22. Maria Helena VIEIRA DA SILVA (1908-1992) Port in the North, 1957 Oil on canvas. Signed and dated 1957 lower right. Inscribed "X.II 56" on the back of the frame. 73 x 116 cm. Provenance : Pierre and Jeannine Consten Collection. Bibliography: - G. Weelen and J.-F. Jaeger, Vieira da Silva, catalog raisonné, Geneva, 1994, no. 1484 (illustrated, p. 295). - Vieira Da Silva, Dora Vallier, Editions Weber, Paris, 1971, reproduced in color p.156. Exhibitions: - Paris, Galerie Charpentier, 76 rue du Faubourg Saint-Honoré, exhibition "École of Paris", 1957. - Lisbon, Calouste Gulbenkian Foundation, June-August 1970 n°15 and M (label on back). back). - Montpellier, Musée Fabre, Viera da Silva exhibition, July 23 to September 19 1971, n°38 (label on the back). In 1955, Viera went to Amsterdam with Szenes on the occasion of the presentation of his presentation of his works and those of Germaine Richier. Port in the North is Port in the North is indebted to this trip, as are many others (Canals in Holland, 1958) which which show that the artist was never so much inspired by real landscapes. Viera paints here a masked attachment to reality, a dreamlike imprint of the observed spectacle. The big city and its infrastructures dominate his painting of the fifties (cf. The Great Constructions 1956, The Aerial Metro 1955, The Montparnasse Station 1957). The linear perspectives are accelerated, dizzying. In Port in the North however, space is approached in a more measured way, the colors and the light and the light close to the Nordic atmosphere. White and opaque screens of fog partially absorb the perspective. opaque screens - partially absorb the spatial perspective of the canal, the elevations of the and the city's horizon. A house facade with windows and shutters emerges from the clouds at the bottom right and avoids the painting being too abstract and disembodied. ATTENTION: NO LIVE FOR THIS LOT. REGISTRATION WITH THE STUDIO IS MANDATORY.