Fundacao Calouste Gulbenkian, Plano de Edicoes – förlag

Continuing the publication program that aims to disseminate the Collection through albums that present specific sections in a systematic manner, this volume focuses on Egyptian Art. The section was first studied by Christiane Desroches-Noblecourt, when the pieces that would be included in the Museum’s permanent exhibition were selected, and first published in 1991 by the curator of the section, Maria Helena Assam. 15 years on, new texts have been written by Egyptologist Luís Manuel de Araújo, a professor at the Arts Faculty of the University of Lisbon.Calouste Gulbenkian mostly assembled his collection of Egyptian art between 1922 and 1929. Relatively small but very diverse, it includes pieces of exceptional quality from the various periods when art in pharaonic Egypt was at its height. The catalogue not only covers the pieces on display at the Museum, but also those kept in the storeroom.

In keeping with an editorial strategy that aims to bring to public attention all of the various groups of works belonging to the Calouste Gulbenkian Collection, a book devoted to its drawings and watercolours has been published. Featuring texts by Manuela Fidalgo, who worked as a curator at the Calouste Gulbenkian Museum until her retirement, this edition is the product of several years of thorough research underpinned by technical and scientific rigour and the involvement of several international experts in the art of drawing.This publication therefore plays an essential part in raising awareness of one of the Calouste Gulbenkian Museum’s least-well known collections, which includes works produced in the main centres of European art (France, Holland, Flanders, England and Italy) between the 16th and early 20th centuries by great masters such as Dürer, Watteau, Boucher, Turner and Sargent, among others. This book also gives us a clearer picture of Calouste Gulbenkian’s artistic sensibility as a collector: despite claiming not to be attracted to drawing, the beauty and quality of the works brought together here were such that he could not resist purchasing them.

Published in conjunction with the exhibition Histories of a Collection. Modern and Contemporary Art from the CAM, this catalogue follows various stories relating to the creation of the CAM Collection (Centro de Arta Moderna Gulbenkian), from the first acquisitions by the Foundation in the 1950s to the present day, as well as offering an in-depth account of the opening of the CAM building in 1983.The catalogue contains seven previously unpublished essays, written by curators Ana Vasconcelos, Leonor Nazaré, Patrícia Rosas and Rita Fabiana, architect Rita Albergaria and independent curator, Antonia Gaeta, outlining some of the key moments in the Collection’s history.These essays analyse the first acquisitions, made in the context of artist grants awarded by the Foundation and as a result of travelling exhibitions organised in Portugal and abroad, and the development of the section of British art, in close collaboration with the British Council.The catalogue also delves into the construction of the CAM building and the controversy that accompanied the entire process, as well as reflecting on the acquisitions made from the banker and collector Jorge de Brito, which contributed to greatly strengthening the collection in the months leading up to the opening. The catalogue also charts the contribution of the last three CAM directors, Jorge Molder, Isabel Carlos and Penelope Curtis, explaining their priorities in the selection of works and the acquisition policies each of them implemented.It also reproduces almost all the works on display, organised according to the sections of the exhibition and highlighting seven key works, all acquired during the 1960s, by some of the most renowned Portuguese and British artists featured in the collection: Amadeo de Souza-Cardoso, David Hockney, João Cutileiro, José de Almada Negreiros, Maria Helena Vieira da Silva, Paula Rego and Philip King.

The catalogue for The power with which we leap together. Women artists in Spain and Portugal between dictatorship and democracy stems from an exhibition held at IVAM – Institut Valencià d’Art Modern, in partnership with CAM and curated by Giulia Lamoni and Patricia Mayayo.Bringing together works by 59 renowned Iberian women artists, the exhibition examines the work created during the pre-revolutionary period in Portugal, before the Carnation Revolution in 1974, and in Spain, prior to the death of the dictator Francisco Franco, in 1975. In both countries, women had already started to challenge the established order, and there was a strong feeling of sisterhood on either side of the border.In addition to the curatorial text, the publication features four essays by prominent Portuguese and Spanish researchers, interspersed with images of several of the works on display, spread through the nine sections that also structure the exhibition.With design by the artist Dayana Lucas, each essay is jointly written by a Spanish and a Portuguese researcher, thus forging relationships and allowing for the examination of themes that have been little studied until now: abstractionism in the work of women artists between 1960 and 1970, feminism in Iberian pop art, the mobility of women artists in the Iberian Peninsula in the final decades of the Cold War, and a proposed dialogue between the two countries through artists’ books.

The collection of 18th- and early-19th-century French silverware brought together by Calouste Sarkis Gulbenkian is the most important of its time and one of the most significant sections of the Gulbenkian Museum’s collection. Amassed between 1900 and 1950, these pieces constitute a unique group due to their diversity and quality. The collection comprises over 150 works, including several world-class masterpieces that represent the collector’s taste.The catalogue is dedicated to a selection of silver works of different typologies, such as centrepieces, tureens, salt cellars, candelabras and candlesticks, made by renowned silversmiths such as François-Thomas Germain, Antoine-Sébastien Durant, Robert-Joseph Auguste and Martin-Guillaume Biennais. Despite this diversity, these works all share the characteristics that make this collection unique: quality and authenticity combined with original designs, technical expertise and distinguished provenances, with former owners including members of European aristocracy and the Russian imperial family. These works were mostly purchased in Paris, but there is also an important group of works from the Hermitage collection, acquired through negotiations made between Calouste Gulbenkian and the Soviet government between 1928 and 1930.After an initial text about Calouste Gulbenkian’s passion for 18th-century French silverware, the most prominent pieces of the collection are presented in chronological order of acquisition and are accompanied by comprehensive descriptions and analyses, as well as detailed information on hallmarks, inscriptions, provenances and historical and bibliographical sources. An excellent photographic survey, carried out specifically for the purpose, illustrates the 43 catalogue entries.At the end of the publication, the reader can find a list of secondary silverware, an index of names and the group of archive documents and bibliography consulted.Images Credits: Panorama

Superstar Pharaohs was the exhibition presented by the Calouste Gulbenkian Museum, in partnership with MUCEM (Marseille), in 2022, the year that marks the centenary of the discovery of Tutankhamun’s tomb by Howard Carter and the bicentenary of the deciphering of hieroglyphs by Jean-François Champollion.The exhibition catalogue includes an introductory text written by the co-curator Frédéric Mougenot, in which he reveals the reflections that led him to create the exhibition.The introduction is followed by six essays on different themes, ranging from antiquity to the present day: Fayza Haikal writes about the link between modern day Egyptians and the civilisation of the Pharaohs; Bernard Mathieu focuses on the Egyptians’ knowledge of their history; Michael Chaveau looks at the presence of the Pharaohs in Greco-Roman literature; Simon Connor explores the impact of images and their destruction in constructing the history of the Egyptian monarchy; Jean-Marcel Humbert discusses the phenomenon of Egyptomania; and João Carvalho Dias, co-curator of the exhibition and deputy director of the Calouste Gulbenkian Museum, reveals the relationship that Calouste Gulbenkian developed with Howard Carter, which was fundamental in establishing the Egyptian art section of the Gulbenkian collection.The rest of the publication is, like the exhibition, divided into three sections: the first, 'Three Thousand Years of History and a Few Memorable Reigns', seeks to outline the profile of the Pharaohs who were regarded, in their time, as worthy of being remembered for posterity. The second section, 'What Remains of the Pharaohs? History and Legends', looks at the way the memory of some of these figures was recovered, and at the same time transformed, by the literature of Greco-Roman antiquity, giving rise to myths that survived for centuries. The final section, 'Return of the Pharaohs', reveals how the birth of the discipline of Egyptology led to new scientific knowledge of Ancient Egypt, which also paved the way for the rediscovery of some Pharaohs, who were thus propelled into stardom.As well as featuring abundant illustrations of the works on display throughout the texts, the publication also includes a section of chronological references related to Ancient Egypt and a list of all the Pharaohs in history.Image credits: Panorama

Calouste Gulbenkian amassed a remarkable collection of Japanese art. This lesser known facet of the collector’s activity was explored in the exhibition Floating world: ‘ukiyo-e’ Japanese prints, which presented a large number of Japanese prints produced between the 17th and 19th centuries that belong entirely to the Museum’s collection. The exhibition focused on the concept of ukiyo, which means ‘floating world’ and refers to the fleeting pleasures of everyday life.The catalogue is divided into two parts. The first is a set of four essays, including three by the exhibition curators. In the first text, Jorge Rodrigues explores the set of prints acquired by Calouste Gulbenkian for his collection. Francesca Neglia then looks at two of the most popular iconographic themes in ukiyo-e: the figure of the courtesan and landscapes. In the third essay, Hannah Sigur discusses the literary network associated with ukiyo-e. Finally, Rui Xavier, Preventive Conservation Coordinator at the Gulbenkian Museum and curator of the Gulbenkian Collection’s lacquerware, writes about the damage sustained by the collection of Japanese prints after the 1967 Lisbon’s floods and the remarkable restoration process that followed.The second part of the publication is similar in structure to the accompanying exhibition sections and includes texts on specific works or groups of works. The first chapter, 'Different views of nature and landscape', deals with landscape painting as an autonomous genre of ukiyo-e; in ‘Uki-e’: perspective images, the focus is on uki-e, a genre of prints made by adopting Western geometric perspective; Yoshiwara’s ‘floating world’ revolves around the authorised leisure district of Edo (present-day Tokyo) and its influence on the production of prints depicting women; ‘Ukiyo-e’s literary web' deals with the unique and contradictory relationship between scholarly literature and poetry and the main protagonists in the ‘floating world’, such as kabuki theatre actors and the so-called ‘women for play’; finally, 'The Tōkaidō Stations' covers the famous print series of the same name, comprising prints on various themes related to the Tōkaidō route, which ran from Edo to the imperial city of Kyoto.Image Credits: Panorama

In October 2024 The Calouste Gulbenkian Museum, in collaboration with the Museo Thyssen-Bornemisza, in Madrid, presented the exhibition Splendour in Venice. From Canaletto to Guardi, devoted to 18th century Venetian painting.Painters such as Canaletto, Francesco Guardi, Bernardo Bellotto, and Giambattista Tiepolo, authors of some of the most brilliant compositions of their time and undeniable highlights in the collections of both Iberian museums, are among the artists selected for this exhibition.This publication, released on the occasion of the exhibition, is divided into two parts: the first dedicated to three essays, and the second comprising catalogue entries related to the works of art on display.Mar Borobia, Chief Curator of Old Master Painting at the Museo Thyssen-Bornemisza, opens the first part with an essay on the history of the collection of 18th century Venetian painting belonging to the Madrid museum. Next, Vera Mariz, curator at the Calouste Gulbenkian Museum, reflects on Gulbenkian’s admiration for the work of Francesco Guardi, which led him to purchase 19 paintings by the Italian master for his collection. Finally, Alberto Craievich, director of Ca’ Rezzonico, Museo del Settecento Veneziano, explores the artistic context of the city of Venice during the 18th century.The second part consists of 34 catalogue entries written by Luísa Sampaio, the curator of the exhibition.Alongside the written content, the publication is illustrated by a large number of images of the artworks on display, allowing readers to observe the exquisite details for which they are notable.

Published as part of the celebrations marking the 70th anniversary of the Calouste Gulbenkian Foundation, this publication symbolically presents 70 works of art from the collection assembled by its founder. Seventy Years, Seventy Works also marks the reopening of the Gulbenkian Museum following its closure for refurbishment. The renovation project set out to evoke the spirit and coherence of the original design, re-establishing the relationship between architecture, art and nature. The selection of works chosen by the Museum’s curators is representative of the collection’s excellence and diversity, reflecting Calouste Gulbenkian’s refined taste. Following the path of the permanent exhibition, the works presented here span multiple periods and geographical regions, ranging from Antiquity and originating from Asia and Europe. This book, designed by Panorama Design Studio, is illustrated with a wide selection of images and accompanied by texts written by the museum curatorial team.