cultural heritage—a testament to the power of creativity to transcend political boundaries and inspire generations.

    Important Dates

    August 9, 1923 (Birth)

    November 26, 2006 (Death)

    Notable Works

    Untitled (DD2CNP)

    National Theatre and Dance Museum

    Museums and Collections

    National Theatre and Dance Museum, Lisbon, Portugal

    Rede Portuguesa de Arte Contemporânea a Norte, Porto, Portugal

    Museum

    National Theatre and Dance Museum

    On show in Lisbon, Portugal

    A Window into Portugal’s Dramatic Past: The National Theatre and Dance Museum

    Nestled within the opulent Monteiro-Mor Palace in Lisbon, the National Theatre and Dance Museum is more than just a repository of artifacts; it's a vibrant portal to centuries of Portuguese performance. This remarkable institution breathes life into the nation’s theatrical and dance heritage, offering visitors an immersive journey through elaborate costumes, evocative stage sets, and meticulously preserved documents that whisper tales of passion, tradition, and artistic evolution. The palace itself, a stunning example of Neoclassical architecture, provides a breathtaking backdrop – its grand halls echoing with the ghosts of performances past, creating an atmosphere of both reverence and delight.

    The museum’s core strength lies in its astonishing collection of over 300,000 costumes. These aren't simply garments; they are meticulously researched embodiments of each era, reflecting not only fashion trends but also social customs and political climates. From the flamboyant silks of the Baroque period to the more restrained elegance of the Romantic era, and then into the vibrant colors and theatrical styles of the 20th century, the collection charts a remarkable evolution in theatrical design. Beyond the costumes themselves, the museum boasts an impressive array of historical props and stage sets – miniature castles, elaborate thrones, fantastical landscapes – each piece meticulously recreated to transport viewers back to the heart of a bygone production. These tangible remnants offer a powerful connection to the creative process and the vision of Portuguese theatre directors and designers.

    Unlocking the Archives: A Treasure Trove of Performance History

    Delving deeper than mere visual displays, the National Theatre and Dance Museum’s archives are truly exceptional. Here, amidst carefully cataloged scripts, scores, photographs, programs, and even original stage designs, lies a wealth of information about Portuguese theatrical history. Researchers, artists, and enthusiasts alike can spend hours poring over these documents, uncovering forgotten productions, identifying influential figures, and gaining a nuanced understanding of the cultural context surrounding each performance. The museum’s specialized library complements this research with an extensive collection of books, periodicals, and scholarly articles dedicated to performing arts – a vital resource for anyone seeking to explore the subject in greater depth.

    The Palace as Context: A Historical Setting

    The choice of location within the Monteiro-Mor Palace is profoundly significant. This historic residence, originally built for the wealthy Portuguese merchant José Bastos da Gama, adds an unparalleled layer of richness and context to the museum’s exhibits. The palace itself reflects a fascinating blend of architectural styles – elements of Neoclassicism intertwine with Baroque flourishes, mirroring the diverse artistic influences that shaped Portugal's cultural landscape. Walking through the museum’s halls is akin to stepping back in time, experiencing not just the history of theatre and dance but also the evolution of Portuguese architecture and design.

    Beyond the Exhibits: Special Events and Ongoing Research

    The National Theatre and Dance Museum isn't a static institution; it actively engages with the contemporary arts scene through a series of special exhibitions, workshops, and educational programs. These events often showcase lesser-known aspects of Portuguese theatrical history or explore connections between traditional performance forms and modern artistic practices. Furthermore, the museum’s ongoing research initiatives ensure that its collection continues to grow and evolve, adding new insights into Portugal's rich performing arts heritage. The museum also hosts temporary exhibitions focusing on specific artists, companies, or genres, offering fresh perspectives on established traditions.

    A Unique Cultural Destination: Lisbon’s Living Legacy

    What truly distinguishes the National Theatre and Dance Museum is its ability to seamlessly blend historical preservation with vibrant cultural engagement. It's a place where visitors can not only admire exquisite costumes and intricate stage sets but also connect with the passionate stories behind them. Combined with its stunning location within the Monteiro-Mor Palace, and its commitment to research and education, this museum offers a rare opportunity to explore the evolution of theatre and dance traditions in Portugal – a truly unique cultural destination for art lovers, collectors, and anyone seeking a deeper understanding of Portuguese heritage.

    Where to read more

    Find this online

    QR code linking to the download page for Untitled (DD2CSF)

    wahooart.com/en/art/download/mario-cesariny-de-vasconcelos-untitled-dd2csf-DD2CSF-en/

    Cite this artwork

    MLA
    Vasconcelos, Mário Cesariny De. Untitled (DD2CSF). 1958, National Theatre and Dance Museum. https://wahooart.com/en/art/mario-cesariny-de-vasconcelos-untitled-dd2csf-DD2CSF-en/
    APA
    Vasconcelos, Mário Cesariny De (1958). Untitled (DD2CSF) [Painting]. National Theatre and Dance Museum. https://wahooart.com/en/art/mario-cesariny-de-vasconcelos-untitled-dd2csf-DD2CSF-en/
    Chicago
    Mário Cesariny De Vasconcelos. Untitled (DD2CSF). 1958. National Theatre and Dance Museum. https://wahooart.com/en/art/mario-cesariny-de-vasconcelos-untitled-dd2csf-DD2CSF-en/
    Harvard
    Vasconcelos, Mário Cesariny De (1958) Untitled (DD2CSF). National Theatre and Dance Museum. Available at: https://wahooart.com/en/art/mario-cesariny-de-vasconcelos-untitled-dd2csf-DD2CSF-en/

    Look closely

    Untitled (DD2CSF) — Mário Cesariny De Vasconcelos

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Look back at Um pouco antes da foda/ Hoje não fodemos, tá bem?, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Mário Cesariny De Vasconcelos was about 35 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Who sells hand-painted copies of "Untitled (DD2CSF)" by Mário Cesariny De Vasconcelos?

    "Untitled (DD2CSF)" is available as a hand-painted oil reproduction on linen canvas. The order can be placed on its Hand-Painted Reproduction page, with a choice of sizes.

    How old was Mário Cesariny De Vasconcelos when creating "Untitled (DD2CSF)" in 1958?

    Mário Cesariny De Vasconcelos made "Untitled (DD2CSF)" at the age of 35. The artist was born in 1923 and the work is dated 1958.

    Where can I find statistics about "Untitled (DD2CSF)" by Mário Cesariny De Vasconcelos?

    The Stats page of "Untitled (DD2CSF)" by Mário Cesariny De Vasconcelos presents public visit statistics: monthly visits of this artwork, a comparison with the artist's most viewed works, and where its visitors come from.