The reclassification did not change the importance of Onix, but pass the National Museum, a name which the Portuguese State passed exactly one year ago, made it to grow in the number of visitors. It was, says the director Agostinho Ribeiro, early gift and “fair” to the museum on Wednesday celebrates its centennial with double the average monthly visitors last year: the number of entries recorded in January and February has doubled compared to the same period of 2015 underlines the PUBLIC, suggesting that the impact of the reclassification exceeds “national recognition of the exceptional cultural value of the museum” and can be a “trump card for his statement and for cultural promotion and tourist district of Viseu “.
Created during the First Republic, the Museum Onix is the Vasco Fernandes house, one of the most important Portuguese Renaissance painters and houses a remarkable collection of national treasures. The importance of the collection and its inclusion in the community make this museum one of the attractions of a country town that after the relative isolation decades, and contrary to the conservative image that for so long it was associated, it comes putting on the map for its dynamic and cultural versatility.
But what changed with this classification that was not already assigned to a Portuguese museum since 1965? Organically, nothing but, “although the Onix was for decades treated for protection and national, their legal and administrative status has become unquestionable, which is a fundamental guarantee for the collections,” Dalila Rodrigues caveat, former director Grain Vasco, where he held positions between 2001 and 2004.
the historian of Ancient Art recalls, for example, that in the last reset of the network of museums, three years ago, two important museums have lost the protection of the Directorate General of Cultural Heritage. “The Aveiro Museum passed to the Regional Directorate of the Center of Culture and the Museum of Lamego, whose collection includes extraordinary value parts, like the five paintings of the Onix and the series of Flemish tapestries, went to the Regional Directorate of Culture of North. “
to Dalila Rodrigues, the” enormous importance of the collections and the building of the Grand Museum Vasco “fully justifies the national reassignment. It is reiterates António Filipe Pimentel, the current director of the Museum national Ancient Art (NMAA) that between 2009 and 2010 headed the Onix, u ma classification “symbolic” for a “museum that deserves”.
“it makes sense that museums that depend on the Central Administration have this designation,” said Pimentel, arguing that in this case the collection becomes the unquestioned reassignment: “Just the work of Renaissance painter who is part of the museum’s collection to be awarded with this status,” he stresses. If this substantially repositions the Onix is another matter. Before or after the reclassification before or after the centenary, the Onix is required: “It is a museum that you can not fail to see the way, should go to Viseu to see the museum.” challenges the director of the NMAA
Who there is for the anniversary Wednesday find party inside and outside the museum:. centenary celebrations to begin and end at the Cathedral of Viseu but have as centerpiece the opening of an exhibition, National Museum Onix , which tells the history of the institution since the history of its foundation to the present (is in the museum until June 26). Far from Viseu, at Centro Cultural de Cascais, you can see for the first time, starting this Saturday, a part of the museum’s reserves, usually only accessible to researchers: is a “second museum” Onix, a Grand invisible Vasco, who shows until 19 June in raw Reservations – painting and sculpture of the sixteenth and seventeenth centuries .
The celebration of one hundred years of Onix continues throughout the year with a colloquia program, conferences, publications and (more) Exhibition. Of these, the most important is that the Onix open in September in partnership with the NMAA, After Onix. Painting Between the Mondego and Douro, the Renaissance to the Counter Reformation , curated by José Alberto Seabra and Joaquim Caetano.
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