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Ensayo del lote
Conceived in 1918, Bas-relief III (Nature morte à la bouteille de vin) belongs to a pivotal moment in Jacques Lipchitz’s career, when the sculptor was exploring the possibilities of Cubism in three dimensions. Having settled in Paris in 1909, Lipchitz became closely associated with the artistic circles of Pablo Picasso, Georges Braque and Juan Gris, developing a sculptural language in which familiar objects were fragmented, compressed and reassembled into intricate arrangements of interlocking planes. The present composition, with its subject of a wine bottle, draws upon the still-life vocabulary of Cubist painting, translating its overlapping perspectives and shifting geometries into sculptural form. Working in relief, Lipchitz could negotiate the boundary between painting and sculpture, allowing forms to emerge from and recede into the stone while maintaining the architectural coherence of the composition. The result is an elegant synthesis of the intellectual rigor of early Cubism and the artist’s increasingly assured command of sculptural volume.
Although conceived during Lipchitz’s Parisian years, the present unique stone relief was executed circa 1967–1971, during a remarkable period of renewed engagement with his earlier compositions. Having acquired Villa Bosio in Pieve di Camaiore in 1962, Lipchitz established a close connection with the marble-working traditions of Tuscany, producing a number of important sculptures in Pietrasanta and Carrara. Following the devastating Florence flood of 1966, he enlisted skilled assistants to help realize ambitious works conceived decades earlier. The present relief belongs to this late flourishing of sculptural activity, in which Lipchitz revisited the formal discoveries of his youth with the experience and technical resources of a mature artist. Bridging more than half a century of artistic development, Bas-relief III (Nature morte à la bouteille de vin) offers a compelling testament to the enduring vitality of his Cubist investigations.
Although conceived during Lipchitz’s Parisian years, the present unique stone relief was executed circa 1967–1971, during a remarkable period of renewed engagement with his earlier compositions. Having acquired Villa Bosio in Pieve di Camaiore in 1962, Lipchitz established a close connection with the marble-working traditions of Tuscany, producing a number of important sculptures in Pietrasanta and Carrara. Following the devastating Florence flood of 1966, he enlisted skilled assistants to help realize ambitious works conceived decades earlier. The present relief belongs to this late flourishing of sculptural activity, in which Lipchitz revisited the formal discoveries of his youth with the experience and technical resources of a mature artist. Bridging more than half a century of artistic development, Bas-relief III (Nature morte à la bouteille de vin) offers a compelling testament to the enduring vitality of his Cubist investigations.