The 1960s and 1970s were times of significant change in the work and life of Júlio Pomar. He moved from Lisbon to Paris and, following his renowned Tauromaquias series, he explored new themes in his paintings, such as horse racing, the Paris subway, and catch (wrestling). In these works, he examined the formal representation of movement, speed, and tension. During this period, he held a series of successful exhibitions in both cities and participated in prominent international exhibitions, including at the Louvre Museum in 1971.

Júlio Pomar closely followed the rapid evolution of the avant-garde movements of the time. He showed interest in Informalism, New Figuration, and Anglo-Saxon Pop Art, while also studying the works of classical artists such as Uccello, Ingres, Courbet, and others. Despite being sensitive to the artistic ruptures of the time, he did not align himself with any specific groups or schools. Instead, he embarked on a personal journey of questioning and experimenting with his art, a process that was often challenging for the public and critics to follow. In 1966, he destroyed dozens of completed and unfinished paintings. Shortly after, he began creating assemblages from found materials. He then shifted the focus of his painting with series dedicated to Rugby and the May 1968 protests, which were not exhibited at the time. These were followed by variations on Ingres’ The Turkish Bath and a cycle of portraits, reflecting his engagement with North American Pop Art.

The changes in Pomar’s work paralleled the revolutions of the era, including the May 1968 protests in Paris and the April Revolution in Lisbon. He also engaged with other protest movements and shifts in societal behaviour, such as anti-psychiatry and the sexual revolution.

This exhibition delves into this period of exploration and reorientation in Pomar’s career, showcasing numerous works that have not been exhibited for a long time.