Her paintings often resemble mazes or cities seen from above. 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. A fundamental change takes place in Vieira’s career when the French State acquires one of her works (1948), an official recognition that was followed by a thriving and diversified artistic production, collaborating with writers such as René Char, creating sets for Arthur Adamov’s Theatre of the Absurd, or painting the sculptures of Germaine Richier. Exécuté en 1937, Le Jeu de cartes révèle la maîtrise plastique de l’artiste d’origine portugaise Maria Helena Vieira da Silva, alors âgée de 29 ans. Pour la Saint-Valentin, et si vous alliez au musée ? Ses espaces semi-abstraits tels que La Scala (1937) ou Le Ballet (1946) en témoignent, invitant le spectateur à explorer tous les points de vue, selon la « vision multiple et une » dont parle son ami le poète René Char. Noted for blurring the lines between representation and abstraction, Vieira da Silva’s paintings are produced in a limited palette. Maria Helena Vieira da Silva: 1930s Paris studio. 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. », lui demandera un jour le peintre Wols. ‘Artistic License: Six Takes on the Guggenheim Collection’ is on view until January 12th, 2020, at the Solomon R. Guggenheim Museum, New York. 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.

Faut-il y voir l’image poignante de la guerre d’Espagne, ou celle de la dictature de Salazar au Portugal, lequel échappe à un attentat le 4 juillet 1937 ? 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. Her nuanced paintings are imbued with geographical and stylistic subtleties, and preserve a liminal status concerning segregating movements.

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.
Studio, CLXIII, 1962, p.9. En 1928, se traslada a París donde estudia escultura, optando definitivamente por la pintura en 1929.

Maria Helena Vieira da Silva y multiplie les variations sérielles de plusieurs formes : carreau, cœur, pique, trèfle, valet, dame, roi. Repeatedly evoking the theme of libraries, cities and labyrinths, the structural motifs and inexpressive colours of Vieira’s pictures seemed to be icons of the post-war Existentialist alienation. 'Artistic License: Six Takes on the Guggenheim Collection' is on view until January 12th, 2020, at the Solomon R. Guggenheim Museum, New York. Gregory, London. Bourdelle e Ch. You can see Maria Helena Vieira da Silva’s unique paintings on display in our eponymous exhibition until 15th February, 2020. This type of cookies includes cookies that allow you to be remembered as you browse the website during a single session. She had recently returned to the city after a period of exile in Portugal and Brazil during the Second World War. Mais, bien loin d’une perspective illusionniste, on retrouve dans Le Jeu de cartes un réseau de courbes perspectives qui vont se resserrant, dans un mouvement ondulatoire. , Redfern Gallery, London, January-February 1952 (22); , Leeds City Art Gallery, March-April 1960 (33, repr. These cookies collect information about the use of the website to improve the services provided and to evaluate the performance of the website. Maria Helena Vieira da Silva (13 June 1908 – 6 March 1992) was a Portuguese abstractionist painter. Stabilitasi a Parigi (1928), si dedicò prima alla scultura, frequentando i corsi di È.-A.
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. Living in Paris, travelling to New York, Brazil and her native Lisbon, Maria Helena Vieira da Silva was an integral member of the post-war expressive abstract movement, yet was never confined to one singular style.

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. Présentée à la galerie Waddington Custot à Londres jusqu’au 29 février, elle partira ensuite pour New York, chez Di Donna Galleries, du 26 mars au 29 mai 2020. Entre abstraction et figuration, Maria Helena Vieira da Silva exploite aussi librement le souvenir des azulejos de Lisbonne, dont elle est imprégnée.

Download. Bequeathed by E.C. In Lisbon, the Arpad-Szenes-Vieira da Silva Foundation was created (1990).

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