From the early 1930s to the 1980s, Vera Pagava deployed her pictorial universe in classic genres such as the still life and the landscape before turning, in 1960, to another genre, abstraction, that would occupy her for the rest of her life. Throughout her discreet career, shunning the art world and its social round, she maintained a constant link with the avant-garde of the day while deliberately sticking to her “ancient” medium and support: oil paint, applied by brush to a canvas on a stretcher or, more seldom, a wooden panel. With the detachment afforded by history, the mysterious world of her paintings, with their vibrant, luminous purity, can be seen as truly remarkable. Apart from a monumental wall piece made for Expo 58 in Brussels and a series of stained-glass windows and furniture for the church of Saint-Joseph in Dijon in 1986, Pagava’s oeuvre consists of a set of paintings that deliberately ran counter to those pictorial practices that were ideologically bent on restoring life to a form of painting that modernity had declared dead and buried and that, to do so, deliberately indulged in the spectacular, if only in the use of new mediums and supports or emphatic large formats, or again in the boldness of the motifs.
COMING SOON :
ART GENEVE 2017 - from January the 26th to 29th