Soares dos Reis National Museum is the first Portuguese national museum exhibiting collections of Portuguese art, including a collection by Portuguese sculptor António Soares dos Reis, from which the museum derives its name.
The museum was founded in 1833 as Museum Portuense by King Peter IV. Initially it was housed in the Convent of Santo António (in the centre of Porto), exhibiting religious art confiscated from Portuguese convents, and those works of art expropriated from the absolutist followers of Miguel I (who had struggled against Peter IV a year before).
During the 19th century the museum made several acquisitions that were integrated into the main collection.
But, it was in 1911 that the museum obtained its collection of work by Soares dos Reis, a celebrated Portuense sculptor, taking on the name of its benefactor.
In 1942 the museum was transferred from the centre of the city to the former-residence of the Moraes e Castro family, known commonly as the Carrancas (which means scowlers/frowners, a passing reference to the disapproving nature of its members). The large building provided the spaces and conditions to store and exhibit the collections. Over time, the spaces were expanded and modernised under a project by architect Fernando Távora.
The museum has a vast collection mainly focused on Portuguese art of the 19th and 20th centuries, including painting, sculpture, furniture, metalwork and ceramics.
Artists represented include painters Domingos Sequeira, Vieira Portuense, Augusto Roquemont, Miguel Ângelo Lupi, António Carvalho de Silva Porto, Marques de Oliveira, Henrique Pousão, Aurélia de Souza, Dórdio Gomes, Júlio Resende and sculptors Soares do Reis, Augusto Santo, António Teixeira Lopes, Rodolfo Pinto do Couto and many others.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.