Attributed to Maria Helena Vieira Da Silva, it does not have a COA. Medium: oil canvas, 23 x 19 inches. Provenance: private owner.
Biography: 1908 - 1992. Maria Helena Vieira da Silva (1908-1992) was a Portuguese-French abstractionist painter. She was born on June 13, 1908 in Lisbon, Portugal. At the age of eleven she had begun seriously studying drawing and painting at that city's Academia de Belas-Artes. In her teen years she studied painting with Fernand Léger, sculpture with Antoine Bourdelle, and engraving with Stanley William Hayter, all masters in their respective fields. She also created textile designs.By 1930 Vieira da Silva was exhibiting her paintings in Paris; that same year she married the Hungarian painter Ãrpád Szenes. After a brief sojourn back in Lisbon and a period spent in Brazil during World War II (1940-1947), Vieira da Silva lived and worked in Paris the rest of her life. She adopted French citizenship in 1956. Vieira da Silva received the French government's Grand Prix National des Arts in 1966, the first woman so honored. She was named a Chevalier of the Legion of Honor in 1979. She died in Paris, France on March 6, 1992.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; however, 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.

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American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

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