JACQUES LIPCHITZ (Druskininkai 1891–1973 Capri) Arlequin à la clarinette (1919). Circa 1970. White marble. Unique work. Signed on the reverse lower left: JLipchitz. H 100.5 cm. We would like to thank Kosme de Bara?ano for confirming the authenticity of the work, Madrid, 15.4.2022. Provenance: - Private collection South of France. - Auction Kleinhenz, Mannheim. - Private collection Germany, acquired from the above in 1984. In 1909 Jacques Lipchitz went to Paris, 18 years old and fresh out of school. He first enrolled at the école des Beaux-Arts, then at the Académie Julian, where his studies included drawing from live models and the art of stone carving. Shortly afterwards, he met Cubisms patriarchs, Georges Braque, Pablo Picasso and Juan Gris, who introduced him to their techniques and theories. Inspired by the revolutionary artistic movement, Lipchitz turned away from the tenets of his academic training, and by 1913 he was increasingly devoted to Cubist sculpture. In 1919, when the figure of the "Arlequin à la clarinette" was conceived, Lipchitz had been in Paris for 10 years. His intensive engagement with the work of the Cubists reached its culmination during that time. In wondrous three-dimensional sculptures, Lipchitz expressed his own Cubist pictorial language. His sculptures from this period are characterised by fractured planar elements, with figures that can be viewed from all angles and perspectives. His remarkable translation of the elusive spatial ambiguity of pictorial Cubism into an independent and engaging three-dimensional vocabulary prompted art historian E. H. Ramsden to describe Jacques Lipchitz as the one who "best realised the possibilities of Cubism as a sculptural form" (Werner 1968). Thematically, the figure of the clarinet-playing harlequin fits into a series of musicians that the sculptor borrowed from the stock characters of the "Commedia dellarte", reflecting a trend among the Parisian avant-garde. Years later, Lipchitz revisited his works from this series, as well as some other sculptures conceived between 1915–20, and produced a series of harmonious unique pieces in marble. JACQUES LIPCHITZ (Druskininkai 1891–1973 Capri) Arlequin à la clarinette (1919). Um 1970. Weisser Marmor. Unikat. Auf der Hinterseite unten links signiert: JLipchitz. H 100,5 cm. Wir danken Kosme de Bara?ano für**Best?tigung der Authentizit?t des Werks, Madrid, 15.4.2022. Provenienz: - Privatsammlung Südfrankreich. - Auktionshaus Kleinhenz, Mannheim. - Privatsammlung Deutschland, 1984 in obigem Auktionshaus erworben. Jacques Lipchitz kommt 1909, 18-j?hrig und mit frischem Schulabschluss nach Paris. Zun?chst eingeschrieben an der école des Beaux-Arts, danach an der Académie Julian, studiert er unter anderem Zeichnen an lebenden Modellen sowie**Kunst der Steinbildhauerei. Kurz darauf lernt er**V?ter des Kubismus Georges Braque, Pablo Picasso und Juan Gris kennen,**ihm ihre Techniken und Theorien n?herbringen. Inspiriert durch diese revolution?re Kunstrichtung des Kubismus, wendet sich Lipchitz bereits 1913 von den Lehren seiner klassischen Ausbildung ab und widmet sich mehr und mehr der kubistischen Bildhauerei. **Figur des "Arlequin à la clarinette" entsteht 1919, 10 Jahre befindet sich Lipchitz nun in Paris.**inzwischen intensive Auseinandersetzung mit dem Werk der Kubisten findet in diesen Jahren ihren H?hepunkt. Lipchitz bringt seine eigene kubistische Bildsprache in wundersam dreidimensionalen Plastiken zum Ausdruck.**Skulpturen aus dieser Zeit zeichnen sich durch aufgebrochene Oberfl?chen aus, wobei**Figuren so dargestellt werden, als ob sie aus allen Winkeln und Perspektiven betrachtet werden k?nnen. Seine bemerkenswerte übersetzung der schwer greifbaren r?umlichen Ambivalenzen des Bildkubismus in eine eigenst?ndige und einnehmende dreidimensionale Sprache veranlasste den Kunsthistoriker E. H. Ramsden, Jacques Lipchitz als denjenigen zu bezeichnen, der "die M?glichkeiten des Kubismus als skulpturale Form am besten realisiert hat" (Werner 1968). Thematisch fügt sich**Figur des Klarinette-spielenden-Harlekins in eine Reihe musizierender Figuren ein. Der Plastiker lehnt sich dabei an**"Commedia dell’arte" an, welche in der zeitgen?ssischen Kunstszene ein g?ngiges und beliebtes Thema ist. Lipchitz greift Werke dieser Serie sowie einige seiner anderen Skulpturen,**er zwischen 1915 und 1920 geschaffen hat, Jahre sp?ter wieder auf und übersetzt sie in eine Reihe harmonischer Unikate aus Marmor. notes:*
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