Jacques Lipchitz (1891-1973)

Personnage debout

细节

Jacques Lipchitz (1891-1973)
Personnage debout
signed, numbered and marked with thumbprint on the top of the base 'J Lipchitz 1/7', inscribed with foundry mark on the side of the base 'MODERN ART FDRY.N.Y.'
bronze with brown patina
Height: 18¾in. (47.6cm.)
Original plaster version executed in 1915; this bronze version cast in 1963, number one in an edition of seven

来源

Fine Arts Associates (Otto Gerson), New York
Marlborough-Gerson Gallery, Inc., New York
Grace Hokin Gallery, Chicago (acquired by the present owner, 1974)

出版

H.H. Arnason, Jacques Lipchitz: Sketches in Bronze, London, 1969, no. 2 (another cast illustrated, p. 36; titled Figure)
J. Lipchitz with H.H. Arnason, My Life in Sculpture, New York, 1972, no. 26 (another cast illustrated, p. 36)
A.G. Wilkinson, The Sculpture of Jacques Lipchitz, A Catalogue Raisonné, The Paris Years (1910-1940), New York, 1996, vol. I, no. 41 (another cast illustrated, p. 43 and pl. 41)

展览

New York, Fine Arts Associates (Otto Gerson), Jacques Lipchitz: 157 Small Bronze Sketches, April-May, 1963, no. 2
New York, Marlborough-Gerson Gallery, Inc., Lipchitz: The Cubist Period 1913-1930, March-April, 1968, no. 20 (illustrated)

拍品专文

In 1915 Lipchitz sculpted Tête (see sale, Christie's, New York, May 16, 1990, lot 385), in which he reconciled his exploration of abstract and architectural shapes with the expression of human form.

Later in 1915 and in the following year, Lipchitz executed two related sculptures entitled Personnage debout. The present sculpture is the earlier of the two, and is also known as Half-Standing Figure.

I was definitely building up and composing the idea of a human figure from abstract sculptural elements of line, plane, and volume; of mass contrasted with void completely realized in three dimensions. These works, beginning with the Head, were the resolutions of my problems after I had first gone too far in the direction of abstraction and then had reacted too far back in the direction of representation. Now I had the balance between the nonfigurative form and figuration for which I was unconsciously seeking. (J. Lipchitz with H.H. Arnason, op. cit., p. 34)