Study for "The Lapis", V. The Image in Perspective

1954

I. Rice Pereira

Associated Names
I. Rice Pereira

Artist, American, 1902 - 1971

Abstract composition with swirling lines, curves, bold brushstrokes forming organic shapes resembling trees on each side. Central blue oval resembling a human figure adorned with white linear outlines. Below is an ovular yellow shape that can be interpreted as a sun or pool of light. The composition includes vibrant greens and blues, suggesting a peaceful grove with a central figure as the focal point.
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Artwork overview

Artwork history & notes

Provenance

the artist, New York; Corcoran Gallery of Art, Washington, DC, 1968; acquired 2015 by the National Gallery of Art

Associated Names

Exhibition History

1979

  • Women Artists from Washington Collections, University of Maryland, College Park, 1979

1981

  • The Artist as Illustrator, Corcoran Gallery of Art, Washington, DC, 1981, no. 24

Bibliography

1957

  • Pereira, I. Rice. The Lapis. New York: George Wittenborn, 1957, p. 31.

1983

  • Simmons, Linda Crocker and with the assistance of Adrianne J. Humphrey, et al. American Drawings, Watercolors, Pastels, and Collages in the Collection of the Corcoran Gallery of Art. Washington, DC: Corcoran Gallery of Art, 1983: p. 203, no. 1364.

Inscriptions

lower right in black ink: I. Rice Pereira / December 25 1954
text on image:
V. The Image in Perspective

There is a serious discrepency between structure and optics in the Renaissance and 20th century world views resulting from the dilemma of the infinite and the finite in Greek thought.
Up to the 20th century the optical visual perception of world-space has been different from the Euclidean geometry which describes it.
The systems of thought for describing space are different from the visual and intuitive perception of space. Geometric systems of thought have avoided the infinite, whereas visual and intuitive perception involve the infinite.

Wikidata ID

Q64574782

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