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Maria Helena Vieira da Silva, The Battle of Knives, 1960 (after)
1960

$716

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About the Item

This exquisite heliogravure after Maria Helena Vieira da Silva (1908–1992), titled La bataille des couteaux (The Battle of Knives), from the folio Vieira da Silva, Peintres d'aujourd'hui (Vieira da Silva, Painters of Today), originates from the 1960 edition published by Fernand Hazan, Editeur, Paris, rendered by Perenchio, Paris, and printed by l'Imprimerie Lecot, Paris, April 1960. La bataille des couteaux reflects the luminous intricacy and spatial lyricism emblematic of Vieira da Silva’s masterful abstraction and poetic interpretation of architectural rhythm. Executed as a heliogravure on velin paper, this work measures 10.83 x 13.78 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the refined craftsmanship of Perenchio and the exceptional production standards of Fernand Hazan, Editeur, Paris. Artwork Details: Artist: After Maria Helena Vieira da Silva (1908–1992) Title: La bataille des couteaux (The Battle of Knives), from the folio Vieira da Silva, Peintres d'aujourd'hui (Vieira da Silva, Painters of Today) Medium: Heliogravure on velin paper Dimensions: 10.83 x 13.78 inches (27.5 x 35 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1960 Publisher: Fernand Hazan, Editeur, Paris Printer: l'Imprimerie Lecot, Paris Renderer: Perenchio, Paris Condition: Well preserved, consistent with age and medium Provenance: From the folio Vieira da Silva, Peintres d'aujourd'hui (Vieira da Silva, Painters of Today), published by Fernand Hazan, Editeur, Paris, April 1960 Notes: Excerpted from the folio (translated from French), The illustrations of this album, finished printing in April 1960, were produced by Perenchio and shot by l'Imprimerie Lecot. The text was drawn by l'Imprimerie Damien and the binding made by F.I.A.P. according to the models of Marcel Jacno. Fernand Hazan Editeur, 35-37 rue de Seine, Paris 1960. Droits de reproduction reserves A.D.A.G.P. Paris. About the Publication: Vieira da Silva, Peintres d'aujourd'hui (Vieira da Silva, Painters of Today), published in Paris in 1960 by Fernand Hazan, Editeur, stands as one of the most distinguished albums in the celebrated Peintres d'aujourd'hui series. Dedicated to presenting the foremost modern artists of the mid-20th century, the publication unites critical scholarship and the finest Parisian craftsmanship in fine art printmaking. Produced under the technical direction of Perenchio and printed by l'Imprimerie Lecot, the heliogravures exemplify the tonal precision and aesthetic refinement characteristic of the Hazan editions. The collaboration of l'Imprimerie Damien and F.I.A.P., following the models of Marcel Jacno, reflects the exceptional synthesis of design, technique, and scholarship that defined the Peintres d'aujourd'hui series. Conceived as both a visual and intellectual record of postwar modernism, the 1960 Hazan edition remains a landmark in the French tradition of art publishing—uniting critical discourse, printing mastery, and curatorial vision to preserve the spirit and innovation of modern abstraction. About the Artist: Maria Helena Vieira da Silva (1908–1992) was a Portuguese-born French painter whose intricate, luminous abstractions of space, architecture, and memory made her one of the most influential artists of the 20th century and a central figure in postwar European modernism. Known for her labyrinthine compositions of light, rhythm, and geometric fragmentation, Vieira da Silva transformed the language of abstraction into a poetic exploration of perception and consciousness. Born in Lisbon, she moved to Paris in 1928, where she joined the vibrant avant-garde community and absorbed influences from Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray. From Picasso, she learned to deconstruct space; from Kandinsky and Miro, she discovered the expressive spirituality of abstraction; and from Duchamp and Man Ray, she inherited the conceptual freedom to merge intellect with intuition. Yet Vieira da Silva’s art was wholly original—a synthesis of geometry, emotion, and memory rendered through pulsating networks of line and color. Her early works reflected Constructivist and Cubist structures, but by the 1940s she had developed her mature style, a visionary form of abstraction that transformed cities, libraries, and imagined spaces into shimmering mosaics of form and light. During World War II, she fled to Brazil with her husband, the painter Arpad Szenes, where the tropical atmosphere infused her palette with luminosity before her return to Paris in 1947, when she emerged as one of the leading figures of the Ecole de Paris. Her paintings such as La Bibliotheque (1949) and A Cidade (1950) revealed her ability to fuse architecture and emotion, intellect and intuition, depicting infinite spatial grids that evoke both the complexity of urban life and the architecture of thought itself. Throughout the 1950s and 1960s, she gained international acclaim, exhibiting at major institutions including the Museum of Modern Art, the Tate Modern, the Centre Pompidou, and the Calouste Gulbenkian Museum. In 1966, she became the first woman to receive France’s Grand Prix National des Arts, affirming her pioneering role in abstract painting. Vieira da Silva’s work bridged the precision of Constructivism with the lyricism of Surrealism, inspiring later artists such as Nicolas de Stael, Pierre Soulages, Bridget Riley, and Sean Scully, who drew from her ability to harmonize geometry and emotion. Her paintings—often compared to musical compositions or woven tapestries of light—continue to captivate for their intellectual rigor and spiritual resonance, offering viewers entry into the metaphysical architecture of perception itself. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Vieira da Silva remains one of the great poetic visionaries of modern abstraction. Her highest auction record was achieved by A Cidade (1955), which sold for $2.68 million USD at Sotheby’s, London, on June 28, 2012, reaffirming her legacy as one of the most intellectually profound, spiritually evocative, and collectible female artists of the modern era. Maria Helena Vieira da Silva La bataille des couteaux The Battle of Knives Peintres d'aujourd'hui Painters of Today Fernand Hazan heliogravure Perenchio Imprimerie Lecot abstraction modern art.

Creation Year:
1960
Dimensions:
Height: 10.83 in (27.51 cm)Width: 13.78 in (35.01 cm)
Medium:
Lithograph
Movement Style:
Modern
After:
Maria Helena Vieira da Silva (1908-1992, French)
Period:
1960-1969
Condition:
Gallery Location:
Southampton, NY
Reference Number:
1stDibs: LU1465216617892

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