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José Sobral de Almada Negreiros (April 7, 1893 – June 15, 1970) was a Portuguese artist. He was born in the colony of Portuguese São Tomé and Príncipe, the son of a Portuguese father, António Lobo de Almada Negreiros, and a Santomean mother, Elvira Freire Sobral. Besides literature and painting, Almada developed ballet choreographies, and worked on tapestry, engraving, murals, caricature, mosaic, azulejo and stained glass. ==Life and Work== His mother died in 1896. In 1900 he enters in a jesuit boarding school in Campolide, Lisbon. After the October 1910 republican revolution this school is closed and Almada enters the ''Escola Internacional'', also in Lisbon. In 1913 he made his first individual exhibition, showing 90 drawings. In 1915, along with Fernando Pessoa and Mário de Sá-Carneiro, publishes poems and texts in the ''Orpheu'' artistic magazine, which would introduce modernist literature and art in Portugal. This same year Almada Negreiros writes the famous ''Manifesto Anti-Dantas e por extenso'', a humorous attack against a more traditionalist and bourgeois older generation. In 1915 the artist also conceives the ''O Sonho da Rosa'' ballet. In 1917, with the scope of introducing to the Portuguese public the Futuristic aesthetics, Almada Negreiros publishes, together with Santa-Rita Pintor, the ''Portugal Futurista'' magazine, writing the ''Ultimatum Futurista, às gerações portuguezas do século XX'' ("Futurist ultimatum to the Portuguese generations of the 20th century"). He promotes a conference, the ''Sessão Futurista'' ("Futurist Session"), where he appears wearing a flight suit. Between the years 1918–20 Almada lives in Paris. To support himself, he works as a dancer and as a factory worker. In 1920 he returns to Lisbon. In 1925 he produces two paintings for one of the most famous cafés in Lisbon, A Brasileira. In 1927 he goes to Madrid where he writes in several Spanish publications like ''Cronica'' and ''La Farsa''. He writes ''El Uno, tragédia de la Unidad''. Back in Portugal, in the following years his artistic production will be wide and prolific as he becomes a key artist in Portuguese modern art, influenced by Cubism and, mainly, by Futurism. His role, during António de Oliveira Salazar's authoritarian regime is however ambiguous, assuming both as an "aligned" artist (doing public mural paintings or propaganda posters) and a provocative critic of Portuguese society of the time. In 1934 he married painter Sarah Afonso (May 13, 1899 – December 14, 1983). Re-settled for good in Portugal, he would continue in his role as "artistic agitator" within the oppressed society that was Portugal until the time of his death. In 1934 the couple had their only son, José Afonso de Almada Negreiros. He was also, even if sparely, an actor and a dancer although that shows his compreehension that all forms of art are intimately linked. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「José de Almada Negreiros」の詳細全文を読む スポンサード リンク
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