Vieira da Silva didn’t like to be photograph, in the same way that she didn’t like to be interviewed, because all of that bother her, distracted her from her work, her concentration, her silence. Their country house in Yèvre-le-Châtel, away from Paris and its agitation, resulted in this sense perfectly, given the couple all the quietness they needed.
Vieira and Arpad gave away, however, to the cameras: in different facets, times and places, they are revealed truth images from professional photographers like Willy Maywald or Denise Colomb; from artists such as Fernando Lemos; or simply snapshots from friends and family. Despite her feelings regarding photography, Vieira let herself be caught, although she avoided moving pictures, where her mouth could be caught open and her eyes closed; she would rather prefer a still photograph, which prevented those situations. Vieira also used to say that the cameras could only capture a single angle and people where made of many.
Selected from the vast collection of pictures of the Arpad Szenes-Vieira da Silva Foundation, the pictures that we have now become public presents Maria Helena and Arpad in intimacy. These pictures capture natural or staged poses, laser or work activities, individual, couple and group portraits. We also present occasional records of people close to them that, by this way, may change the connotation of Vieira as being reserved and distant, showing the simplicity and generosity that would really define her personality and that are repeatedly mentioned.
Are past records to be enjoyed in the present.
Martha Punter

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