Chapter One
Mural De Azulejos
Entering André Saraiva’s Mural De Azulejos, Chapter One introduces the thesis's first case study of contemporary azulejos in the shared urban spaces of Portugal’s capital. The following analysis considers the mural’s imagery, distinctive local environment, the use of the azulejo, and the role of federal patronage in shaping a massive public image seen by millions in the daily life of Lisbon. The analysis then leads to the central theory this thesis proposes in order to understand this phenomenon of urban art: public visual nationalism. Guided by methods of political theory and a review of relevant scholarship, this chapter seeks to present the theory and unpack its associated tensions and complexities. By embedding his dreams in an art form deeply woven into Portuguese culture and daily life, Saraiva transforms the urban landscape into a canvas where nostalgia, community, and collective storytelling converge in the service of public visual nationalism.
Drone Footage of Mural De Azulejos
Created by the Câmara Municipal de Lisboa (Lisbon City Council), this overhead video offers a striking view of Saraiva’s azulejo work. From above, the scale of the piece, the park nestled beneath it, and its urban setting within Lisbon all come clearly into focus.
More Helpful Videos
In working on this chapter, I came across several videos that were helpful in conceptializing the space and presnce of the mural, as well as interviews with Saravia, documentation of his process, and even a speech given by Lisbon's mayor at the time about the work.
Additional drone footage of the work, featuring a brief speech by then–Mayor of Lisbon Fernando Medina, and produced by the Câmara Municipal de Lisboa.
A Google Maps Street View walk though of the mural, from August of 2024.
Also, check out Private View: André by Julie Georgia Bernard, which documents the making of Mural de Azulejos and includes interviews with the artist:
The Mural Through Time
Follow a selected view of Saraivas's Mural De Azulejos from 2023 to 2009
Also see this cool Juxtapose of the work between 2023 and 2015: