Certain elements are reminiscent of Lisbon; it is in the form of a city (? Vieira da Silva was born in Lisbon, Portugal. Maria Helena Vieira da Silva: Review La Gazette Drout, October 8 2019. Maria Helena Vieira da Silva (French/Portuguese, 1908–1992) was an Abstract painter who established her career in France. Vieira da Silva is a Portuguese painter who was born and lived in Lisbon, who then relocated for a while to Rio de Janeiro, but eventually settled for most of her life in France. Visit the Frank Lloyd Wright–designed Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. Vieira da Silva made this painting while she was living in Paris. It is also marked by the Parisian light.

It is true all the same that there is an influence of the "environment", and according to Vieira da Silva, it was painted while she was living in the rue de la Glacière.

Maria Helena Vieira da Silva settled in Paris as a painter, where she met her husband Arpad Szenes. Gregory 1959 Interested in sculpture, she also studied anatomy at the Medical School of Lisbon.

Musicienne qui travaille en écoutant Haydn ou Mozart dans son atelier parisien en compagnie de son mari artiste Árpád Szenes, Maria Helena Vieira da Silva expérimente des espaces animés de petits carreaux à partir de 1935, date à laquelle la question de la perspective focalise son attention.

She became one of the most acclaimed abstract artists in post-war Europe, due to her original geometrised compositions. She was made Chevalier and Commandeur de l’Ordre des Arts et des Lettres (1960 and 1962) and received the Grand Prix National des Arts (1966), in addition to having won the International Award of Painting at the Biennale of São Paulo, Brazil (1961). Open a larger version of the following image in a popup. Les figures des cartes se répercutent tête-bêche en images stylisées comme dans un miroir déformant, se simplifiant en pictogrammes. Dans l’huile sur toile intitulée Le Jeu de cartes (1937), le peintre donnait déjà un avant-goût de ce poème en une œuvre chatoyante, « dans l’éclairage d’une solarité rayonnante », selon l’expression de Jean-François Jaeger, ancien directeur de la galerie Jeanne Bucher Jaeger. © Connaissance des Arts 2020 - Gérer mes consentements, Les labyrinthes de couleurs de Maria Helena Vieira da Silva, Nous vous avons offert l’intégralité de cet article, Galerie Jeanne Bucher Jaeger - Espace Marais, Otto Freundlich, maître de la couleur et pionnier de l’abstraction, Étude d’une œuvre : le plâtre du Balzac d’Auguste Rodin, Lady Bate-Dudley de Thomas Gainsborough : focus sur un chef-d’oeuvre. « Si j’ai utilisé ces petits carreaux, cette perspective chancelante (c’est moi qui la qualifie ainsi), c’est parce que je ne voyais pas l’intérêt de poursuivre Mondrian ou un autre.

Cela aussi m’a influencée. It is primarily a composition, evolved as the work progressed, but also dependent on the first marks inscribed on the canvas. Maria Helena Vieira da Silva is shown alongside Dubuffet, David Hammons and Willem de Kooning, amongst many others.

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Very misleading!' Invited to explore the Guggenheim’s extensive collection, the artists are able to discern their own interpretative strands and themes through the curatorial experience. Exh: Prov: With Redfern Gallery, London; E.C.

Despite being a French citizen, Vieira da Silva is considered to be Portugal's greatest contemporary artist by many. Of the artists chosen by Prince is Portuguese-born émigré artist Maria Helena Vieira da Silva, whose work is the subject of our current exhibition.

Démultipliés, déformés au gré de son imagination, ces signes changent progressivement d’aspect : le carreau s’étire et devient losange, les piques et les cœurs s’accumulent, les figures des cartes se répercutent tête-bêche en images stylisées comme dans un miroir déformant, se simplifiant en pictogrammes.

Stabilitasi a Parigi (1928), si dedicò prima alla scultura, frequentando i corsi di È.-A. In creating an individual style, which both transgresses and utilises multiple facets from differing movements, da Silva’s work retains longevity and contemporaneity, her work still resonates strongly with artists today, as well as with viewers. It reconstitutes the long passage of time past, when Lisbon seemed like nostalgia and Paris like an omen, but it is certainly not a copy of reality. Maria Helena Vieira da Silva settled in Paris as a painter, where she met her husband Arpad Szenes. See the renowned permanent collection and special exhibitions. She became one of the most acclaimed abstract artists in post-war Europe, due to her original geometrised compositions. Au lieu de se creuser, l’espace s’incurve.

Majesté La même année que Le Jeu de cartes, Vieira da Silva exécute une gouache sur papier (Le Roi, la reine, le valet, 1937), actuellement conservée à la Fondation Árpád Szenes-Vieira da Silva. Vieira da Silva, Redfern Gallery, London, January-February 1952 (22); Gregory Memorial Exhibition, Leeds City Art Gallery, March-April 1960 (33, repr.) Richard Prince selects work by Maria Helena Vieira da Silva for new show at the Guggenheim, New York The Guggenheim’s first-ever artist-curated exhibition, ‘Artistic License: Six Takes on the Guggenheim Collection’ is inaugurated with Richard Prince as the first artist-curator to select works to show. These cookies are third-party cookies that allow to connect to social media and share multimedia content from our website on those networks. Some of these cookies may be used to test pages or the functionality of the website by measuring the reaction of users.

Maria Helena Vieira da Silva: 1930s Paris studio.

In 1988 in honor of her 80th birthday, the Gulbenkian Museum in Lisbon and the Grand Palais in Paris had major retrospectives of her work.

Positioning Maria Helena Vieira da Silva alongside such varied modern and contemporary artists encapsulates how she possessed the ability to diffuse and assimilate varying styles into her own visual vocabulary. It is perhaps a homage to the right angle, or the square, but the triangles on the left, unexpected in the composition, give it, it is true, a flavour of something seen. Across the following decade, Vieira’s painting gradually withdrew from the real, first absorbing and then expelling human presence, until reaching the borders of abstraction. Vieira’s career also includes important public art commissions and works in scenography, tapestry, stained glass and illustration.

Some of these cookies help us to adapt advertising outside of our website to the interests of the users. Je voulais quelque chose d’autre. These cookies may be our own and / or owned by third parties. This type of cookies includes cookies that allow you to be remembered as you browse the website during a single session. You can see Maria Helena Vieira da Silva's unique paintings on display in our eponymous exhibition until 15th February, 2020. Fearing the stagnation of her art, in 1928 she headed to Paris with her mother to study sculpture with Bourdelle, then assisted by Richier and Giacometti, and later with Despiau. Her nuanced paintings are imbued with geographical and stylistic subtleties, and preserve a liminal status concerning segregating movements. Dès lors, elle se concentre sur la mise à l’épreuve des règles classiques à l’intérieur d’un schéma constant, celui de la chambre close, qui doit aussi aux intérieurs métaphysiques de De Chirico.

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.747-8, reproduced p.747, Inscribed on stretcher 'A Rex avec toute l'amitié de Vieira' and 'à Vieira', With Redfern Gallery, London; E.C. Therefore, they are always enabled.

Maria Helena Vieira da Silva: 1930s Paris studio. Un omaggio alla più grande pittrice portoghese del XX secolo Maria Helena Vieira da Silva, a quasi quarant’anni dall’ultima rassegna italiana. Ponctuée de prêts de pièces emblématiques de l’artiste, cette exposition commerciale entend réévaluer « cette œuvre d’une contemporanéité évidente, qui évoque des espaces en réseau », selon la galeriste Véronique Jaeger, de la galerie Jeanne Bucher Jaeger. By disabling these cookies, it will no longer be possible to directly share our content in any social media. Still both France and Portugal considered her one of their own. Noted for blurring the lines between representation and abstraction, Vieira da Silva’s paintings are produced in a limited palette.

Des carreaux qu’elle a découverts dans les nappes des œuvres de Bonnard et dans ses femmes au bain, en particulier Nu dans le bain de 1936, qui s’inscrit chronologiquement entre ses tableaux La Chambre à carreaux de 1935 et Le Jeu de cartes de 1937. Studio, CLXIII, 1962, p.9. Download.

Elle revient alors d’un long voyage en Italie où elle a découvert les grands maîtres siennois et leurs fresques, entre autres celles de Lorenzetti, dont la perspective la fascine. Maria Helena Vieira da Silva y multiplie les variations sérielles de plusieurs formes : carreau, cœur, pique, trèfle, valet, dame, roi. Stai visualizzando i contenuti del catalogo di Skira editore Italia, Archeologia, arte orientale e arte primitiva. The web of lines here suggests what one critic called her ‘absorption in space’. Dès lors, elle fera de la perspective, non pas le moyen, mais le véritable sujet de toute représentation. Ce ballet de symboles et de figures est supporté par une trame dynamique en forme de damier, véritable grille de couleurs. Géométrie Dans les architectures de damiers et de carreaux qui apparaissent dès les années 1930 s’exercent autant l’influence des carreaux des œuvres de Bonnard qu’une résurgence des azulejos de son enfance. Positioning Maria Helena Vieira da Silva alongside such varied modern and contemporary artists encapsulates how she possessed the ability to diffuse and assimilate varying styles into her own visual vocabulary. Does this text contain inaccurate information or language that you feel we should improve or change? These cookies are used to enhance your browsing experience, security and our website’s performance, allowing you to access the main features of the website. It is primarily a, , Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.747-8, reproduced p.747. Épure Vieira da Silva va de la figuration vers l’abstraction. Maria Helena Vieira da Silva y multiplie les variations sérielles de plusieurs formes : carreau, cœur, pique, trèfle, valet, dame, roi.

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Bourdelle, poi alla pittura e all'incisione. Courtesy galerie Jeanne Bucher Jaeger, Paris. Invisible Cities 7 March - 10 May 2018. Interrogation sur le hasard et la destinée, Le Jeu de cartes donnera plus tard naissance aux toiles La Partie d’échecs en 1943 et à Échec et mat en 1949-50. Maria Helena Vieira da Silva, Le Jeu de cartes, 1937, huile sur toile et traces de mine de plomb, 73 x 92 cm. Una serie di capolavori – tra i quali spiccano La machine optique (1937), Le désastre ou La guerre (1942) e Les grandes constructions (1956) – guida il lettore alla scoperta dei temi familiari di Vieira da Silva quali le biblioteche, le città, gli ateliers, i porti, le stazioni, i paesaggi. - Pittrice (Lisbona 1908 - Parigi 1992). ». pittrice francese di origine portoghese (Lisbona 1908-Parigi 1994). « Je savais que cela ne se faisait pas dans l’art moderne mais il fallait que je le fasse quand même », répondra-t-elle.

She spent the rest of her life in this country, where she obtained the most important national artistic prizes. There they exhibited, taught, and befriended Brazilian poets such as Murilo Mendes and Cecília Meireles, and painters like Carlos Scliar.

Her first solo show took place in the Galerie Jeanne Bucher (1933). See also.

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