Shortly after attending his funeral, I desperately looked for a tiled panel that Ahmed Daoussi, my father, had proven me as a toddler. Not realizing the precise tackle, I paced across the Avenue Pierre Ier de Serbie within the eighth arrondissement in Paris and nearly gave up earlier than the mural stopped me in my tracks. The panel, titled Pombas, the Portuguese phrase for “doves”, was by the celebrated Brazilian artist Candido Portinari, and I distinctly remembered the white and blue hues within the work that have been paying homage to our native Tunisia.
How did Brazilian doves land on a Parisian wall? My father had spoken to my sister about how proud he was to have labored underneath Portinari, however she and I solely talked about Pombas after he died in December 2017. We must always have been extra curious whereas he was nonetheless with us. Data on Pombas is tough to return by and people with major data are lengthy gone, so we got down to examine this cosmic accident, of how a 22-year-old Tunisian immigrant who was freshly skilled in tile setting crossed paths with the good Brazilian artist.
Our first breakthrough was the invention of three letters: one commissioning the work, one other confirming the charge and a 3rd clarifying the technical particulars of the “azulejos”, or glazed ceramic tiles, which comprise the work. Derived from the Arabic “al-zulayj”, these small polished stones have been launched to the Portuguese by the use of Islamic civilisation within the thirteenth century and to Brazil by Portuguese colonisation within the seventeenth century. Brazilian architects and artists have since used azulejos to create a distinctly Brazilian id—one which builds on the colonial previous and makes the artwork their very own.
Candido Portinari’s Pombas (round Nineteen Fifties) (element). Jean-Philippe Guyot.
Researching the genesis of the mural quickly consumed our existence. Because it seems, Pombas was impressed by prophetic doves. Throughout a visit to Brazil within the Nineteen Fifties, a French businessman named Gaston Rueff found Portinari’s doves on a tiled panel depicting the lifetime of Saint Francis of Assisi within the Pampulha Church in Belo Horizonte, an architectural venture of Oscar Nimeyer that was accomplished in 1943. Rueff later commissioned Pombas to brighten a brand new constructing in Paris; the placement of his archives, in the event that they exist, stays a thriller.
A letter dated 1961 by the French architect Jacques Pilon, who was based mostly in Brazil and facilitated communication between Rueff and Portinari, supplied some solutions concerning the tiles themselves. The everyday 15cm by 15cm azulejos have been made at a defunct tile manufacturing facility in Recife, which grew to become the ceramic studio of the late artist Francisco Brennand. Giandomenico De Marchis, an Italian sculptor who migrated to Brazil, painted Portinari’s designs onto the tiles in his São Paulo workshop that yr. An estimated 38 packing containers containing between 20 and 23 kilos of azulejos have been then shipped to Paris.
Setting the tiles and making certain color and sample alignment should have been terribly advanced. It takes 4 tiles set in a diamond form to create every dove. Every fowl seems to be distinctive, and the mural is a really poetic and peaceable expression of doves in flight. A thick blue undulating line jumps on the viewer. Much like his earlier tiled panels, it appeared like a method for Portinari to unite the entire composition. Students have speculated that the road might be a reference to rocaille, or seashell-inspired strains, the hallmark of rococo designs that blossomed underneath France’s king Louis XV.
It’s estimated that it could take one individual working alone not less than one month to set the estimated 1,680 tiles in Pombas. This coincides with the size of Portinari’s keep in France. Brazilian press clippings present he embarked for Le Havre on 4 October 1961, in all probability reaching Paris by the center of October. He stayed, as typical, on the Hôtel Aiglon within the 14th arrondissement and left Paris on 27 November 1961. These fragments of knowledge assist us date the panel’s completion extra exactly.
My father’s personal archives have been modest and didn’t present any speedy solutions to his connection to Pombas. He was skilled in tile setting at a vocational coaching heart arrange by the French authorities. The French Nationwide Archives supplied us with a replica of the coaching curriculum from 1960; with each web page, we are able to image how our father, over a interval of six months, labored on buying abilities to raised his social situation. His trajectory is emblematic of the trail traveled by 1000’s of immigrants on the time. Within the throes of post-war reconstruction and labour shortages, and earlier than they grew to become the scapegoat of all societal woes to today, France actively recruited guide labourers from its decolonising colonies till roughly 1974. His residence in Bobigny was a dormitory for immigrants and was—actually and figuratively—miles away from the celebrated neighbourhood the place he set the azulejos.
Candido Portinari’s Pombas (round Nineteen Fifties) (element). Jean-Philippe Guyot.
Our seek for extra particulars on Pombas began to succeed in what felt like a useless finish. As a blue-collar employee, my father had by no means acquired recognition or accolades. We ultimately met João Portinari, Candido’s solely son, who had been dwelling in Paris in 1961, however he lamented that he had not met my father or spent a lot time together with his personal father in Paris.
João additionally expressed that he needs to repair what he calls “the invisibility of Portinari”, which is the results of having 95% of his father’s work held in non-public collections. Though seen via a glass door, Pombas is considerably emblematic of this. A well-known and celebrated artist when alive, Portinari was commissioned to color murals for the Hispanic Room of the Library of Congress in 1941 and invited by Eleanor Roosevelt to characteristic his work in a Howard College exhibition that dignified the Black Brazilian expertise the identical yr. Even so, he ultimately pale from view.
Studying extra about Pombas was bittersweet. Portinari’s final journey to Paris within the autumn of 1961 was something however joyful. He was declared persona non grata in Le Havre for having decried the French bombing of a small Tunisian village in 1958, practically two years after the nation’s independence from France. The yr 1958 additionally has a fortuitous connection to my father: that spring, he immigrated to France through Marseille to beat a dispiriting lack of alternatives for Tunisian youth. Portinari returned to Rio de Janeiro after being granted a 60-day visa in France, however protracted political persecution and worsening lead poisoning signs attributable to the paint he used precipitated his premature dying in 1962, aged solely 58.
The story of my father’s contribution to Pombas is just a little window that opens onto the colourful world created by Portinari, whose creative legacy must be remembered and celebrated. He painted Brazil and its folks, significantly the forgotten laborers, neither pitied nor exalted however with restored humanity. Once I found Portinari’s artwork, it instantly resonated with me as a result of somebody like my father might have graced certainly one of his canvases.
The current constructing house owners have been thrilled to be taught the genesis of Pombas. They allow us to {photograph} the panel to our coronary heart’s content material. However nonetheless only a few folks recognised the piece as a real murals. Sheltered from the weather, Pombas stays in pristine situation. It’s as if my father had simply completed laying the final tile. I can image him selecting up his instruments and meticulously cleansing up. Whereas saddened by the absence of any {photograph} of him at work there, I take consolation in the truth that the peaceable doves exist in any respect.
