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Authors

Michele Rocha

DOI

10.7275/R59021PG

Abstract

Abstract: António Pedro, considered a pioneer of the Portuguese surrealist movement, stands by the assertion of a plastic thinking where word and image converge. In the work of this author, the feminine, in its multiple meanings and relations, emerges as a main theme, taking on a diversity of representations and significances. In this article, an analysis of the connections between plastic and literary works confirms a series of constant images that converge towards a representation of the feminine as a privileged object of destructive impulses. The study of women-trees present in the pictorial work of António Pedro, when considered alongside Apenas uma narrativa, enables us to identify, in the feminine metamorphoses that characterize both these compositions, a regressive or degenerative movement. This movement, a metaphor of the author’s action, aims towards immobility or inertia, in other words, towards the definitive passage to an inanimate or dehumanized state.