Work
By the late 1950s Vieira da Silva was internationally known for her dense and complex compositions, influenced by the art of Paul Cézanne and the fragmented forms, spatial ambiguities, and restricted palette of cubism and abstract art. She is considered to be one of the most important Post-War abstract artists although she is not a "pure" abstract painter. Her work is related to French Tachisme, American Abstract expressionism, and Surrealism—as were many of her contemporaries who were painting in Post-War Paris during the mid to late 1940s and early 1950s. Her paintings often resemble mazes, cities seen in profile or from high above or even library shelves in what seems to be an allegory to a never-ending search for Knowledge or the Absolute.
She exhibited her work widely, winning a prize for painting at the São Paulo Art Biennial in São Paulo in 1961.
She decorated in 1988 the new Cidade Universitária subway station of Lisbon with azulejo panels.
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.
Her name sometimes appears written as Maria Elena Vieira da Silva, but the correct version, in Portuguese, is Maria Helena Vieira da Silva.
Read more about this topic: Maria Helena Vieira Da Silva
Famous quotes containing the word work:
“Our life of poverty is as necessary as the work itself. Only in heaven will we see how much we owe to the poor for helping us to love God better because of them.”
—Mother Teresa (b. 1910)
“How did you get in the Navy? How did you get on our side? Ah, you ignorant, arrogant, ambitious—keeping sixty two men in prison cause you got a palm tree for the work they did. I don’t know which I hate worse, you or that malignant growth that stands outside your door. How did you ever get command of a ship? I realize in wartime they have to scrape the bottom of the barrel. But where’d they ever scrape you up?”
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“It is fair to assume that when women in the past have achieved even a second or third place in the ranks of genius they have shown far more native ability than men have needed to reach the same eminence. Not excused from the more general duties that constitute the cement of society, most women of talent have had but one hand free with which to work out their ideal conceptions.”
—Anna Garlin Spencer (1851–1931)