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foreign. The increased dynamism of an intensive and creative program, with the continual organization and presentation of significant exhibitions that bore his stamp (and which he described, in an interview, as ‘moments of voluptuousness’) resulted in a sustained increase in visitor numbers, achieving growth of nearly 100% during his leadership.
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Having insisted on the need to change the Museum's management model and give it administrative and financial autonomy, as well as physically extending it. He disagreed with ministerial policy for the sector regarding the terms of the new statute for the autonomous management of museums, monuments,
229:
for his ‘administrative spirit,’ his work at the Museu
Nacional de Arte Antiga, which he describes as a quiet revolution,’ broadly changed the general perception of the institution, modernizing it and making it more international, based on a growing network of partnerships, both Portuguese and
393:“Uma capela para o Rei de Portugal: história controversa de uma encomenda prodigiosa”. In VALE, Teresa Leonor M. (coord.) - A capela de São João Batista da Igreja de São Roque. an encomenda, an obra, as coleções, Lisboa: Santa Casa da Misericórdia de Lisboa-Museu de São Roque:INCM, 2015.
390:“Longos dias têm cem anos: Josefa de Óbidos e o barroco português”. In CAETANO, Joaquim Oliveira, CARVALHO, José Alberto Seabra, FRANCO, Anísio, e PIMENTEL, António Filipe (coord.) - Josefa de Óbidos e an invenção do barroco português: Lisboa, MNAA: Imprensa Nacional-Casa da Moeda, 2015.
396:“A capela real de São João Batista: um ‘debate desenhado’ entre Lisboa e Roma”. In VALE, Teresa Leonor M. (coord) - A capela de São João Batista da Igreja de São Roque: an encomenda, an obra, as coleções. Lisboa: Santa Casa da Misericórdia de Lisboa-Museu de São Roque:INCM, 2015.
372:“De Lisboa ao Caia: em torno do programa político e artístico da “troca das princesas”. Lisboa: Actas do Colóquio Lisboa e a Festa. Celebrações Religiosas e Civis na Cidade Medieval e Moderna, coord. VALE, Teresa Leonor, FERREIRA, Maria João Pacheco, FERREIRA, Sílvia, 2009.
384:“Invenit et fecit”: cinco peças e uma história complexa” (com BASTOS, Celina). In FRANCO, Anísio, PENALVA, Luísa, PIMENTEL, António Filipe (coord.) - Splendor et gloria: cinco joias setecentistas de excepção. Lisbon: Museu Nacional de Arte Antiga, 2014.
233:
Under his direction, the museum initiated a systematic campaign of renovation that changed the public's attitude towards the institution, at the same time as committing to the enhancement of its collections and the development of scientific research.
360:“À Flandres por devoção e à Itália por ostentação — ou ao invés. As razões do Manuelino”, Ao Modo da Flandres. Disponibilidade, inovação e mercado de arte na época dos Descobrimentos (1415-1580). Madrid-Lisbon: Fundación Carlos de Amberes, 2005.
363:“António Canevari e a Arcádia Romana: subsídios para o estudo das relações artísticas Lisboa/Roma no reinado de D. João V”. Lisboa: VALE, Teresa Leonor M. (coord.), Lisboa Barroca e o Barroco de Lisboa, Colóquio de História da Arte, 2007.
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In 2016, he was one of 17 international figures working in culture and the arts selected to meet Pope
Francis, as part of an initiative with the title ‘Arte luce di Dio,’ and, for the occasion, he gave a speech to the Italian Senate.
348:“Uma jóia em forma de templo: a Capela de São João Baptista”, Oceanos, nº 43, “A ourivesaria luso-brasileira do ciclo do ouro e dos diamantes”. Lisbon: Comissão Nacional para as Comemorações dos Descobrimentos Portugueses, 2000.
157:, he regularly works with national and international scientific institutions and has published around three hundred titles, in Portugal, Spain, France, Italy, UK, Belgium, Germany, Poland, Slovakia, Slovenia, and Brazil.
138:, in 1986, he then completed his master's degree in Cultural and Political History of the Modern Age in 1991. In 2003 he completed his doctorate in History of Art. He is a permanent lecturer at the Faculty of Arts of the
184:, which, in 2015, took to the historical neighborhoods of Lisbon replicas of works from its collections of Portuguese and European paintings, helped promote the institution at the national and international level.
378:“El ‘intercambio de las princesas’: arte y politica en las fiestas de la boda entre Fernando de Borbón y Bárbara de Braganza”. Santiago de Compostela: Quintana, Revista do departamento de Historia da Arte, 2010.
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366:“Da “Nova Ordem” à “Nova Ordenação”: ruptura e continuidade na Real Praça do Comércio”. Lisbon, FARIA, Miguel Figueira de (coord. de), Praças Reais: passado, presente e futuro”, 2008.
342:“Um Olhar Perspicaz: Robert Smith e o Monumento de Mafra”, Robert C. Smith: an investigação na História da Arte/Research in History of Art. Lisbon: Calouste Gulbenkian Foundation, 2000.
339:
Histoire de L'Art, peinture, sculpture, architecture. Paris: Hachette Éducation (25ª ed., 2018), in collaboration with Jean-François FAVRE, Dietrich GRUNEWALD e Jacek DEBICKI; ; ; ; ; .
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354:“A Sagração do Reino: em torno do(s) projecto(s) da Sé Velha”. Lisbon: Artis. Revista do Instituto de História da Arte da Faculdade de Letras de Lisboa, nº 3, 2004.
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345:“D. João V e a festa devota: do espectáculo da política à política do espectáculo”, Arte Efémera em Portugal. Lisbon: Calouste Gulbenkian Foundation, 2000.
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387:“O Museu Nacional de Arte Antiga e o Museu Nacional do Prado: dois casos de estudo entre modelos de gestão” . In Revista Património. Lisbon. Nº 2, Nov. 2014.
381:"A encomenda prodigiosa: da Patriarcal à Capela Real de São João Baptista". Lisbon: Museu Nacional de Arte Antiga: Imprensa Nacional-Casa da Moeda, 2013.
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180:, António Filipe Pimentel became known for running several successful and innovative communications campaigns. Initiatives such as the project
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191:. The campaign mobilized 171 organizations and fifteen thousand individuals to make donations, resulting in the acquisition of the painting
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and palaces, this led to his reluctance to remain once his service commission had ended, leading him to return to his university career.
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357:
A Morada da
Sabedoria. I – O Paço Real de Coimbra: das origens ao estabelecimento da Universidade. Coimbra: Livraria Almedina, 2005.
251:. For the History of the National Museum of Ancient Art), a compilation of texts that summarised his thoughts on the institution.
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The
Invention of Glory. Alphons V and the Pastrana Tapestries: Madrid: Fundacion Carlos de Amberes / Ediciones El Viso, 2010
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543:"Intervenção para classificação como Património da Humanidade vai transfigurar cidade - pró-reitor António Filipe Pimentel"
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With the remaining funds from this highly successful campaign, the museum was also able to acquire the paintings
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619:""Lembro-me de chegar ao museu e ouvir os meus passos ecoar nas salas vazias. Agora já se anda em ziguezague""
568:""Lembro-me de chegar ao museu e ouvir os meus passos ecoar nas salas vazias. Agora já se anda em ziguezague""
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369:“Os pintores de D. João V e a invenção do retrato de Corte”. Lisbon: Revista de História da Arte, nº 5, 2008.
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109:, responsible for the field of Heritage. Between 2020 and 2022 he sat on the board of directors for the
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399:“MNAA 2010-2019. Para a História do Museu Nacional de Arte Antiga”, Lisbon: Palavras Límpidas, 2019.
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706:"Diretor do Museu de Arte Antiga participa em delegação que vai entregar manifesto ao papa"
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Arquitectura e Poder, o Real Edifício de Mafra . 2ª ed.: Lisbon: Livros
Horizonte, 2002.
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In 2015–2016, he organized unprecedented fundraising and crowd-sourcing campaign -
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An expert in baroque art and historic and artistic heritage, he was awarded the
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from March 2010 until June 2019. Prior to this he was the director of the
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742:"António Filipe Pimentel condecorado com a Ordem das Artes e das Letras"
525:"António Filipe Pimentel é o novo diretor do Museu Calouste Gulbenkian"
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MNAA 2010-2019 : para a história do Museu
Nacional de Arte Antiga
638:"Artes. O Museu de Arte Antiga quer crescer assim, sem sair do lugar"
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and the Naval
Academy, and a member of the Scientific Society of the
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The
Dictionary of Art. London: Macmillan Publishers Limited, 1996.
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585:"Estado português recupera em leilão quadro com quase 600 anos".
485:"Dez mandamentos do Ministério da Cultura nas gestões Gil e Juca"
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History of Art Prize in 1991. A corresponding member of both the
724:"António Filipe Pimentel condecorado pelo Governo luxemburguês"
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Knight of the Order of Merit of the Grand Duchy of
Luxembourg
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Despite initially being appointed by the
Minister of Culture
445:"New directors of the Museum and the Modern Art Centre"
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246:Para a História do Museu Nacional de Arte Antiga
204:Retrato de D. João V e a Batalha do Cabo Matapão
182:Coming Out. Bringing the Museum onto the streets
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418:Chevalier De L'Ordre des Arts et des Lettres
261:Let's Put the Sequeira in its Rightful Place
189:Let's Put the Sequeira in its Rightful Place
105:. Between 2007 and 2009 he was Dean of the
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72:António Manuel Filipe Rocha Pimentel
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547:RTP - Rádio e Televisão de Portugal
241:On leaving, he published the book
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259:Artworks purchased thanks to the
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304:and the Battle of Cape Matapan,
218:(The Annunciation, c. 1430) by
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483:Manevy, Alfredo (2010-06-22).
449:Calouste Gulbenkian Foundation
155:Portuguese Catholic University
86:currently the director of the
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178:Museu Nacional de Arte Antiga
172:Museu Nacional de Arte Antiga
151:National Academy of Fine Arts
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166:UNESCO World Heritage status
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88:Calouste Gulbenkian Museum
781:Portuguese art historians
74:(born 5 December 1959 in
57:The University of Coimbra
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23:António Filipe Pimentel
331:Selected publications
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220:Álvaro Pires de Évora
162:University of Coimbra
140:University of Coimbra
136:University of Coimbra
107:University of Coimbra
90:in Lisbon, Portugal.
193:A Adoração dos Magos
111:World Monuments Fund
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227:Gabriela Canavilhas
176:As director of the
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605:Jornal de Negócios
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208:King John V
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760:Categories
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455:2022-06-06
431:References
147:Gulbenkian
113:Portugal.
62:Occupation
49:Portuguese
41:1959-12-05
685:cite book
511:2237-9983
325:, c. 1430
222:in 2018.
54:Education
529:Expresso
464:cite web
122:Academic
80:Penacova
642:PÚBLICO
423:Italy:
415:France:
404:Honours
128:history
704:Lusa.
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117:Career
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572:Visão
495:(7).
103:Viseu
101:, in
691:link
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