(1902 - 1971)
Irene Rice Pereira was active/lived in New York, Massachusetts / Spain. Irene Pereira is known for right angle geometric and mod figure painting.
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Biography from the Archives of askART
Irene Pereira was born in 1902 in Chelsea, Massachusetts and grew up in Great Barrington. She was strongly influenced by her mother who was an amateur artist. Irene began art lessons at the age of fifteen; she took a secretarial job because her father had died. She took art classes at the Art Students League in New York City. At the age of twenty-one she married the first of three husbands, Humberto Pereira, whose name she kept.
Biography from the Archives of askART
She traveled extensively in Europe and North Africa and was much inspired by the expansive vistas of the Sahara Desert. Returning to New York, she began incorporating these visions into her work, increasingly experimental in her styles and methods. At first she painted on canvas, then she devised a means of actually incorporating light into her works by painting on layers of glass and mounting the layers together.
In 1942 she married George Brown, an engineer, who helped her experiment with a variety of materials. By the 1950s she became more interested in writing poetry and, divorced from Brown in 1952, she married George Reavey, an Irish Poet. From that time, she wrote extensively and published ten books of poems and essays. She was even named Poet Laureate of the Philippines. In 1959 she divorced Reavey and settled in Marbella, Spain. She died in 1971 at the age of sixty-four.
From the Internet, AskART.com
Life or Look Magazine (date unknown)
Written and submitted by Jean Ershler Schatz, artist and researcher form Laguna Woods, California.
An abstract painter, Irene Pereira developed a style that some critics
called ethereal because of the effect she achieved of many layers of
Biography from the Archives of askART
She was born in Chelsea, Massachusetts, and was
much influenced by her mother who was an amateur artist. Pereira began
art lessons at the age of fifteen but took a secretarial job to help
support her family because her father had died. She took night classes
at the Art Students League in New York City, and at age twenty-one
married the first of her three husbands, Humberto Pereira, whose name
she kept. She traveled extensively in Europe and North Africa and was
much inspired by the expansive vistas of the Sahara Desert.
to New York, she began incorporating these visions into her work,
becoming increasingly experimental in her styles and methods. She
layered transparent materials over each other to show depth.
1942, she married George Brown, an engineer, who helped her experiment
with a variety of materials. By the 1950s, she became more interested
in writing poetry and, divorced from Brown in 1952, she married George
Reavey, an Irish poet. From that time, she wrote extensively and
published ten books of poems and essays and was even named Poet
Laureate of the Philippines. In 1959, she divorced Reavey.
She died at
the age of sixty nine in Marbella, Spain.
Charlotte Streifer Rubinstein, American Women Artists
The following is from Del Marbrook:
Biography from Levis Fine Art
aunt, Irene Rice Pereira, was 69 at her death in 1971, having been born
in 1902. This will be seen from Karen Bearor's biography, Irene Rice
Pereira, published by the University of Texas Press at Austin.
painted for more than 30 years on 15th Street in Chelsea. (Some
articles say West Village) She lived in Marbella only a few months before
her death of emphysema. She was one of three painterly sisters. My
mother, the painter Juanita Guccione, and Irene followed their younger
sister into art studies. The younger sister, Dorothy, died at age 25.
was influential in the WPA Design Laboratory. There was a major
retrospective of her work in 1953 at the Whitney Museum when it was
still located on Eighth Street.
Considered the most avid Bauhaus proponent in the United States during the 1930's and 40's, Irene Rice Pereira's oeuvre reflects her commitment to machine-age materials and a philosophy that called for a merging of technology and the transcendental. (Smithsonian Archives) Her works emphasize the importance of light, space and its continuum; ideas inherent throughout Pereira's entire oeuvre.
Biography from Wendt Gallery
Pereira's industrial-influenced works of the early 30's clearly recall Sheeler and Demuth, with their focal point on man versus the machine age, while also reflecting tendencies seen in the work of Leger, with bright, bold, flat color planes outlined by thick, black, contoured lines.
As a founding member of the Design Laboratory in New York, an environment which encouraged experimentation with all art forms and mediums, Pereira developed her most intricate qualities of dimension in her glass works beginning in 1939. The illusionistic three-dimensional quality of these created a responsive and independent movement between light and color; a transcendence of space. These compositions are rare and highly sought after.
Yet, Pereira's works from the 1950's and 1960's are thought to be her most comprehensive and successful attempts at creating works which were both technically satisfying and philosophically transcendental. These works represent Pereira's newly developed vocabulary, one in which philosophy and geometric symbolism was used in place of visually interpretable objects.
In addition to her work with the Design Laboratory, Pereira was also an early member of the American Abstract Artist's, a group dedicated to the promotion of abstract art and was awarded retrospectives at the Museum of Modern Art in 1946 and The Whitney in 1953. Her work is included in the permanent collections of a number of museums including the Metropolitan, Smithsonian, Guggenheim and Whitney.
© 2008 Levis Fine Art, Inc.
Irene Rice Pereira was an American modernism painter who helped found the Federal Art Project design laboratory. Her abstract, modernist paintings are characterized by the play of light and space through the use of framelike forms and mazelike patterns in order to create the idea of a fourth dimension.
Biography from National Museum of Women in the Arts
Irene Rice Pereira (1902-1971) was an abstract painter, poet and
philosopher. Born in Massachusetts, Pereira early on supported
her family as an accountant. At twenty-five, she began to pursue
the arts by enrolling in night classes at the Art Student League in New
York City. It was during the 1930s and 1940s that she became a
prominent figure in the New York art scene, known for her geometric and
rectilinear works, and later for her glass paintings. Her success is
reflected in the showcase of her art by the Whitney Museum of American
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Pereira's interest in philosophy influenced both her paintings and her
writings. As a writer she worked prolifically, but she never
received the same acclaim as she got for her painting. In 1944,
she published her first article, "An Abstract Painter on Abstract
Art". She continued to write throughout her life, addressing
topics such as structure, time, optics, and space. She published
her last work, The Poetic of the Form of Space, Light and the Infinite in 1969.
The Irene Rice Pereira Papers collection is divided into seven series:
Periodical, Address Book, Art Inventor ies, Manuscript, Original Work,
Photocopies, and Book. The first series contains periodicals. The
periodicals have writings by Pereira, reviews of her, and generally
match her philosophical interests. The second series is Pereira's
personal address book. Series three contends record keeping notes
by Pereira regarding her paintings. Inventories of her paintings
are in notebooks and a group of notecards record the condition of the
paintings. The fourth series is a manuscript of Pereira's memoir,
which includes photographs of Pereira's work. The photographs are in
their original positions, in Mylar sleeves. The largest series is
series six, which contains photocopies of notebooks by Pereira copied
from the originals in the Schlesinger Library. The last series is a
copy of Pereira's 1957 book, the Lapis.
The collection is contained in twelve boxes, which are located in the
Library and Research Center. The periodicals in the collection were
part of the Library of Irene Rice Pereira, which was donated by the
nephew of Pereira, Djelloul Marbrook, to the Washington Women's Art
Center in 1973. In 1986 the Irene Rice Pereira Library was donated to
the Library and Research Center of the National Museum of Women in the
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