Maria-Helena Vieira da Silva (1908-1992)

Dislocation du labyrinthe

细节

Maria-Helena Vieira da Silva (1908-1992)
Dislocation du labyrinthe
signed 'Vieira da Silva 82' (lower right)
oil on canvas
23 1/2 x 28 3/4in. (59.7 x 73cm.)
Painted in 1982

来源

Galerie Jeanne Bucher, Paris (6723)
Galerie Pierre-Jean Meurisse, Toulouse

出版

M. Butor, Vieira da Silva: Peintures, Paris 1983 (illustrated p. 71).
D. Dobbels, 'Liberation', Sous les Pavés, la Peinture, Paris September 1983 (illustrated).
J. Lassaigne & G. Weelen, Vieira da Silva, Paris 1987 (illustrated on the dustjacket).
J. Sommer Ribeiro, 'O Percurso de Vieira da Silva', Vieira da Silva nas Colecdces Portuguesas, Sao Paulo 1987, p. 11.
G. Weelen & J.-F. Jaeger, Vieira da Silva: Catalogue Raisonné, Geneva 1994, no. 3282 (illustrated p. 647).
G. Weelen, Vieira da Silva, Monographie, Geneva 1993 (illustrated in colour p. 339).

展览

Paris, Galerie Jeanne Bucher, Exposition de Groupe, June-July 1983. Paris, Galerie Jeanne Bucher, Exposition de Groupe, September 1985.

拍品专文

"I look at a street and I see people passing on foot or on various machines at various speeds. I think of the invisible threads that pull them. They don't have the right to stop. I no longer see them. I try to see the mechanism that moves them. That seems to me to be a little of what I am trying to paint. (M.-H. Vieira da Silva quoted in her obituary Daily Telegraph, London 12 March 1992.)

In Dislocation du Labyrinthe Vieira da Silva presents a deliberately confusing array of coloured rectangles and perspectival lines that converge towards an unseen vanishing point at the centre of the picture. The play between flat and perspectival planes of colour creates a duality in the way the picture's space is perceived by the eye and conveys the sense of two or more different spatial dimensions existing at the same time. The overall effect is one of the spatial distortion of a rationally ordered, and labyrinthine world, as suggested by the painting's title.