21. Maria Helena VIEIRA DA SILVA (1908-1992)
White City or White Interior, 1950
Oil on canvas.
Signed and dated 1950 lower right, inscription on the back of the frame "Ville
Ville Blanche".
54 x 65 cm.
Provenance:
- Galerie Jeanne Bucher, 53 rue de Seine, Paris.
- Collection Pierre and Jeannine Consten.
Bibliography :
- G. Weelen and J.-F. Jaeger, Vieira da Silva, catalog raisonné, Geneva, 1994, no. 723
(illustrated, p.142).
- P.A. Télé médecine, 19 October 1969, illustrated.
- Michel Butor, 1983, illustrated p.34.
Exhibitions :
Stockholm, 1950, Galerie Blanche, Catalogue n°7.
The Tiled Room, 1935, is the first painting in which Vieira da Silva makes the
the rectangle of the painting with the side of a box whose edges and walls spin in an accelerated
in an accelerated perspective towards a distant vanishing point. Floors, walls and ceilings
are covered with small colored squares and rhombuses. The claustrophobic vertigo
caused suggested to a critic the expression "absorption in space".
Forgotten during the war, this archetype reappears, developed and declined from
Enigmas, 1947 and will be abandoned in 1952. Ville Blanche belongs to this lineage,
proposing a destructive digression of the parallelepipedic principle: a black crack in the center
in the center seems, by subduction, to absorb the ground in checkerboard while the side
walls are transformed at their top into a slab fleeing towards a distant perspective.
distant perspective. The painting, dominated by a cameo of light and creamy whites, proposes a revision of
revision of the dark works of 1935/50. If one examines the painting carefully
the painting, one notices that Vieira has gradually lightened it with whites that have covered
certain colored touches. The touches of white become constructive in their alignment
dynamic and luminous in their varied shades. One will notice
also the small figurative window in the lower right corner of the "box",
discrete and touching opening in the heart of this rigorous geometry.
This break marks for the artist a gain of confidence, an increase in the possibilities
possible that she will intensely explore during the following years.
ATTENTION:
NO LIVE FOR THIS LOT.
REGISTRATION WITH THE STUDY IS MANDATORY.
Result
€295,000
Buyer's premium
0%
21. Maria Helena VIEIRA DA SILVA (1908-1992)
White City or White Interior, 1950
Oil on canvas.
Signed and dated 1950 lower right, inscription on the back of the frame "Ville
Ville Blanche".
54 x 65 cm.
Provenance:
- Galerie Jeanne Bucher, 53 rue de Seine, Paris.
- Collection Pierre and Jeannine Consten.
Bibliography :
- G. Weelen and J.-F. Jaeger, Vieira da Silva, catalog raisonné, Geneva, 1994, no. 723
(illustrated, p.142).
- P.A. Télé médecine, 19 October 1969, illustrated.
- Michel Butor, 1983, illustrated p.34.
Exhibitions :
Stockholm, 1950, Galerie Blanche, Catalogue n°7.
The Tiled Room, 1935, is the first painting in which Vieira da Silva makes the
the rectangle of the painting with the side of a box whose edges and walls spin in an accelerated
in an accelerated perspective towards a distant vanishing point. Floors, walls and ceilings
are covered with small colored squares and rhombuses. The claustrophobic vertigo
caused suggested to a critic the expression "absorption in space".
Forgotten during the war, this archetype reappears, developed and declined from
Enigmas, 1947 and will be abandoned in 1952. Ville Blanche belongs to this lineage,
proposing a destructive digression of the parallelepipedic principle: a black crack in the center
in the center seems, by subduction, to absorb the ground in checkerboard while the side
walls are transformed at their top into a slab fleeing towards a distant perspective.
distant perspective. The painting, dominated by a cameo of light and creamy whites, proposes a revision of
revision of the dark works of 1935/50. If one examines the painting carefully
the painting, one notices that Vieira has gradually lightened it with whites that have covered
certain colored touches. The touches of white become constructive in their alignment
dynamic and luminous in their varied shades. One will notice
also the small figurative window in the lower right corner of the "box",
discrete and touching opening in the heart of this rigorous geometry.
This break marks for the artist a gain of confidence, an increase in the possibilities
possible that she will intensely explore during the following years.
ATTENTION:
NO LIVE FOR THIS LOT.
REGISTRATION WITH THE STUDY IS MANDATORY.