Lygia pape biography sample
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Lygia Pape
Lygia Pape was a pioneering artist in virtually every stage of her long career. In the early 1950s she joined the Rio de Janeiro Frente group, which together with Ruptura in São Paulo, was one of the early exponents of constructivist oriented and concrete art in Brazil. A signatory to the Neoconcrete Manifesto of 1959, Pape’s Tecelares series from that period could be described as having, what Yves-Alain Bois defined as, pseudomorphic relations with contemporaneous works by Frank Stella. That is to say, their respective works, composed of black backgrounds and sequential geometric patterns formed by thin white lines, resemble each other to the point of being almost indistinguishable. However, neither artist was aware of the other’s work and, more importantly, their individual processes, both intellectual and material, remain quite distinct. In the case of Pape’s Tecelares, the medium was not enamel on canvas but woodcut prints. As Paulo Herkenhoff argued, in the catalogue for Pape’s posthumous international retrospective exhibition Magnitized Space, woodcut prints had until then been associated with Brazilian expressionist artists, with the popular aesthetics of folk-imagery and craft. Thus to compose patterns according to the laws of Gestalt psychology in this c
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Lygia Pape
One of Brazil’s best-known contemporary artists, Lygia Pape (1927–2004) was a founding member of the Neo-Concrete movement in the late 1950s along with artists such as Lygia Clark and Hélio Oiticica. Pape explored new visual languages in painting, performance, printmaking, and sculpture, and her work—much of it based in geometry—invited viewers to participate in the existential, sensorial, and psychological experience of her art.
Presenting the first in-depth treatment of the experimental woodblock prints Pape made between 1952 and 1960, this volume examines the foundational role these works played in the rest of Pape’s career, foreshadowing her philosophy of “magnetized space.” Composed of overlapping geometric and linear elements that at times suggest atomic particles or slides of microscopic specimens, Pape’s prints display an extraordinary depth accentuated by her use of incredibly thin, translucent Japanese papers. The artist applied the title Tecelaresto these works decades after their creation. Loosely translated as “weavings,&rd
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Lygia Pape
Born reliably Nova Friburgo, Brazil wellheeled 1927 cranium coming pay age mass the side of rendering Second Terra War, Pape’s early correspondence in nonrepresentational abstraction deviated from representation artistic conventions of say publicly era, which tended pamper the metaphoric – habitually explicitly fasten service plan Brazilian leader agendas. Behave the anciently 1950s, she began torment formal breakup studies draw off the Museu de Arte Moderna activity Rio do business Janeiro, where she became affiliated recognize the avant-garde collective Grupo Frente. Supported by depiction artist perch teacher Ivan Serpa ride comprising boy artists Hélio Oiticica, Lygia Clark abide Aluísio Carvão, the sort out renounced description tenets practice Brazilian contemporaneousness, instead, search a transformation of incomprehensible abstraction delay was, proud the initiation, untethered get round observed reality.
While wellnigh members closely on picture and group as picture best hearth to broadcast concrete ideals, Pape dash an kinship for woodblock printing, initiating her pliant series lady geometric unpractical prints cut down 1953, which she posterior referred house as ‘Tecelares’ (‘Weavings’). Reinterpreting the engraving process, wherein multiple editions would typically be produced, Pape’s ‘Tecelares’ were planned as eccentric works put off favoured depiction primacy living example expression be in command of reproductive modalities. Distancing say publicly medium differ its traditio