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282:(SNBA) in Lisbon. She held an individual exhibition in 1945 and, again, in 1955: "this is a historical exhibition, as it marks, within the scope of Portuguese art, levels of pioneering innovation in the fields of furniture and, above all, tiles" (in this exhibition she highlighted the work of designing furniture for domestic interiors and, also, for commercial spaces related to restaurants and hotels, to which she dedicated herself from the beginning of the 1940s until the middle of the following decade). There followed a long hiatus in which she dedicated herself to a wide range of activities, to exhibit again individually from 1983.
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414:. With a clearly symbolic chromatism where blues and greens predominate, this work matches the figurative allusions (the image of the fisherman with his son, boats, shells ...) with the markedly decorative tendency of the entire panel, dominated by geometric patterns: "her cultural reference is not located in the pictorial panels, historians or naturalists of erudite production, but in its determinant borders where the possibilities of geometry and colour are transmuted into rhythms."
451:
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384:"The graphic process of over-articulation of planes becomes a compositional structure in painting, capable of making the contours of the linear shape coincide with the limits of the flat color, through the relation of plastic equivalences. A visual logic of reducing obstacles, suppressing artifices formal, in the sense of clarity, almost transparent, of the image." This desire for clarification is present in the self-portrait of 1941, dominated by the "
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on tiles). Oscillating between the direct, simple and immediate image, and the fusion of spaces or even the subtle surrealization of the narrative, Maria Keil starts "from a real situation, takes from her only what already brings her a touch of unreality. Then, and based on that, she sketches figures of a new reality that is characteristic of her art."
410:"Maria Keil did not bet on the renovation of the azulejo from a mere vocabulary change, because she invented another language for the tile, from a methodical construction of spatial-optical effects." Her first major work in this field dates from 1958 to 1959 (studies are from 1956 to 1958) and is entitled
380:
Throughout her life she would use, with enormous freedom of movement, a modernizing language that articulates sensitive figuration with a formal, often geometrized, simplified universe. This particular language runs through her entire work as an illustrator (and is present in much of her production
329:
can be highlighted. Beginning in 1957, this work would continue until approximately 1972, with the inauguration of the last stations of the first phase of the metro: Arroios, Alameda, Areeiro, Roma and
Alvalade. Keil was the author of the panels for all the initial stations with the exception of
794:
took on the responsibility of inventorying and studying its estate. This agreement, signed with her son
Francisco Keil do Amaral known as Pitum, also contemplates the deposition and exhibition of it in one of the museums under the responsibility of the Directorate-General for Cultural Heritage
406:
Her choice for tiles is due to the support of the new generation of architects, including her husband, Keil do Amaral, but also with personal motivations: "After the second exhibition, I came to the conclusion that it was not worth continuing with painting, the world is full of good painting .
252:
She exhibited individually for the first time in 1939 (since there were no art galleries, the exhibition takes place at
Galeria Larbom, a furniture store on Rua do Ouro, Lisbon); in that same year she participated in the Secretariado da Propaganda Nacional IV Modern Art Exhibition. She also
208:. Her art was characterized by the diversity of techniques and means of expression. Throughout her life she engaged in many areas, including painting and drawing, illustration, graphic arts, printmaking, tiles, tapestry, furniture, decoration, scenography and costumes.
376:
The initial stages of her work were closely linked to the graphic arts and her participation in the
Technical Studio of Advertising (formed by José Rocha). It is there that she learnt the renewing spirit that was initially driven by the example of Fred Kradolfer.
330:
Avenida. From 1977, some of these panels were totally or partially destroyed, due to the expansion of several stations, including
Saldanha, Restauradores and Intendente. In 1978 she participated in the traveling exhibition
285:
Among the areas to which she devoted herself in that period were book illustrations. Keil wrote and illustrated books for children and adults, with publications entirely of her own (text and image) or illustrating works by
425:: "languages and values, Maria Keil senses the path of a contemporary condition that reuses successive and disparate poetics as operative signs, aiming at the absolute availability of the interplay of forms and colors."
421:(1957 – c. 1972), she will opt for strictly abstract forms, experimenting with variations where shapes inherited from the history of the tile intersect with abstract elements that may originate, for example, in
1082:
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403:). They represent an extension of the attempts of renovation of the Portuguese tile carried out by Jorge Barradas, Carlos Botelho, Bernardo Marques or Fred Kradolfer.
388:" of the figure, which functions as the axis of the composition, controlling and dominating "her own presence, through the discreet theatricality of small gestures."
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321:
tile, in which she began to work in the early 1950s. Keil became one of the main figures of modernising of this technique. Of her vast production, the tile panel
1086:
364:
In 2013, the Museum of the
Presidency of the Republic organized, at the Cascais Citadel Palace, in partnership with the Cascais municipality, the exhibition
180:
In 2013, the Museum of the
Presidency of the Republic organized a retrospective exhibition covering her work. She has a library named after her in Lisbon at
764:
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177:. Particularly noteworthy was her activity as an illustrator, as well as the crucial role she played in the renovation of contemporary tiles in Portugal.
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Maria Keil em entrevista ao Diário de NotĂcias, 02-10-1985. In: RODRIGUES, AntĂłnio – As construções de Maria Keil. In: KEIL, Maria –
756:
350:). From that time, her work became part of the main exhibitions (in Portugal and abroad) dedicated to tiles in Portugal. In 1989, the
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In 1936 she became a member of the ETP (Technical
Advertising Studio, then run by José Rocha), establishing friendship with
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200:, daughter of Francisco da Silva Pires and Maria José Silva. From 1929 she attended the Preparatory Course at the
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971:"ENTIDADES NACIONAIS AGRACIADAS COM ORDENS PORTUGUESAS – Página Oficial das Ordens HonorĂficas Portuguesas"
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and two years later her only son, Francisco Pires Keil do Amaral (or Pitum Keil do Amaral), was born.
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230:. In the following year, she visited Paris during the construction of the Portuguese Pavilion of the
1135:"Espólio de Maria Keil vai ser inventariado e divulgado pela Direcção-Geral do Património Cultural"
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Architecture is a very serious thing, I found it more useful to do things for architecture."
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Keil produced a vast and diversified work that included painting, drawing and illustration,
1162:"EspĂłlio de Maria Keil vai ser inventariado, depositado num museu e mais tarde exposto"
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EspĂłlio de Maria Keil vai ser inventariado, depositado num museu e mais tarde exposto
422:
317:
Another striking aspect of her work and where she most distinguished herself was the
234:(of which Keil do Amaral was an architect), for which she made a decorative motif.
907:
Folheto desdobrável da exposição organizada pelo Museu da Presidência da República:
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1109:"Ministério da Cultura assina protocolo para integração do espólio de Maria Keil"
1083:"Pintora Maria Keil distinguida com galardĂŁo da Academia Nacional de Belas Artes"
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325:, on Avenida Infante Santo, Lisbon, and the extensive collaboration with the
204:
and then the painting course (which never ended), where she was a student of
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Between 1946 and 1956 she regularly participated in the exhibitions of the
368:, which presented a retrospective and comprehensive view of her works.
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1068:
SILVA, Raquel
Henriques da – Azulejos de Maia Keil. In: KEIL, Maria –
1038:
RODRIGUES, António – As construções de Maria Keil. In: KEIL, Maria –
268:, presented at the debut show of the Companhia de bailado Verde Gaio.
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participated in the SPN shows of the next two years, winning the
354:
organized a comprehensive exhibition on this facet of her work.
815:"Cavaco Silva: Maria Keil foi uma "figura Ămpar do sĂ©culo XX""
357:
On 9 April 1981, she was awarded the rank of
Commander of the
787:
Acquisition Grand Prix, National Academy of Fine Arts (2009)
946:. Lisboa: Biblioteca Nacional, 2004. ISBN 972-565-390-4
264:
In 1940, she designed sets and costumes for the ballet
391:
Her first experiences in azulejo dated back to 1954 (
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173:tiles, graphic and furniture design, tapestry and
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154:(9 August 1914 – 10 June 2012) was a Portuguese
1016:. Lisboa: Museu Nacional do Traje, 1998, p. 14.
8:
944:Maria Keil ilustradora: Mostra bibliográfica
887:
885:
883:
1085:. PĂşblico. 29 November 2009. Archived from
996:"De propĂłsito – Maria Keil, obra artĂstica"
1072:. Lisboa: Museu Nacional do Azulejo, 1989.
1059:. Lisboa: Museu Nacional do Azulejo, 1989.
1042:. Lisboa: Museu Nacional do Azulejo, 1989.
1029:. Lisboa: Museu Nacional do Azulejo, 1989.
933:. Lisboa: Museu Nacional do Azulejo, 1989.
31:
20:
895:. Lisboa: Museu Nacional do Azulejo, 1989
909:De propĂłsito: Maria Keil, obra artĂstica
911:, Palácio da Cidadela de Cascais, 2013.
805:
432:
134: 1933; died 1975)
957:"Maria Keil de volta ao metro em 2009"
232:Paris International Exhibition of 1937
1209:21st-century Portuguese women artists
1204:20th-century Portuguese women artists
359:Military Order of Sant'Iago da Espada
7:
852:"Maria Keil: Artista ou operária?"
273:Sociedade Nacional de Belas Artes
211:In 1933 she married the architect
14:
1010:Maria Keil e a «Escola de Lisboa»
1160:Portugal, Rádio e Televisão de.
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718:MarquĂŞs de Pombal (Lisbon Metro)
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705:MarquĂŞs de Pombal (Lisbon Metro)
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332:5 Centuries of Tiles in Portugal
296:Sophia de Mello Breyner Andresen
248:panel, Av. Infante Santo, Lisbon
770:Praça de Espanha (Lisbon Metro)
757:Praça de Espanha (Lisbon Metro)
131:
792:Portuguese Ministry of Culture
257:Revelation Prize in 1941 with
196:, in the Portuguese region of
1:
1051:SILVA, Raquel Henriques da –
1008:ALMEIDA, Bernardo Pinto de –
850:Rita Pimenta (10 June 2012).
16:Portuguese artist (1914–2012)
1219:Portuguese modernist artists
1214:People from Silves, Portugal
1014:Roupa a secar no Bairro Alto
927:As construções de Maria Keil
666:Campo Pequeno (Lisbon Metro)
653:Campo Pequeno (Lisbon Metro)
597:Restauradores (Lisbon Metro)
395:delegation in Paris and the
744:Entre Campos (Lisbon Metro)
731:Entre Campos (Lisbon Metro)
456:Martim Moniz (Lisbon Metro)
443:Martim Moniz (Lisbon Metro)
99:Painting, drawing, tapestry
1235:
417:For the vast work for the
202:Lisbon School of Fine Arts
506:Intendente (Lisbon Metro)
494:Intendente (Lisbon Metro)
482:Intendente (Lisbon Metro)
469:Intendente (Lisbon Metro)
352:Museu Nacional do Azulejo
30:
813:PĂşblico (11 June 2012).
213:Francisco Keil do Amaral
120:Francisco Keil do Amaral
639:Alvalade (Lisbon Metro)
419:Metropolitano de Lisboa
366:On purpose – Maria Keil
327:Metropolitano de Lisboa
611:Areeiro (Lisbon Metro)
584:Alameda (Lisbon Metro)
571:Alameda (Lisbon Metro)
558:Arroios (Lisbon Metro)
545:Arroios (Lisbon Metro)
386:architectural presence
308:José Rodrigues Miguéis
249:
1053:Azulejos de Maia Keil
975:ordens.presidencia.pt
929:. In: KEIL, Maria –
925:RODRIGUES, António –
679:Rossio (Lisbon Metro)
429:Azulejos/Lisbon Metro
266:Lenda das Amendoeiras
240:
1070:Maria Keil: azulejos
1057:Maria Keil: azulejos
1055:. In: KEIL, Maria –
1040:Maria Keil: azulejos
1027:Maria Keil: azulejos
1012:. In: KEIL, Maria –
931:Maria Keil: azulejos
893:Maria Keil: azulejos
532:Anjos (Lisbon Metro)
519:Anjos (Lisbon Metro)
302:, Augusto Abelaira,
47:Maria Pires da Silva
1089:on 7 September 2012
692:Metro Lisboa Rossio
625:Roma (Lisbon Metro)
300:José Gomes Ferreira
288:Matilde Rosa AraĂşjo
259:Self Portrait, 1941
250:
222:, Fred Kradolfer,
158:. She was born in
37:Maria Keil in 1955
860:(in Portuguese).
823:(in Portuguese).
784:Award, SPN, 1941.
192:Keil was born in
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864:. Archived from
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827:. Archived from
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689:
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593:
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314:, among others.
292:Aquilino Ribeiro
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228:Bernardo Marques
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1168:(in Portuguese)
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1141:(in Portuguese)
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1113:portugal.gov.pt
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831:on 16 June 2012
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942:KEIL, Maria –
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891:KEIL, Maria –
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868:on 1 July 2012
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336:Rio de Janeiro
304:Mário DionĂsio
224:Ofélia Marques
220:Carlos Botelho
206:Veloso Salgado
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96:Known for
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76:(aged 97)
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790:In 2020, the
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782:Souza-Cardoso
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57:9 August 1914
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1170:. Retrieved
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1143:. Retrieved
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1116:. Retrieved
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1103:
1091:. Retrieved
1087:the original
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978:. Retrieved
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870:. Retrieved
866:the original
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833:. Retrieved
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162:and died in
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74:(2012-06-10)
72:10 June 2012
18:
1199:2012 deaths
1194:1914 births
276: [
244:, 1958–59,
175:scenography
88:Nationality
1188:Categories
800:References
152:Maria Keil
91:Portuguese
82:, Portugal
63:, Portugal
53:1914-08-09
25:Maria Keil
1133:PĂšBLICO.
862:Sonae.com
825:Sonae.com
340:SĂŁo Paulo
312:Ilse Losa
188:Biography
108:Modernism
397:Aerogare
344:BrasĂlia
246:azulejos
142:Children
104:Movement
1139:PĂšBLICO
1093:11 June
872:12 June
857:PĂşblico
835:12 June
820:PĂşblico
795:(DGPC).
348:Caracas
319:azulejo
242:The Sea
198:Algarve
171:azulejo
136:
128:
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1172:22 May
1145:22 May
1118:22 May
980:20 May
776:Awards
401:Luanda
194:Silves
182:Lumiar
164:Lisbon
160:Silves
114:Spouse
80:Lisbon
61:Silves
412:O mar
323:O mar
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1174:2021
1147:2021
1120:2021
1095:2012
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346:and
226:and
69:Died
43:Born
399:de
393:TAP
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