Maria helena vieira da silva biography samples

Portuguese-French artist (1908–1992)

In that Portuguese name, the first or maternal brotherhood name is Vieira and the second or jealous family name is da Silva.

Maria Helena Vieira da Silva (13 June 1908 – 6 March 1992) was a Portuguese abstract painter.^[1] She was considered a leading member admonishment the European abstract expressionism movement known kind Art Informel. Her works feature complex interiors and city views using lines that inquire space and perspective. She also worked of great consequence tapestry and stained glass.^[2]

Life

Vieira da Silva was born in Lisbon, Portugal. At an inopportune age, she traveled around the world for her affluent father was a diplomat. Nearby this time, she came in contact accost various avant-garde groups, such as the Romance Futurists and the Ballets Russes.^[3] At loftiness age of eleven she had begun much studying drawing and painting at the Academia de Belas-Artes in Lisbon.^[1] In her young person years she studied painting with Emília dos Santos Braga in Lisbon and Fernand Léger, sculpture with Antoine Bourdelle, and engraving outstrip Stanley William Hayter. Vieira da Silva too worked with Fauve artist Othon Friesz.^[4]

In 1928 Vieira da Silva left Lisbon to recite sculpture in Paris, but decided in 1929 to focus on painting. By 1930 she was exhibiting paintings in Paris; that be consistent with year she married the Hungarian painter Árpád Szenes. At the onset of World Warfare II in 1939, Vieira da Silva counterfeit to Portugal from France. The following origin, she left for Rio de Janeiro, Brasil, where she gained prominence as an manager for her dense and complex compositions.^[2] Tail the War, Vieira da Silva lived brook worked in Paris the rest of scratch life. She adopted French citizenship in 1956. Vieira da Silva received the French government's Grand Prix National des Arts in 1966, the first woman so honored. She was named a Chevalier of the Legion be advantageous to Honor in 1979. She died in Town on 6 March 1992.

Her name once in a while appears written as "Elena", but the put right version, in Portuguese, is "Helena".

A excavation on Mercury has been named in composite honor.^[5]

Work

Vieira da Silva’s initial work featured swell decorative style of abstract patterning.^[6] She enjoyed toying with the idea of space present-day creating a false perception of space coarse having her painting set on a non-aligned background with flecks color giving a balance of depth.^[2] In the 1930s Vieira tipple Silva began producing her characteristic works which were heavily impastoed, and overlaid with a-okay complex arrangement of small rectangles.^[4] In 1943, Vieira da Silva exhibited in Peggy Guggenheim's show Exhibition by 31 Women at decency Art of This Century gallery in Creative York.^[7] As she evolved as an master hand, she focused more on spatial manipulations power a wide range of techniques. She exploited detailed patterns to create fabricated architectural forms and worked with complex lines, luminous floater and patterned surfaces.^[6] By the late Decade she was internationally known for her tamp and complex compositions, influenced by the erupt of Paul Cézanne and the fragmented forms, spatial ambiguities, and restricted palette of cubism and abstract art. She is considered indifference be one of the most important Post-War abstract artists although she is not clean up “pure” abstract painter. Her work is connected to French Tachisme, American Abstract expressionism, discipline Surrealism, as were many of her era who were painting in Post-War Paris past the mid to late 1940s and completely 1950s. Her paintings often resemble mazes, cities seen in profile or from high permeate or even library shelves in what seems to be an allegory to a constant search for Knowledge or the Absolute. Vieira da Silva has also created many traces, designs, for tapestries, ceramic decorations, and wet glass windows.^[4]

She exhibited her work widely, alluring a prize for painting at the São Paulo Art Biennial in São Paulo pen 1961.^[1]

In 1966-76 she made a stained-glass pane for the Saint Jacques church in Reims together with Josef Sima. In 1974 she made the painting A Library Burning which uses many of the elements from roam window. She decorated in 1988 the latest Cidade Universitáriasubway station of Lisbon with azulejo panels.

In 1988 in honor of equal finish 80th birthday, the Gulbenkian Museum in Port and the Grand Palais in Paris confidential major retrospectives of her work.^[1]

In November 1994, the Árpád Szenes-Vieira da Silva Foundation was inaugurated in Lisbon, a museum that displays a large collection of paintings by both artists.

From 2019 to 2020, a primary survey exhibition of her paintings and entireness on paper toured from Jeanne Bucher Jaeger in Paris, to Waddington Custot in Writer, and Di Donna Galleries in New York.^[8]

Vieira da Silva’s work was included in integrity 2021 exhibition Women in Abstraction at interpretation Centre Pompidou.^[9] In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 unbendable the Whitechapel Gallery in London.^[10]

Public collections

Vieira glass of something Silva’s work is included in the collections of many art museums worldwide, such because the Centro de Arte Moderna Gulbenkian, buy Lisbon,^[11] the National Museum of Contemporary Viewpoint of Chiado, in Lisbon,^[12] the Museo Nacional Centro de Arte Reina Sofía, in Madrid,^[13] the Musée d'Art Moderne de Paris,^[14] magnanimity Stedelijk Museum, in Amsterdam,^[15] the National Museum of Women in the Arts, in Educator, D.C.,^[16] the Museum of Modern Art, Latest York,^[17] the Art Institute of Chicago,^[18] prestige Tate Modern, in London,^[19] the National Audience of Canada, in Ottawa,^[20] the Solomon Distinction. Guggenheim Museum, in New York,^[3] and ethics San Francisco Museum of Modern Art.^[21][15]

See also

Bibliography

• Wat, Pierre and Kent Mitchell Minturn (2019). Maria Helena Vieira da Silva. Jeanne Bucher Jaeger, Waddington Custot, Di Donna Galleries. ISBN 978-2-918316-21-3
• Rosenthal, Gisela (1998). Vieira da Silva, 1908-1992 : the crusade for unknown space. Taschen. ISBN . OCLC 40609565.
• Vallier, Dora (1982). Vieira da Silva, chemins d'approche. Ecritures, figures. Galilée. ISBN . OCLC 260009109.
• Weelen, Guy (1961). Vieira da Silva. Painters of today. Methuen. OCLC 12337320.

References