BIOGRAPHY
WORKS
2010-2014
2000-2009
1990-1999
1980-1989
1970-1979
TEXTS
CONTACTS
 
Lisbon, 2014

Pedro Chorão was born in Coimbra, Portugal, in 1945.
His first interest was biology and he studies in Liverpool at the North-East Liverpool Technical College from 1963 to 1967.
It was there where he was inspired to begin painting by admiring the british pop artists of the moment that hung on the walls of the public library which he daily frequented.
He then moved to Paris and studied history of art and archeology at École du Louvre and École Pratique des Hautes Études (Sorbonne) and at this time he began painting in earnest.
From 1968 to 1972 he completed 4 years of compulsory military service; 2 years in Portugal and 2 years in the Cape Verde Islands.
Once back from Africa he concluded his Master’s Degree in Painting at the University of Lisbon (Faculty of Arts).
He then returned to Paris on a scholarship awarded by the Gulbenkian Foundation (Painting) from 1976 to 1978. Afterwards he was awarded a new scholarship by the same foundation to paint in Lisbon from 1987 to 1989.
    Awards
AICA (Association Internationalle des Critiques d'Art) by the art critics Dore Ashton, René Berger and Sílvia Chicó.
III Exhibition of Fine Arts, Gulbenkian Foundation, 1987
Bicentenary of the Ministry of Finance, 1988
Biennale of Lagos, 1990
BANIF Bank, 2003

Public Works
Tapestry (12 square meters) for the Bank CGD
Mural in tiles (220 square meters) in the city of Covilhã, (Portugal), 2004

Represented
In the main National collections and Museums in Lisbon and Oporto.

Illustration
Covers for several poetry books and for "Pour un Morale de L'Ambiguité", Simone de Beauvoir, Éditions Gallimard, Paris.

One man Exhibitions
50 (from 1975 to 2014)

Group Exhibitions
119 (from 1972 to 2009) in Portugal, Caracas (Venezuela), Paris, Lund/Sweden (Museum of Modern Art), Belgrade, Lyon, Azores, Madrid, Niterói (Brazil) and Tokyo (Museum of Modern Art).

Bibliography
Two monographs (1983 and 2009). Hundreds of articles by the main portuguese art critics.