José de Guimarães was born in 1939 in Guimarães. He studied art in parallel with his engineering degree at the Military Academy and Technical University of Lisbon (1957). He followed painting classes led by Teresa Sousa and Gil Teixeira Lopes, before enrolling at the Cooperative Society of Portuguese Engravers, where he studied printmaking.
From 1961 to 1966, de Guimarães travelled around Europe, educating himself about European art and its masters – particularly Rubens. The artist also spent seven years in Angola (1967-1974) on military service, a period during which he developed an interest in African art and ethnography. Further trips to Mexico, Japan and China expanded his knowledge and interest in the artistic traditions of these cultures.
Inspired by his travels and the imperial past of his native Portugal, the artist sought to bridge the cultures of Africa and Europe. The pop art aesthetic and nouveau réaliste tendencies evident in his early works were promptly replaced by more primitively expressive forms and finishes, seeking to develop a rich cultural exchange among several continents throughout the 20th century. This impetus is typical of the 20th century, African art having helped European creatives overcome the boundaries of mimetic depiction by simplifying their forms and structure – especially in sculpture.
His international outreach can be divided into several phases. From 1989 onwards, he exhibited in Japan and took part in public projects in Tokyo, Kuchiro, Tsumari and Naoshima. From 1993 onwards, several trips to Mexico rooted his work there and nourished his research into pre-Columbian art. 1998 marked the beginning of his work in China, with research trips and exhibitions in Hong Kong, Macao and Beijing.
With his engineer’s training, artist’s gaze, anthropological methodology and collector’s passion, José de Guimarães has created a uniquely personal and syncretic body of work, as well as an ambitious multicultural collection. Indeed, his 5 000 African pieces, 300 Pre-Colombian pieces and 1 000 ancient Chinese artefacts require a 6 000 m² warehouse just for storage. The philosophy behind this prodigious collection is one of exchange, understanding, respect and recognition.
Among the numerous exhibitions dedicated to his work, one of the most ambitious retrospectives was organised by the Wurst Collection, which itself owns over 300 of de Guimarães’ pieces.
A strong local cultural figure, the artist became deeply involved in the role of his city (Guimarães) as European Capital of Culture. To mark the occasion, he created the José de Guimarães International Arts Centre (CIAJG), and was recognised by the Portuguese mint and national press, which minted a commemorative coin by the artist.
