Projecting Planes
Artist: Irene Rice Pereira (American, 1902-1971)
Date: 1947
Dimensions:
Painting: 30 1/8 × 40 1/8 in. (76.5 × 101.9 cm)
Frame: 40 3/4 × 51 1/4 × 2 1/2 in. (103.5 × 130.2 × 6.4 cm)
Medium: Oil on canvas
Classification: Paintings
Credit Line: Museum Purchase
Object number: 1948.71
Label Text:“Without form and structure, there can be no content.” —Irene Rice Pereira
Irene Rice Pereira initially adopted the name I. Rice Pereira to obscure her gender because of the discrimination women faced in the arts. Nevertheless, she was able to have a robust and expansive career over her lifetime. While simultaneously working to support her family, she took night classes at New York’s Art Students League in 1927, where she encountered Cubism and Constructivism, two geometric-based styles whose influence is evident in Projecting Planes.
After a period of travel, including to Europe, she returned to New York in 1933 at the height of industrialization. In 1935, she became a founder and faculty member of the industrial arts school the Design Laboratory. Inspired by the Bauhaus school’s ethos integrating art, design, science, and technology, she required her painting students to take classes in chemistry, industrial mechanics, and optics. Her own work pursued the relationship between art and science, and she saw it as interpreting humankind’s “plane of existence” in the space-time continuum.
Irene Rice Pereira initially adopted the name I. Rice Pereira to obscure her gender because of the discrimination women faced in the arts. Nevertheless, she was able to have a robust and expansive career over her lifetime. While simultaneously working to support her family, she took night classes at New York’s Art Students League in 1927, where she encountered Cubism and Constructivism, two geometric-based styles whose influence is evident in Projecting Planes.
After a period of travel, including to Europe, she returned to New York in 1933 at the height of industrialization. In 1935, she became a founder and faculty member of the industrial arts school the Design Laboratory. Inspired by the Bauhaus school’s ethos integrating art, design, science, and technology, she required her painting students to take classes in chemistry, industrial mechanics, and optics. Her own work pursued the relationship between art and science, and she saw it as interpreting humankind’s “plane of existence” in the space-time continuum.
On view
In Collection(s)