Pintomeira was born in Deocriste, Viana do Castelo - Portugal
In 1965 he finishes his high school studies, abandons his education in architecture and joins in one of the worlds that most fascinated him: the Painting.
In 1966 he holds his first exhibition in the existing gallery Divulgação, in Viana do Castelo.
In 1967 he goes to Lisbon and attends a collective atelier in Mouraria, where he finds the surrealist painter Raul Perez. Later on, he lives with Mario Casariny, Cruzeiro Seixas and others belonging to the Portuguese surrealist movement.
In 1972, and after a short stay in Africa, he leaves to Paris in the company of the Dutch painter and model Marijke de Hartog, who he knows in Portugal and with whom he marries in 1976, in Amsterdam. Both domiciled in Dutch capital. Once aborted the possibility of inscription on the Nederlandse Filmacademie (Dutch Film Academy), which first took him to leave Portugal, Pintomeira attends in 1978-1979 the CREA (Studentencentrum van de Universiteit van Amsterdam) where he studies painting and film. After a few exhibitions in the Netherlands, he holds in 1978 his first exhibition in Paris at the Galerie Entremonde. In that same year, he participates in the Salon Metamorphoses in homage to the Belgian surrealist painter René Magritte, held at the Grand Palais of Paris. With this participation, he decides to put an end to his surrealist period. About this surrealist journey (1967-1978), Luis Chaves, an art historian, writes in the catalogue of a retrospective held in 2005 at the Municipal Museum of Viana do Castelo: "We fall back until the seventies of the twentieth century to get in contact with his passage through the surrealism. We found his living with Cesariny, Raul Perez and others linked to this movement, during his stay in Lisbon (1967-1971). However, it will be in Paris and later in Amsterdam, that all the conventions and prejudices come apart to make way for a free expression of all rational and moral concern resulting from the idea introduced by André Breton: the psychic automatism."
During the decade of 80, in his atelier in Amsterdam, Pintomeira receives various influences, the most striking one being the group CoBrA (aggregation of initial letters of the cities of Copenhagen, Brussels and Amsterdam) in which are included great names such as Karel Appel, Corneille and Asger Jorn, Lucebert. Some influences of that movement, as the thick textures, auto design, bright colors and primary in complementary combinations, and yet the simple and debugged motifs, some links to surrealism and primitive art, accompanied the artist for much of his work.
In the decade of 90 he starts a stage of stylization and debugging of the figure, which consists of the constant exercise and experimentation around the contour, making it predominant through its enlargement, extension and multiplication. Donald Meyer, writer and art critic, writes in the book "Contours". "Contours" edited by Appelbloesem Pers de Amsterdam:"the writing stroke is deeply personal and invites the viewer to scroll through all those outlines giving them the possibility to admire the picture or object in the comfort of the amphitheatre suburbs. The precision, almost mathematical of all those lines and contours, accentuates a concern in seeking harmony that smooth a more rational or dramatic observation from the memory. However, this precision in searching of balance does not mean austerity or imprisonment of the lyrical. ... This linear exuberance, these thick strokes that intersect and interconnect, lead to new areas and offer movement and rhythm to a static representation or inspire a sense of dynamism and excitement to a debugged figure". During the decade of the nineties, Pintomeira presents its work in several solo exhibitions and participates in other collective ones.
In 1999 Pintomeira leaves Amsterdam and returns to Portugal, settling in his family home in Deocriste, Viana do Castelo. The work he performs in his new atelier in the North of the country gives rise to a wide range of figurative works, still with the Cobra group influences, and is named the "Newline". On what concerns this work carried out between 1999 and 2007, Alberto Abreu, a historian and curator of some exhibitions of Pintomeira, wrote: "the dematerialization of the objects was the way followed by Pintomeira in a New Line where the contour ended up to be reduced to a fillet, the images of the objects appear stylised when they are not reduced to silhouettes without color or respect by the other objects of the frame, in a combination of textures which give them rhythm, irreality, statute of "pure forms". In this environment Pintomeira put square grids, birds, feminine silhouettes, profile faces, fruits; and balconies, and moons, and faces with eyes of wonder".
Between 2003 and 2010, and alternating with "New Line" Pintomeira also produces a vast work on canvas and paper giving the name of "Faces". On this topic, the teacher and writer Arlete Salgado Faria wrote in the catalogue for a retrospective in 2005: "... The cycle of women (faces) evolved, from the rounded shapes to other more angular and thin; the weever fishes of the eyes that faced us what oracles flatted down to become more human, in provocative lips and topped in square chins and angular faces. Other women (faces), with white fringed and effigy face refer to the immemorial time of ancient Egypt and emphasize new techniques used by the painter."
In 2007, Pintomeira installs his new atelier and his photography studio in Braga, where he also resides. This same year marks a turning point in his figurative work. CoBra influences and contours disappear. The theme "Interiors" presents works closed to the pop art with influences of the graphical design. The figure is clearly present and the interior scenes denounce theatrical representations. In this system of objects protrude the stage, the canvas and the staging. In the catalogue of an exhibition of "Interiors", Moisés de Lemos Martins, sociologist/writer and professor at the University of Minho wrote: "In Interiors these spaces that articulate the interior with the exterior are, however rare. At this aesthetic stage, marked by the Pop Art and by Graphic Design, Pintomeira describes, in general terms, beleaguered places in themselves, without escape lines or horizon. This proceeding obeys to the principles of Minimalist Art. The artist creates some work that lies between painting, sculpture and architecture, by favouring the exhibition space. This space, both continuous and discontinuous, is based on the autonomy of the inner world and does not seem to conceive any exterior. But it is not inconceivable that this landscape may also be perceived from the outside, while the interior is necessarily hidden by a facade."
In 2009 and 2010 the theme "Other Faces" is produced; a set of works made in digital and acrylic print on canvas and that carry us to a new Pop Art. And, on this topic, Moisés de Lemos Martins, again, is the one who writes in the catalogue that accompanied the exhibition entitled "OtherFaces: "In this exhibition, with ten exclusively figurative frames, the language of the artist unties the reality in a total process of man made pictures, which pass the non-place of impersonality, as if they was objects produced for consumption. In a neutral and documentary style, these portraits are, indeed, the impersonality, but also show the isolation. The critical space in the presence of a subject does not exist in them; There is only the paradoxical space of their disappearance. "
In 2011 appears "Exteriors" that complements "Interiors" produced between 2008 and 2009. It consists of a series of works that bring together figures of everyday life in urban scenarios, crossing street crosswalks, where the road signs are heavily exploited. José Luis Ferreira, sociologist, writer, researcher of art and Academic Member IND. AAI/AIE-International Association for Aesthetics, wrote in the exhibition catalogue "Exteriores. "Interiores" ... the regularity of linear line, expanded to wide, straight or curved track ... the docking of signs, the pictogram, the symbolic and cultural determinant load – the light – in the Global Village, where no one loses the sense of [...] "solid and volatile things» [...] coexistent, inside and outside (in the inside and outside), of all that is beautiful, in the existence of the things, whether natural or artificial...
Therefore, I admit that it should be considered, while a strict point of view and only methodological - taxonomic, atavistic, or pragmatic – any essential differentiation between Urban Exteriors and Domestic Interiors, in painter's pictorial work... "
In 2013, Pintomeira returns to the photography. A passage, though brief, by photographic expression, had already been made, in 1979, in Amsterdam.
"Somewhere" is, now, the title chosen for the work produced in his studio, with agency models. The choice of a model, in this case female ones, for the central subject of this photographic work, was determined by the fact that, in his painting, the human figure is, mostly, also, its main element. Thus, the transition from painting to photography was consequent, producing, in one and other, a figurative work that is present in almost all of his work. These photographs, as in his last painting works on canvas "– Interiors - Exteriors", have, also, some elements (influences) of graphic arts, design, advertising and pop art.
In 2014, Pintomeira starts the production of a new series entitled "Cutouts". The technique consists of painting on not mounted canvas, cutting the figurative work produced in several pieces, and subsequently organizing the various cut elements in a harmonious composition. Finally, the elements of this composition are pasted on another screen mounted on a wooden grid.
Pintomeira was most likely influenced by the French painter Matisse who, between 1840 and 1852 produced numerous cutouts, cutting paper of different colours and gluing them subsequently on various supports.
Also in 2014, Pintomeira starts the production of "New Faces". Some photographs resulted from sessions in his Studio for the theme "Somewhere", are now worked with acrylics, pastels, graphite and other materials. This mixed technique produces figurative works (Faces), where the photography is mixed with painting.
Since 1966 and to present days Pintomeira has on his resume, more than one hundred solo exhibitions in Portugal and abroad. Between 1971 and 2014 he participated in several collective exhibitions, biennials and art fairs, in Portugal and in other EU States. He is represented in various institutional collections, public and private collections in several EU States, the USA and Israel.
Publications Contours | Contornos | Pintomeira; 1998, De Appelbloesem Pers publishing, Amsterdam, ISBN 9070459167
Faces e Contornos | Pintomeira, 2001, publication of the Municipality of Santo Tirso
Pintura | Pintomeira; 2003, legal deposit n.º205550/04, ISBN 972-9071-37-3
Outras Faces | Pintura | Pintomeira; 2010 Pintart, legal deposit 311065/10, ISBN 978-989-20-1997-0
Exteriores | Interiores | Pintomeira; 2011, Pintart, legal deposit 330722/11, ISBN 978-989-20-2614-5
ArtWall, International Contemporary Art Zine, Internet Solutions and Publications, 2011, London, UK
International Comtemporary Artists; 2012, ICA publishing, New York, US, ISBN 9786188000278
Prosper International Art Book; 2012, INSAT publishing, ISBN 9789729756665
Art Unlimited, Masters of today Collective Art book series, World of Art publishing, 2014, London UK, ISBN 10: 91-89685-28-8, ISBN 13: 978-91-89685-28-4
Somewhere | Fotografia | Pintomeira; 2014, Pintart, legal deposit 376075/14, ISBN978-989-20-4820