P55.Art – The Art Platform - ID 16697548

P55.Art – The Art Platform - ID 16697548 Manoel Pereira da Silva (1920-2003) Crucifixion Ballpoint on paper Signed and dated 1978 Dim.: 30 cm x 43 cm

P55 – The Art Platform - ID 16667022

P55 – The Art Platform - ID 16667022 Manoel Pereira da Silva (1920-2003) Ballpoint on paper Signed and dated 1989 Dim.: 27 cm x 50 cm

P55 – The Art Platform - ID 16667014

P55 – The Art Platform - ID 16667014 Manoel Pereira da Silva (1920-2003) Pencil on paper Signed and dated 1989 Dim.: 27 cm x 42 cm

XX century Abstract Utopias

Theo Van Doesburg was one of the founders and leading theorists of De Stijl along with Piet Mondrian, which began in the Netherlands and flourished into one of the major inter-war movements. It advocated a simplified, geometric, and reductive aesthetic in the visual arts and argued that painting, design, and architecture should be fully integrated. Van Doesburg's personal version of De Stijl was called Elementarism, which emphasized subtle shifts in tones, tilting squares and rectangles at angles relative to the picture plane, and allowed straight horizontal and vertical lines to be colored, varied in length, and disconnected from one another. Van Doesburg felt that abstraction's unique value was its ability to achieve social order and universal harmony with its precise, orderly geometry and vibrant, contrasting colors. He also felt that his reductive method had spiritually and morally uplifting qualities. His Dancers series demonstrates both his abstraction, and the spiritual inspiration he found in it. An example of van Doesburg's early abstraction work before the influence of Mondrian, Dancers presents his explorations into Theosophy and spiritualism. The two figures in the diptych are abstracted representations of the Hindu deity Krishna, dancing and playing the flute. He based the images on a Theosophy figurine of the deity, showing two sides of the figurine in the diptych. Van Doesburg sought to portray spiritual ideas which ignited his belief in the higher powers of art. The Theosophical doctrine outlined in the painting is of the harmony that exists between things on the ideal, divine level underneath the chaotic surface images of everyday existence. By abstracting away the chaotic elements, and representing the harmonious realm beyond the surface, art could make people aware of, and allow them to experience, a spiritual perspective. In the work, he borrows the techniques of Indian art, in which colors and shapes do not reflect nature, but instead express spiritual truths and states. Acting on his mission to inform people of the tenets of De Stijl, van Doesburg abstracted the image of a grazing cow, beginning by creating figurative studies, and gradually changing the image until the cow became a carefully coordinated arrangement of colorful rectangles and squares. Van Doesburg used this composition, as well as his preliminary studies, in a treatise on De Stijl that he distributed for educational purposes. This painting is part of the artist's early foray into De Stijl, and demonstrates his passion for the burgeoning movement. This painting literally demonstrates the meaning of "abstracted" or "to abstract" in that it simplifies and reduces the thing depicted, transforming it into basic geometric structural components. A contrast between Dancers and Composition VIII (The Cow) demonstrates the change in his abstraction before and after creating De Stijl.

Manuel Pereira da Silva, based on the figure of Maria and José, made three studies in which he increasingly simplified the line, in which he sometimes intended to achieve an abstract form.