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拍品 21
ALEXANDER ARCHIPENKO (1887-1964)
'People', pièce unique, 1950
已結束2018年5月22日
成交價
EUR 247,500
更多資訊
ALEXANDER ARCHIPENKO (1887-1964)
'People', pièce unique, 1950
Lucite, aluminium et néon ; monté sur roulettes / Lucite, aluminium and neon lights ; on wheels
H 188 x L 220 x P 46 cm / 74 x 86 5/8 x 18 1/8 in
Signé Archipenko en bas à gauche du panneau droit
'People', pièce unique, 1950
Lucite, aluminium et néon ; monté sur roulettes / Lucite, aluminium and neon lights ; on wheels
H 188 x L 220 x P 46 cm / 74 x 86 5/8 x 18 1/8 in
Signé Archipenko en bas à gauche du panneau droit
ALEXANDER ARCHIPENKO (1887-1964)
'People', pièce unique, 1950
Lucite, aluminium et néon ; monté sur roulettes / Lucite, aluminium and neon lights ; on wheels
H 188 x L 220 x P 46 cm / 74 x 86 5/8 x 18 1/8 in
Signé Archipenko en bas à gauche du panneau droit
'People', pièce unique, 1950
Lucite, aluminium et néon ; monté sur roulettes / Lucite, aluminium and neon lights ; on wheels
H 188 x L 220 x P 46 cm / 74 x 86 5/8 x 18 1/8 in
Signé Archipenko en bas à gauche du panneau droit
Collection Mildred et Abel Fagen, commanditaires d'origine par l'intermédiaire de George et William Keck, Lake Forest, États-Unis, 1950.
Collection privée, New York.
Galerie Bellier, Paris.
Collection privée, acquis auprès de cette dernière.
Collection privée, New York.
Galerie Bellier, Paris.
Collection privée, acquis auprès de cette dernière.
Pour le notre exemplaire :
Architectural Record, mars 1951, p. 107 et p. 109.
E. Bittermann, Art in Modern Architecture, Reinhold Publishing Corporation, New York, 1952, p. 168.
Kokusai Kentiku, International architecture society, vol. XIX, Tokyo, octobre 1952.
A. Archipenko: Fifty Creative Years, 1908 - 1958, Tekhne, New York, 1960, pl. n° 202, incorrectement daté 1952.
Galerie Bellier, Polyptyques et Paravents, un siècle de création : 1890-1990, Édition du Chêne, Paris, 6 avril-20 juillet 1990, p. 70-71.
V. Duponchelle, 'Moscou, et tourne Manège!', Le Figaro, Paris, 23 septembre 2005.
'Le Salon d'art et d'antiquités de Moscou à la recherche des nouveaux Russes', Le Monde, 24 septembre 2005.
Architectural Record, mars 1951, p. 107 et p. 109.
E. Bittermann, Art in Modern Architecture, Reinhold Publishing Corporation, New York, 1952, p. 168.
Kokusai Kentiku, International architecture society, vol. XIX, Tokyo, octobre 1952.
A. Archipenko: Fifty Creative Years, 1908 - 1958, Tekhne, New York, 1960, pl. n° 202, incorrectement daté 1952.
Galerie Bellier, Polyptyques et Paravents, un siècle de création : 1890-1990, Édition du Chêne, Paris, 6 avril-20 juillet 1990, p. 70-71.
V. Duponchelle, 'Moscou, et tourne Manège!', Le Figaro, Paris, 23 septembre 2005.
'Le Salon d'art et d'antiquités de Moscou à la recherche des nouveaux Russes', Le Monde, 24 septembre 2005.
Pour notre exemplaire :
Desenhos de Archipenko, Museu de Arte Moderna de Sao Paulo, n. 28 pour une étude préparatoire au fusain et à la gouache, novembre 1952.
Archipenko, Associated American Artists Gallery, New York, 15 octobre-15 novembre 1954.
Polyptyques et Paravents, Un Siècle de Création 1890 – 1990, Galerie Bellier, Paris, 6 avril-20 juillet 1990.
Musée des Beaux-Arts, Montréal, mars 2002-juillet 2005, en prêt.
Desenhos de Archipenko, Museu de Arte Moderna de Sao Paulo, n. 28 pour une étude préparatoire au fusain et à la gouache, novembre 1952.
Archipenko, Associated American Artists Gallery, New York, 15 octobre-15 novembre 1954.
Polyptyques et Paravents, Un Siècle de Création 1890 – 1990, Galerie Bellier, Paris, 6 avril-20 juillet 1990.
Musée des Beaux-Arts, Montréal, mars 2002-juillet 2005, en prêt.
En 1923, Alexander Archipenko quitte la France pour les États-Unis. C’est alors un sculpteur reconnu, un habitué des Salons parisiens qui a exposé avec les artistes phares de l’avant-garde au Salon d’Automne et au Salon des Indépendants. Arrivé aux États-Unis, il partage son temps entre son activité d’artiste et l’enseignement. Il participe à plusieurs expositions historiques, notamment Cubism and Abstract Art, au Museum of Modern Art de New York, en 1936. En 1937, László Moholy-Nagy, ancien professeur du Bauhaus (1923-1928) fonde le New Bauhaus à Chicago et propose à Archipenko d’y enseigner. C'est au cours de cette période qu'il commence à explorer le potentiel sculptural et luminescent de la Lucite. Si le New Bauhaus disparait l’année suivante faute de financements, Archipenko poursuit ses recherches sur l’acrylique transparent. En 1947 il crée ses premières sculptures dans cette matière et les expose pour la première fois à Abstract Artists of America à New York l'année suivante. Archipenko conçoit ses propres outils pour sculpter le plastique et reste fasciné par le potentiel de réfraction et de diffusion de la Lucite. L’œuvre que nous présentons ici, People, est une installation unique commandée en 1949 par le cabinet d'architecture Keck & Keck pour la résidence de Mildred et Abel Fagen construite à Lake Forest. Les Fagen sont alors des mécènes bien connus de la communauté artistique de Chicago et, en 1960, Mildred pose même pour Salvador Dalí. Lorsque le couple décide de faire construire sa nouvelle maison, il fait appel aux frères George et William, fondateurs de Keck & Keck, le cabinet le plus en vue de la région. George Keck a notamment conçu une maison futuriste, House of tomorrow, pour l’Exposition Universelle de Chicago en 1933, A Century of Progress. C’est en outre lui qui en 1937 fait partie de l'équipe invitant Moholy-Nagy à se rendre à Chicago pour aider à la création du New Bauhaus. Moholy-Nagy y conviera à son tour Alvar Aalto, Buckminster Fuller, Richard Neutra et puis Archipenko. Conçu comme un élément central de la décoration de la maison, People est visible depuis l'extérieur de la bâtisse et définit aussi l'aménagement de son espace intérieur, séparant la salle à manger de l'entrée et du salon-coin de cheminée où s'agite un mobile d'Alexander Calder. Cette œuvre, véritable sculpture, illustre le talent d’Archipenko et sa maîtrise de la force expressive des nouveaux matériaux. Elle marque aussi l’émigration du modernisme européen d’avant-guerre vers les Etats- Unis, qui influencera durablement les créateurs de l’Amérique de demain.
By the time he emigrated from Paris to the United States in 1923, Ukrainian-born artist and sculptor Alexander Archipenko was already established as creator of distinctive talent, having regularly exhibited at both the Salons d’Automne and des Independants alongside other members of the artistic avant-garde, to include Kasimir Malevich, Sonia Delaunay, Georges Braque and Andre Derain, amongst others. Living first in New York and then Los Angeles, Archipenko both taught and widely, participating in the landmark exhibition Cubism and Abstract Art, the Museum of Modern Art, New York, 1936. In 1937, Archipenko accepted an invitation from fellow émigré artist, sculptor, photographer and former Bauhaus tutor (1923-1928) László Moholy-Nagy to join him in Chicago for the establishment of the New Bauhaus Chicago school, as head of the Modelling Workshop. It was during this crucial and fertile period at the Chicago Bauhaus that Archipenko first began to explore the sculptural and luminescence potential of Lucite, creating his first sculptures from the material in 1947, and exhibiting further acrylic sculptures at the Abstract Artists of America exhibition in New York the following year. To carve the plastic Archipenko created his own tools, and remained fascinated by the potential of the material to refract and disseminate light. The present work, People, is a unique and large-scale installation that was commissioned in 1949 by the Chicago-based architectural partnership Keck & Keck for the modernist home that they were building for Mildred and Abel Fagen in Lake Forest, on the outskirts of Chicago. The Fagens were patrons well-known to the Chicago arts community, and in 1960 Mildred was the subject of a portrait by Salvador Dalí. Keck & Keck, formed by brothers George and William, were already established as influential architects in the region, having conceived the futuristic House of Tomorrow for the Chicago Century of Progress, 1933. Furthermore, it was George Keck who was amongst the team that had in 1937 invited Moholy-Nagy (and through Moholy-Nagy also Alvar Aalto, Buckminster Fuller, Richard Neutra and Many Ray) to come Chicago to help establish the New Bauhaus. For five years George himself was head of the Architecture Department at the New Bauhaus, in addition to running his own practice. The house that Keck & Keck built for their client featured Archipenko’s illuminated screen as a key element of the interior décor, visible from the exterior upon approach to the house, sited to separate the dining area from the entrance hall and the fireside lounge area, above which was hung a mobile by Alexander Calder. The importance of Archipenko’s People screen rests not only as an expressive and powerful new sculptural exercise in new modern materials, it also traces the important and lasting influence of the migration of Modernism from pre-war Europe to establish a new, fertile and dynamic identity for post-war America.
By the time he emigrated from Paris to the United States in 1923, Ukrainian-born artist and sculptor Alexander Archipenko was already established as creator of distinctive talent, having regularly exhibited at both the Salons d’Automne and des Independants alongside other members of the artistic avant-garde, to include Kasimir Malevich, Sonia Delaunay, Georges Braque and Andre Derain, amongst others. Living first in New York and then Los Angeles, Archipenko both taught and widely, participating in the landmark exhibition Cubism and Abstract Art, the Museum of Modern Art, New York, 1936. In 1937, Archipenko accepted an invitation from fellow émigré artist, sculptor, photographer and former Bauhaus tutor (1923-1928) László Moholy-Nagy to join him in Chicago for the establishment of the New Bauhaus Chicago school, as head of the Modelling Workshop. It was during this crucial and fertile period at the Chicago Bauhaus that Archipenko first began to explore the sculptural and luminescence potential of Lucite, creating his first sculptures from the material in 1947, and exhibiting further acrylic sculptures at the Abstract Artists of America exhibition in New York the following year. To carve the plastic Archipenko created his own tools, and remained fascinated by the potential of the material to refract and disseminate light. The present work, People, is a unique and large-scale installation that was commissioned in 1949 by the Chicago-based architectural partnership Keck & Keck for the modernist home that they were building for Mildred and Abel Fagen in Lake Forest, on the outskirts of Chicago. The Fagens were patrons well-known to the Chicago arts community, and in 1960 Mildred was the subject of a portrait by Salvador Dalí. Keck & Keck, formed by brothers George and William, were already established as influential architects in the region, having conceived the futuristic House of Tomorrow for the Chicago Century of Progress, 1933. Furthermore, it was George Keck who was amongst the team that had in 1937 invited Moholy-Nagy (and through Moholy-Nagy also Alvar Aalto, Buckminster Fuller, Richard Neutra and Many Ray) to come Chicago to help establish the New Bauhaus. For five years George himself was head of the Architecture Department at the New Bauhaus, in addition to running his own practice. The house that Keck & Keck built for their client featured Archipenko’s illuminated screen as a key element of the interior décor, visible from the exterior upon approach to the house, sited to separate the dining area from the entrance hall and the fireside lounge area, above which was hung a mobile by Alexander Calder. The importance of Archipenko’s People screen rests not only as an expressive and powerful new sculptural exercise in new modern materials, it also traces the important and lasting influence of the migration of Modernism from pre-war Europe to establish a new, fertile and dynamic identity for post-war America.
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專家說明
Ce lot sera vendu avec le dessin préparatoire de l'oeuvre.
This lot will be sold with the preparatory drawing of the work.
This lot will be sold with the preparatory drawing of the work.