António Teixeira Carneiro Júnior was born in Amarante on September 16th, 1872. Between 1884 and 1896 he attended the Academia Portuense de Belas-Artes where he was the pupil of Soares dos Reis, João António Correia and Marques de Oliveira. In 1897 he left for Paris subsidized by Marquês da Praia e de Monforte and matriculated in the Academie Julien, where he had masters such Jean Paul Laurens and Benjamin Constant. He stayed in Paris until 1900, year in which the World Fair took place.

Carneiro was invited to participate in the decoration of the Portuguese pavilion. Its mystical and melancholic character, loaded with existential interrogations, found in a turn of the century Paris, involved in great spiritual reflections, the ideal atmosphere to debate issues. Close contact with the idealistic artistic tendencies, affirmed in reaction to the scientific positivism and the realistic aesthetic, are evidenced in the work he carried out, marked by the sensibility and language proper to Symbolism. The triptych “Life”, a work begun in Paris and presented for the first time in Porto, in 1901, is a very expressive example of this; constituting one of the rare manifestations of the adhesion of Portuguese art to the symbolist aesthetic.

The painter travelled throughout Europe before returning to Portugal where he established himself in the particular social and cultural context of Porto. António Carneiro formed part of a group constituted by artists, thinkers, poets and politicians which revolved around the magazine “A Águia”, founded in 1910 and that from 1912 was the organ of the literary and cultural movement of “Renascença Portuguesa”. He was artistic director of “A Águia” from its foundation up to 1927, the year in which the magazine ceased to be published. From 1918 he taught in the Escola de Belas-Artes in Porto and was nominated its director in 1929, although he never exercised the position.

Throughout his career, the themes that he most constantly painted were portraits and landscapes. The best expression of this style can be found in either his self-portraits or in the portraits of friends and relations which, along with illustration, were also his means of sustenance. In the series of landscapes created in successive phases of his life he manifested the most innovative potentialities of his artistic genius.