Whether her name is immediately recalled or not, when I’ve shown someone one of her paintings, there is an almost immediate “Ah, yes!” reaction - as if it elicits a universal core, a fingered tone on an upright bass that resonates with anyone, from any place. MDCI Parfums’ Un Coeur en Mai is that bouquet of posies, the newest and most spring-like, picked and held tightly together, carried in an innocent hand. Some of the anxieties that she depicts are like mirrors to the closed worlds we’ve all had to endure for months on end during the global health crisis of today, complete with the uncertainty we still face moving forward. Never knew her work of art. It’s a kind of reserved observational skill of watching all that occurs and taking notes. Maitre P & G Racine came to my mind. There is a formality to the composition where a centralized light glows like a pulse while surrounded by shadow. They are multi-layered, human scale, enormous, spacious, then intimate and very quiet. à la galerie Jeanne-Bucher avec un texte de Pierre Gueguen ; nouvelle édition, Chandeigne, Paris, 2005, 28 pages + deux planches à découper. I shimmers, it glistens, it changes shape, it is vibrant, but also quite austere. I love what you did here. Even though the painting could be seen as lost in a thick gray fog, it is full of brightness and air; breath, but through gauze. The curious twists and turns through the dark passages and bits of bright light are experienced in both the painting and the perfume. The remainder of the perfume is dedicated to the smell of tea - a lovely, light, but pungent tea scent, punctuated with jasmine, some indolic flowers and lemon grass. See available prints and multiples, paintings, and works on … I will confess some bias in my choice (she is a very favorite painter of mine,) but in her work, she evokes the kind of world, in all its beauty and difficulty, that many of us have had to live in for much of this year - one of complex isolation. The appeal of her work has been felt throughout the world, as it has proliferated across the globe in collections far and wide. As one of many émigré artists living in Paris in the post-war period,the infinite perspective of her compositions could be understood asrevealing Vieira da Silva’s fundamental exploration of space’s recesses and connections, be they intimate or distant. Maria Helena Vieira da Silva (b. John Biebel (johngreenink) is a painter, writer and software designer currently living and working in Rhode Island, US. Here, her technique of scattering our central focus becomes a true depiction of a city with all its cacophony. It’s not as immediately obvious as one might associate with bold and vivid colors, but something that seeps through, or is suddenly noticed in the air. Although the thrust of lines, colors and forms moves decidedly up and out of our view (like looking out from a tall building onto the rooftops,) we wonder if we’re on top peering out, or if we’re deep within the city itself. Labyrinthe, 33.5 x 42.4 cm  (13.25 x 16.75 inches) Screen print, Artist's Proof, 1954, collection of the author. Despite the beautiful, bright and even subtle coloration of the canvas, suggesting fanciful daydreams and curiosity, there is also a dead end. I believe the human history is littered by great people and it doesn’t matter what their gender is or was. Knowing is a very particular perfume of its time but remains one of those striking “little bit of everything” creations that works so well. Setting down a loose convergence of lines, without any preconceived subject in mind, Vieira da Silva coaxes the eye to identify emergent images, based on her memories and an intuitive sense of rhythm and pattern. In her paintings’ growing organic tissues, where lines cross over and over again, Vieira da Silva always finds new sources of light, the empty/full, the destination of unknown presence she has explored since the beginning of her work. In a first-of-its-kind collaboration between the three international galleries, the exhibition will present important works by the Portuguese-born painter Maria Helena Vieira da Silva, who was naturalized French in 1956. The once scattershot forms have become elongated, elegant, and refined. Despite this, her Portuguese heritage is crucial to her work and identity. We can’t always be observers; we often have to become involved, but I will never regret the time that I do spend listening, watching, and learning. The rectangles of color now resemble flags hung out in a festive row; with diminishing lines like a street that fades off, music approaching, laughing voices. It opens with sharp bergamot and black currant and a faint touch of melon. Then, it shifts and stands up and becomes a floor with complex windows within windows. The pointed edges come from the addition of carnation and clove, affording that touch of bright light within the very velvety, soft, undulating dark body of fragrance. Jeanne Bucher Jaeger, Paris, Waddington Custot, London, and Di Donna Galleries in New York are pleased to present a landmark travelling exhibition between France, Great Britain and the United States. Mystery pulls this aromatic brightness deeper into the maze. There are so many notes officially listed within this perfume it can be a challenge to deconstruct it (nor should we) but there are some beautiful moments accentuated by the parts of the whole: ylang-ylang is central and leads the brigade of intense flowers (lily of the valley, tuberose, jasmine, rose, pittosporum,) small doses of spice like cardamom and coriander add sensuous depth. The speckled wonder of lights that glitter at night are the focus of Paris: La Nuit. Vieira da Silva certainly paints her astonishment at being alive, moving, persevering, at opening up to light and exchanging with everything around her. Beautifully written John. Again, thank you very much for your words (who knows if from today I will start looking for a painting for each of my perfumes). Le Couloir (ou Intérieur) 46 x 55 cm (18.2 x 21.6 in) oil on canvas, 1948. I’m still stunned to see how often her work looks so peculiarly fresh and contemporary though many of her great paintings were completed in the middle of the previous century. In Untitled (1954) Vieira da Silva’s theme of depicting vast spaces has shifted slightly so that we’re left to imagine what is interior, what is exterior. One of her great transitional works of the period is the piece L'Incendie (The Fire), an enormous and chaotic ball of flames that seems to overtake a city, where firefighters climb ladders and point hoses in a vain attempt to quell it. It doesn’t truly embrace the fig itself (as a fruit), but rather that very unique green, milky and alkaline smell that only fig leaves have. The gallery has been defending her work ever since. What a wonderful article! Somewhat like Turner and his depiction of tiny spots of light to indicate stars or lights from a bridge, by limiting color to just the very specific places where it is needed, it creates an enriched and variegated experience. Copyrights © 2006-2020 Fragrantica.com perfumes magazine - All Rights Reserved - do not copy anything without prior written permission. Vieira da Silva est la première femme peintre à connaître une manifestation de cette envergure de son vivant. Deux timbres reproduisant des œuvres de Vieira da Silva ont été émis par les postes françaises, le premier (1er jour : 22-11-1986 Reims), valeur de 2,20 F + 0,60 F de surtaxe au profit de la Croix-Rouge, représente un vitrail de l'église Saint-Jacques de Reims, le second (1er jour : 11-12-1993 Paris) représente une œuvre intitulée Gravure rehaussée (valeur de 5,00 F), et fait partie de la « Série artistique européenne » sur l'art contemporain. In today’s world, defined by ever-accelerating speed and uctuation, Vieira da Silva’s works remain relevant and contemporary for their evocation of a constantly renewed and mesmerising reality. Quickly the center blossoms as sweet and pinkish and yellow blossoms: geranium, pale roses, osmanthus. Gold, red, pink, and white glow against this blue, turning corners, becoming rooms and then streets, close at hand and then far out into the distance. A small “exit” on the right seems to suggest that perhaps you can turn and leave this enormous checkered room, but what will we find there? It reflects the muted but clear shades within Untitled (1954), giving us a scented set of guide posts as we make our way through a maze with few definite walls. It would need to evoke sensations, not specific notes or associations from things I normally make connections to. I really enjoyed reading and discovering some of her works and their scented alter egos, it’s an interesting and innovative approach to art and perfume. There is a seriousness to La Ville Tentaculaire because of the velocity it describes - we’re moving forward so fast, and yet when we even do try to stop, we still see how deeply complex the maze is, the very same maze that we are in ourselves. Ultimately Le Couloir is an example of Vieira da Silva’s restraint in when painting to give color more power. Ichnusa is a perfume dedicated to the smell of the fig tree. MDCI itself describes the sensation of “causing spring dizziness,” or a kind of euphoria associated with the reawakening of the ground, the plants, and all life from the soil. Our final painting from our selection of works by Vieira da Silva is La Ville Tentaculaire (The Sprawling City.) Despite the proliferation of dark blue lines, there are competing patches of pale blue that create a kind of balance. La Fête Breton is a celebration of color and as such Un Coeur en Mai wraps itself around its slivers of brightness and elicits a giddy sense of rebirth. Meanwhile, L'Echo surprises with simplicity of composition, but in the shadows lay multitudes of form; constructing a city of windows, lines, air and sighs. There is a sweeping, lyrical quality to the lines of the painting and a decided chill that descends across the plain. A hot, smoldering base of cumin and pepper continue this descent into something resembling charred wood, pierced through with remaining bits of spice and subdued flowers. Maria Elena Vieira Da Silva a eu le rare privilège d’être très tôt considérée comme l’un des grands noms de la peinture abstraite sans avoir cherché à être reconnue comme tel.. D’une famille bourgeoise, son grand-père était le fondateur du Seculo, le quotidien le plus important de Lisbonne. They decided to depart to Brazil and lived there until until 1947. I feel that these connections are vital, as we need to create bridges between our senses, and not lock them down into singular paths. It does all this with a cool reserve. A facet of Vieira da Silva that never cease to fascinate is that people remember her particular language. This unique exhibition toursthe three spaces, thus reshuf ing each time the cards of works that aredeeply contemporary for their global vision of a space made of countless interwoven connections. Tiré à 99 ex. Elle a fait partie des peintres réunis pour l'exposition « L'envolée lyrique, Paris 1945-1956 »[3] présentée au musée du Luxembourg (Sénat) en avril-août 2006 (La Ville de Sindbâd, 1950 ; Le Port, 1953, du musée de Cologne ; Composition 1955, 1955). It’s called Labyrinthe (1954) and it depicts something like a map of a series of rooms. Her paintings depict cities; maps; architecture; villages; mazes. Io Capri is very bright and minty as a perfume - with apple blossom as a distinct top alongside lemon, eucalyptus, and Chinese star anise. It brought it mind Estee Lauder’s Knowing, that paradoxical 80s-90s perfume of big proportions with a cool and even sleek profile. Fragrantica® Inc, San Diego, CA United States, Rose Muskissime by Maître Perfumeur et Gantier. Vieira da Silva was born in Lisbon, Portugal. Vieira da Silva was the first woman to receive the French Government’s Grand Prix Nationale des Arts in 1966. Untitled (1954) is about a kind of rarefied air, and I reached for Profumum Roma’s Ichnusa as its scented voice. Maria Helena Vieira da Silva: 1930s Paris studio. Première femme à être ainsi distinguée, Vieira da Silva a reçu le grand prix national des arts du gouvernement français en 1966.

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