Throughout the history of the azulejo (a Portuguese form of tin-glazed ceramic tile), frames have played a decisive role in the articulation of this element with its architectural support. From the late 1940s onwards, Portuguese artists have felt the influence of the International Modern Movement, especially via the Brazilian model and its solutions for integrating azulejos within the new architectural forms. This movement translated into new buildings and equipments, promoting the interaction between architects and artists. Moreover, it led to the renovation of Portuguese ceramic coverings, prompted by the emergence of a new generation of artists strongly influenced by Jorge Barradas.
The present article aims to examine three ceramic coverings by Jorge Barradas, focusing on their frames and their articulation with the architecture. The first azulejo covering is the so-called Atlântico Palace, the headquarters of a banking institution in Oporto (1950); the second is located at the Parish Church of Nossa Senhora de Fátima, in Parede, Cascais (1953); the third one is at the Lisbon’s Palace of Justice (1969).