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Collection Online | Maria Helena Vieira da Silva. Aix-en-Provence. 1958 - Guggenheim Museum

Maria Helena Vieira da Silva Aix-en-Provence, Oil on canvas, 63 × 57 inches × cm). Guggenheim Museum, New York.

Maria Helena Vieira da Silva, "Hiver" , oil on canvas (162x146cm) (1960)

View Hiver by Maria Helena Vieira da Silva on artnet. Browse upcoming and past auction lots by Maria Helena Vieira da Silva.

Jack Tworkov, Red Lode, 1959–60. Oil on canvas, 67 7/8 x 61 1/16 inches (172.2 x 155.1 cm)

Jack Tworkov Red Lode, Oil on canvas, 67 x 61 inches x cm). Solomon R. Guggenheim Museum, New York,Gift of the artist

Maria Helena Vierira da Silva painting art oil town

“When I paint a landscape or a seascape, I’m not very sure it’s a landscape or a seascape. It’s a thought form rather than a realistic form.” Thus did Maria Elena Vieira da Silva explains her appro…

This painting was done by Vieira da silva in 1957 and is called 'les chantiers'. The street scene was created using thin sharp lines which were built up in certain areas to create depth and tone. There is a focal point created by perspective, drawing your eyes through the street. The overall mood is similar to Jackson Pollock, specifically 'Ritmo de otoño', as both artists have used prominently black and white colours, with line being a strong feature in both works.

This painting was done by Vieira da silva in 1957 and is called 'les chantiers'…

Maria Helena Vieira da Silva - Nuit de la... on MutualArt.com

Maria Helena Vieira da Silva - Nuit de la... on MutualArt.com

April 12, 2016, EXTREME PAINTING, "It's a matter of getting an olive into your martini from across the bar. According to the handbook...", (image: “Juarez” 1958 oil on masonite, 35 3/4 x 47 7/8 inches Elaine de Kooning (1918-1989)

April EXTREME PAINTING, "It's a matter of getting an olive into your martini from across the bar. According to the handbook.", (image: “Juarez” 1958 oil on masonite, 35 x 47 inches Elaine de Kooning

Luis Feito, No. 175, 1960. (Cobra Museum, aug. 2014)

Art of Another Kind: International Abstraction and the Guggenheim

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