5 Poems by the Plastic Artist Mário Cesariny

5 Poemas do Artista Plástico Mário Cesariny

The poet and artist Mário Cesariny

Militant and loyal defender of the Surrealist movement, Mário Cesariny de Vasconcelos (1923-2006) wrote, painted and drew, in exactly this order, since he was 19 years old. His work, both poetic and plastic, contributes to the construction of contemporary history. The painter stood out in the artistic panorama by rejecting any technical and formal concern, having been the first to create a surrealist collage in the Portuguese post-war period. His career was intense, with the two areas, plastic arts and writing, continually interconnecting, as paintings emerged from his poems and vice versa.

He published his first book, Corpo Visível ( 1950), a year after the creation of the group Os Surrealistas . Other publications followed, most of them after April 25, 1974 - Discourse on the Rehabilitation of the Real Daily Life (1952), Manual of Conjuration (1956), Pena Capital (1957), among others. His literary and plastic works stand out for their richness and complexity for the surrealist movement:

“As one of the main critics and theorists of the surrealist movement, throughout his career he maintained countless literary polemics, both against the detractors of surrealism and against those who, in literary practice, distorted it. His poetic work began by reflecting, in Visible Body or Discourse on the Rehabilitation of the Daily Real , his taste for the ironic observation of urban reality which, echoing Cesário Verde, still constitutes a non-significant phase in relation to volumes close to the practice. surrealist as Manual of Conjuring . There, the mordacity and the absurd, the recourse to the unusual, allied to a discursiveness that rarely turns to a radical nonsense, as in the work of António Maria Lisboa, allow us to establish, like no other author of the 50s, a point of balance between the first modernism and the surrealist revolution.”

Discover part of his vast poetic work through the five excerpts published in this article:

I find you in every street

in every street i find you

I lose you on every street

I know your body so well

I dreamed so much of your figure

that I walk with my eyes closed

limiting your height

and drink the water and sip the air

that went through your waist

so so close so real

that my body is transfigured

and play its own element

in a body that is no longer yours

in a river that disappeared

where an arm of yours looks for me


in every street i find you

I lose you on every street


Mario Cesariny in Pena Capital

Mario Cesariny | P55 Magazine | P55 - The Platform of Art

Mario Cesariny

Pastry shop

After all, what matters is not the literature

neither art criticism nor darkroom


After all, what matters is not the business.

not having money beside having leisure hours


After all, what matters is not being young and gallant

- he has such a way to compose a bookcase!


After all, what matters is not being afraid: closing your eyes in front of the precipice

and fall vertically into addiction


Isn't that right, boy? And tomorrow there's a ball

before there was a cinema madame blanche e parola


That, after all, what matters is not that there are hungry people

because as well, there are still many people who eat


That after all, what matters is not being afraid

to call the manager and say very loudly to many people:

Manager! This milk is sour!


After all, what matters is putting the furry collar on top

outside the bakery, and outside - oh, outside! - laugh at everything


In the admirable laughter of those who know and like

have washed and have many white teeth showing


Mário Cesariny in Discourse on the Rehabilitation of the Daily Real



Mario Cesariny | P55 Magazine | P55 - The Platform of Art

Mario Cesariny | P55 Magazine | P55 - The Platform of Art

Mario Cesariny

A Great Tool of Love

a great tool of love

half orange of joy

ten tons of sweat

a minute of geometry


four heartless rhymes

two uneventful disasters

a black who goes to the sertão

a white man who comes to town


a half-paint in the sun

five days of anguish at the forum

the cigarette going down the magazine

the bull trepanation


a thousand mouths to see and count

a time to tour

a ripping skyscraper

christianity quarter


a board without a door without a ladder

a griffin in the lines of the hand

a very disgraced Iberia

a Rossio of solitude


Mário Cesariny in Discourse on the Rehabilitation of the Daily Real


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