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? Alexander ARCHIPENKO (1887-1964) Family Life, 1912/1963
法国 北京时间
2022年04月22日 开拍 / 2022年04月20日 截止委托
拍品描述 翻译
? Alexander ARCHIPENKO (1887-1964)
Family Life, 1912/1963
Bronze à patine noire
Signé "Archipenko", daté "1912" et numéroté "12/12F"
Inscrit "Salon d'Automne Paris 1912"
Fonte posthume, le modèle en platre con?u en 1912
Bronze with black patina; signed "Archipenko", dated "1912" and numbered "12/12F"; inscribed "Salon d'Automne Paris 1912"; posthumous cast, the plaster model designed in 1912
56 x 35,5 x 22 cm - 22 x 14 1/4 x 8 3/4 in.
Dimensions:56 x 35,5 x 22 cm - 22 x 14 1/4 x 8 3/4 in.
notes:PROVENANCE Fondation Archipenko, 2010 EXPOSITIONS 1912, Grand Palais, Paris, Salon dAutomne, 10e Exposition, no. 46 (plaster, first version) 1913, Armory of the Sixty-Ninth Regiment, New York, Armory Show, International Exhibition of Modern Art, Association of American Painters and Sculptors (tour), no. 604 (version en platre) 1967, UCLA Art Museum, Los Angeles, Alexander Archipenko: A Memorial Exhibition, tour, cat. no. 10, ill. (une autre version en bronze) 1974, Fuji Television Gallery, Tokyo, Alexander Archipenko, cat. no. 4 (une autre version en bronze) 1969, Musée Rodin, Paris, Archipenko International Visionary (tour), cat. no. 10, ill. (une autre version en bronze) 1986, Saarlandmuseum, Saarbrücken, Alexander Archipenko, cat. no. 8, ill. (version en platre) 2005, The Ukrainian Museum, New York, Alexander Archipenko: Vision and Continuity, cat. no. 7, ill. (une autre version en bronze) 2008-2009, Saarlandmuseum, Saarbrücken, Alexander Archipenko, cat. no. 10, ill. (version en platre) 2010-2011, Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Modigliani Sculptor, cat. no. 40, ill. (une autre version en bronze) BIBLIOGRAPHIE Archipenko, Alexander. Archipenko: Fifty Creative Years 1908-1958. New York: Tekhne, 1960, planche 102 (version en platre) Michaelsen, Katherine. Archipenko: A Study of the Early Works 1908-1920. Doctoral Dissertation, New York et Londres: Garland Publishing, 1977, cat. no. S31, ill. (version en platre) Barth, Anette. Alexander Archipenkos plastisches Oeuvre, Teile I und II. Doctoral dissertation, University of Trier, Peter Lang: 1997, cat. no. 37, ill. (version en platre) Synko, Oleksandra. [Innovations of Archipenko]. Kiev : Tov "Audi", 2001, planche 140, p. 101 (version en platre) Musée dOrsay. Oublier Rodin ? La sculpture à Paris, 1905 à 1914. Paris: Musée dOrsay, 2009, planche 42, p. 90 (version en platre) In 1912, Alexander Archipenko created Family Life, a 6-foot tall plaster sculpture. It was exhibited that year at the Salon dAutomne in Paris and in 1913 at the Armory Show in New York City (as well as at the other exhibition tours venues in Chicago and Boston). Family Life is a "complex multi-figural work of standing and seated interacted forms arched together in a unified compositional and psychological whole. (...) Family Life underscores an important tendency in Archipenkos art to overtly comment on the human condition (...). Of Archipenkos works at the Armory Show, Family Life was the most imposing and expensive (valued at $2,700)." The original plaster of Family Life was destroyed during the First World War. However, in 1963, Archipenko created a new plaster in a smaller size, from photographs and from memory, and he started a bronze edition. Bronze cast 12/12F is a posthumous cast in this edition, which was completed by Archipenkos estate and the Archipenko Foundation, under the supervision of Frances Archipenko Gray. Previously, in 1935, Archipenko had already refocused on Family Life when he reworked a fragment of the original plaster and transformed it as the central image in a new sculpture, indicating the works continued significance. Pionnier de la sculpture moderne, Alexander Archipenko (1887-1964) nait à Kiev, où il suit le cursus dune école dart locale, sans jamais saligner avec leur approche. Après un bref séjour à Moscou, il sinstalle à Paris en 1909 et devient un membre actif de lavant-garde culturelle. On lui reconnait notamment la capacité dintégrer le vide comme forme sculpturale à part entière, ou encore de réintroduire la couleur à la ronde-bosse tout en manipulant les modelés concaves et convexes pour rendre la forme humaine abstraite et en associant de nouveaux médiums à cet art. Archipenko mène une vie nomade qui le fait fréquenter de nombreux cercles artistiques différents il évolu

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