Archipenko, Alexander - Escultura Cubista
Seated Woman, nd
Terra cotta.
20 x 8 x 4 1/2 in
Delaware Art Museum, Wilmington, Delaware
Sorrow, 1909
Painted wood
9 X 2 1/2 X 1 1/2 in (22.6 X 6.3 X 3.7 cm)
On artist's wood base: 1/4 X 5 1/2 X 4 1/2 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Suzanne, 1909
Limestone
15-3/8 x 10 x 8-5/8 in (39.0 x 25.4 x 21.9 cm)
Norton Simon Museum, Pasadena, California
Seated Female Nude (Black Torso), 1909-11, cast by 1926
Bronze
15 X 5 1/4 X 6 in (38.0 X 13.2 X 15.1 cm)
Wt: 11 lb (5.0 kg)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Mask, ca. 1910-1911
Cement
16 1/4 X 7 3/8 X 3 7/8 in (41.3 X 18.7 X 9.8 cm)
On base: 1 3/4 X 11 3/8 X 8 in (4.5 X 28.9 X 20.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Madonna of the Rocks, 1912
Bronze
52.1 cm
National Museums and Galleries of Wales
Carrousel Pierrot, 1913
Painted plaster
24 x 19 1/8 x 13 3/8 inches
Solomon R. Guggenheim Museum, New York City
Head: Construction With Crossing Planes (Study For "Femme A La Toilette"), 1913/(reconstructed ca. 1950)/(cast 1957)
Bronze
17 X 10 X 12 5/8 in. (43.0 X 25.2 cm)
Wt. 27 3/4 lb (12.6 kg)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Médrano II, 1913-1914
Painted tin, wood, glass, and painted oilcloth
49 7/8 x 20 1/4 x 12 1/2 inches
Solomon R. Guggenheim Museum, New York City
Torso, 1914
Marble on alabaster base
18 3/4 X 4 1/2 X 4 1/2 in (47.4 X 11.5 X 11.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Struggle (La Lutte); also called The Boxers, 1914
Bronze, cast 7/8
24 1/2 x 15 x 18 in.
Milwaukee Art Museum, Wisconsin
Standing Woman, Second Version, 1914 (probably cast 1950s)
Bronze
19 7/8 X 4 1/4 X 5 3/8 in (50.5 X 10.8 X 13.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
The Gondolier, 1914/reconstructed 1949-50/enlarged and cast 1957
Bronze
72 1/8 X 24 3/4 X 15 5/8 in (181.0 X 63.0 X 39.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman Combing Her Hair (Femme debout), 1914 or 1915
Bronze
14 1/8 x 3 5/8 x 3 3/16 in (35.9 x 9.2 x 8.1 cm)
Nasher Sculpture Center, Dallas, Texas
In the Cafe (Woman with Cup), 1915
Painted canvas and painted wood
24 1/2 X 17 X 3 1/2 in (62.3 X 43.2 X 8.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman with a Fan II, 1915
Painted fiberboard and painted wood
18 1/8 X 14 3/4 X 1 in (46.0 X 37.5 X 2.4 cm)
In artist's frame: 19 1/4 X 15 7/8 X 1 1/2 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman Combing Her Hair, 1915
Bronze
13 3/4 x 3 1/4 x 3 1/8" (35 x 8.3 x 8 cm) including base
Museum of Modern Art, New York City
Badende, 1915
Gips, Papiermaché auf einem Innengerüst aus Draht
50 cm
Städel Museum, Frankfurt, Germany
Female Torso (White Torso), 1916
Silver over plaster
18 X 9 X 8 3/4 in (45.7 X 22.7 X 22.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Female Torso (White Torso), 1916
Painted plaster on artist's wood base
21 X 8 X 8 1/4 in (53.4 X 20.3 X 20.7 cm) incl. artist's base
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Concave or Standing Woman, 1917
Bronze with green patina
H: 12 3/4 in.
Indianapolis Museum of Art, Indiana
Vase Figure, 1918
Painted cast stone
18 3/4 x 3 1/4 x 3 3/8 in (47.6 x 8.4 x 8.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Glass on a Table, 1920
Painted wood and plaster
16 1/8 x 13 x 1 1/4" (41 x 33 x 3.2 cm)
Museum of Modern Art, New York City
Head of a Woman, 1920-1921
Marble
16 1/8 X 5 1/4 X 6 3/8 in (40.9 X 13.3 X 16.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Turning Torso, 1921
Bronze
28 inches (object)
San Diego Museum of Art, California
Standing Woman, c. 1921
Wood
H: 44,5 cm
Private collection
Statuette of a Woman, 1923
Bronze.
H: 18 in
Los Angeles County Museum of Art, Los Angeles, California
The Past, 1926
Gilded metal
13 3/4 X 7 3/8 X 2 1/ 2 in (34.8 X 18.7 X 6.4. cm)
On base: 3 3/4 X 6 1/4 X 3 1/8 in (9.5 X 15.7 X 7.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Seated Female Nude, 1929
Bronze
Overall: 24.5cm x 11.8cm x 13.7cm, Base: 3.8cm
Cleveland Museum of Art, Ohio
La Boxe, 1935
Terracotta,
height 76,6 cm
Peggy Guggenheim Collection, Venice
Seated Geometric Figure, 1950s/cast by 1967
Bronze
17 3/4 X 8 7/8 X 5 1/2 in (45.0 X 22.5 X 14.0 cm)
On artist's base: 1 3/4 X 7 1/4 X 6 1/2 in
Hirshhorn Museum and Sculpture Garden, Washington D.C.
King Solomon, 1963, cast 1966
Bronze
26 3/4 x 11 1/8 x 11 in. (67.8 x 28.4 x 28.0 cm)
Smithsonian American Art Museum, Washington D.C.
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Em "Standing Woman, c. 1921", a forma estilizada de uma mulher emerge de um bloco de madeira quente e avermelhado. Esta obra combina elementos figurativos e abstractos. A face, o peito e as coxas da mulher são côncavos em ves ce convexos, reflectindo a abordagem revolucionária de Archipenko relativamente à escultura. Tendo abandonado as formas clássicas, Archipenko procurou sugerir curvas através de concavidades, reconstruindo o corpo da mulher em termos de volumes geométricos e justapondo linhas curvas e rectas para sugerir movimento. As ancas e a parte inferior do corpo da mulher estão viradas para um lado, ao passo que os seus ombros se inclinam na direcção oposta. Esta combinação de diferentes perspectivas deve muito ao Cubismo, um movimento que rejeitou as formas tradicionais de representação e de modelação. Archipenko nasceu na Ucrânia, mas mudou-se para Paris, onde conheceu picasso e os cubistas. Mais tarde foi para Berlim, onde fundou uma escola de arte, acabando por se fixar em Nova Iorque. Alexander Archipenko nasceu em Kiev (UCR) em 1887 e morreu em Nova Iorque (EUA) em 1964.
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Alexander Archipenko, Ukrainian-American artist, born May 30, 1887, Kiev, Ukraine [then Russian Empire], died February 25, 1964, New York, New York, U.S.
After studying in Kiev, in 1908 Archipenko briefly attended the École des Beaux-Arts in Paris, but he quickly abandoned formal studies to become part of more radical circles, especially the Cubist movement. He began to explore the interplay between interlocking voids and solids and between convex and concave surfaces, forming a sculptural equivalent to Cubist paintings’ overlapping planes and, in the process, revolutionizing modern sculpture. In his bronze sculpture Walking Woman (1912), for example, he pierced holes in the face and torso of the figure and substituted concavities for the convexities of the lower legs. The abstract shapes of his works have a monumentality and rhythmic movement that also reflect contemporary interest in the arts of Africa.
As he developed his style, Archipenko achieved an incredible sense of vitality out of minimal means: in works such as Boxing Match (1913), he conveyed the raw, brutal energy of the sport in nonrepresentational, machinelike cubic and ovoid forms. About 1912, inspired by the Cubist collages of Georges Braque and Pablo Picasso, Archipenko introduced the concept of collage in sculpture in his famous Medrano series, depictions of circus figures in multicoloured glass, wood, and metal that defy traditional use of materials and definitions of sculpture. During that same period he further defied tradition in his “sculpto-paintings,” works in which he introduced painted colour to the intersecting planes of his sculpture.
Archipenko taught art briefly in Berlin from 1921 to 1923. He worked as an art teacher for the rest of his life in New York City, except for a short time (1937–39) when he was connected with the New Bauhaus in Chicago. He continued to make sculptures, although he never again achieved the success and influence of his Cubist years.
in Encyclopedia Britannica
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on Segunda-feira, Junho 15, 2009 at 10:08 PM.
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4:59 PMnão conhecia a obra...
arte... nalgumas o feminino ganharam novas formas...
abrazo serrano
11:45 AM
Excelente colecção de imagens, como sempre.
1:49 AM
Como sempre, uma perspectiva inusitada na escolha de obras de artistas, permitindo uma identificação objetiva da obra no contexto histórico.
12:29 AM
um show emocionante!
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