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94@ E4bd 34 91 83? D3AC 23 80 9^9<7>3. @63 =07;@7;5? <4 90>70 6383;0 B737>0 20 ?78B0! &-(%"&-)+ 9ETME 6EONMEU 0 @LIUMU ?WFPMVVIH JRT VLI 2IKTII RJ =L2 EV VLI AQMXITUMV[ RJ ?V# 0QHTIYU '%%- 4WOO PIVEHEVE JRT VLMU MVIP MU EXEMOEFOI MQ >IUIETGL/?V0QHTIYU.4WOO@IZV EV. LVVS.$$TIUIETGL"TISRUMVRT[#UV"EQHTIYU#EG#WN$ =OIEUI WUI VLMU MHIQVMJMIT VR GMVI RT OMQN VR VLMU MVIP. LVVS.$$LHO#LEQHOI#QIV$&%%'($,(* @LMU MVIP MU STRVIGVIH F[ RTMKMQEO GRS[TMKLV @LMU MVIP MU OMGIQUIH WQHIT E 1TIEVMXI 1RPPRQU 8MGIQUI “Les Yeux de la Mémoire: The Paintings of Maria Helena Vieira da Silva 1930-1946” By Maria Halkias A thesis submitted for the degree of Doctor of Philosophy September 2008 University of St Andrews I, Maria Halkias, hereby certify that this thesis, which is approximately 70,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September, 2004 and as a candidate for the degree of PhD in January, 2005; the higher study for which this is a record was carried out in the University of St Andrews between 2004 and 2008. Date 17/9/08 signature of candidate I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 17/9/08 signature of supervisor In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker. Access to an electronic version of this thesis is restricted for a period of 2 years. Access to the electronic version of the images is fully restricted for an indeterminate time. Date 17/9/08 signature of candidate signature of supervisor Table of Contents TABLE OF CONTENTS................................................................................................................. I ABSTRACT............................................................................................................................ IV ACKNOWLEDGEMENTS ............................................................................................................. V LIST OF ILLUSTRATIONS............................................................................................................ VI INTRODUCTION ......................................................................................................................1 CHAPTER I: 1929-1932: A RETROGRESSIVE NARRATIVE................................................................. 16 Introduction…………………………………………………………………………………………………………………….…16 1.1 Lisbon 1926, Paris 1928, 1929...........................................................................................19 1.2 1930...................................................................................................................................23 1.2.1 Le Violoncelliste, 1930 and Les Balançoires, 1931.....................................................28 1.3 The Child in Vieira..............................................................................................................35 1.3.1 Autoportrait, 1932 .....................................................................................................36 Conclusion...............................................................................................................................41 CHAPTER II: A NOUS LA LIBERTÉ AND THE APOCALYPSE.................................................................. 43 Introduction……………………………………………………………………………………………………………………….43 2.1 A synthesis of forms and narrative....................................................................................45 2.2 The Apocalypse and A Nous la Liberté ..............................................................................48 2.2.1 The Atelier 17 .............................................................................................................52 2.3 A Contemporary Reading of René Clair’s A Nous la Liberté!.............................................55 2.4 Vieira, Hayter and Clair – an examination.........................................................................59 Conclusion...............................................................................................................................64 CHAPTER III: KÔ ET KÔ – THE LITERARY FANTASTIC....................................................................... 66 Introduction……………………………………………………………………………………………………………………….66 3.1 A Visual Examination.........................................................................................................68 3.2 Kô et Kô: The Literary Fantastic ........................................................................................72 3.2.1 Eschatological Visions ................................................................................................78 3.3 L’Art Moderne ...................................................................................................................80 3.3.1 Surrealism and the marvelous ...................................................................................85 i 3.3.2 Atelier 17....................................................................................................................90 Conclusion...............................................................................................................................91 CHAPTER IV: SELF IMAGING, IDENTITY AS AN ARTIST 1930-1932, AND 1936-1939 ............................ 93 Introduction……………………………………………………………………………………………………………………….93 4.1 Autoportraits 1930-1932...................................................................................................95 4.2 Legacies of Surrealism ....................................................................................................101 4.2.1 The woman in Surrealism.........................................................................................103 4.3 Alter Egos.........................................................................................................................107 4.3.1 La Sirène, 1936 .........................................................................................................109 4.3.2 Les Arlequins, 1939...................................................................................................111 Conclusion.............................................................................................................................115 CHAPTER V: PERSPECTIVES 1934-1940.................................................................................. .117 Introduction …………………………………………………………………………………………………………………….117 5.1 The Siennese Model………................................................................................................121 5.2 Klee’s Writings ................................................................................................................125 5.2.1 On Perspectivism......................................................................................................129 5.3 Picasso and his Late Cubist Works ..................................................................................131 5.3.1 Vieira and Picasso.....................................................................................................135 5.4 The Theatre .....................................................................................................................136 5.5 The Impassable Wall........................................................................................................139 Conclusion.............................................................................................................................146 CHAPTER VI: MEMORY IN EXILE 1939-1946 ............................................................................ 148 Introduction…………………………………………………………………………………………………………………….148 6.1 Panorama de Lisbonne, 1939..........................................................................................149 6.2 Lisbonne Bleue, 1942 ......................................................................................................157 6.3 La Ville Antique, 1946......................................................................................................162 6.4 Bahia Imaginée, 1946......................................................................................................163 Conclusion.............................................................................................................................167 CONCLUSION ..................................................................................................................... 168 BIBLIOGRAPHY ................................................................................................................... 177 1 Books ..................................................................................................................................177 2 Articles................................................................................................................................182 ii 3 Newspaper Articles
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