The article delves into the analysis and reception of António Soares dos Reis’s artistic work, focusing on various perspectives and critiques. It discusses the compilation of ASR’s work by Canon Alves Mendes and Manoel Maria Rodrigues, portraying ASR as a tragic figure with a deep sense of pain and despair reflected in his art.
Laranjeira’s viewpoint offers a distant acknowledgment of ASR’s work, placing more emphasis on ASR’s pupil Augusto Santo. ASR’s Autobiography provides insights into his artistic learning and methodology, shedding light on his creative process. Arroyo’s analysis challenges traditional views by devaluing the impact of ASR’s persona on his art, critiquing the aesthetic fundamentals of Desterrado.
The study suggests that ASR’s art functions like a Rorschach test, revealing the concepts and beliefs underlying art studies rather than clarifying its nature. It highlights the complexity of interpreting ASR’s work, which becomes almost opaque, triggering subconscious imaginative responses in viewers.
The article aims to enhance insights and intuitions about ASR’s art, updating perspectives and interpretations in Art History. It questions clichés used to analyse ASR’s work and persona, aiming to interpellate traditional narratives and explore new ways of understanding his artistic legacy.
Through a multidisciplinary approach, the article seeks to deepen the understanding of ASR’s art beyond conventional art historical interpretations.
