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Solomon R. Guggenheim Museum Library and Archives
http://www.archive.org/details/modernsculpturefOOhirs
MODEKi\ SClILPTliKK
MODERi mmm
FROM THE
JOSEPH H.HlliSHHORN
OOLLEfTlO^
THE S0L0iM0i\ R. lilGliEMIEIM MISEIM, .\E\V VUKk
© 1962, The Solomon R. Guggenheim Foundation, New York Library oj Congress Card Catalogue Number 62-19719 Printed in the United States oj America
TRUSTEES
HARRY F. GUGGEXITEIM, PRESIDENT
ALBERT E. THIELE, VICE PRESIDENT
H. H. ARNASON, VICE PRESIDENT. ART ADMIXISTRATION
ELEANOR, COUNTESS CASTLE STEWART
MRS. HARRY F. GUGGE>nTErM
A. CHAUNCEY NEWLIN
MRS. HENRY OBRE
MISS HILLA REBAY. DIRECTOR EMERITUS
DANU'^L CATTON RICH
MICILVEL F. WETTACH
MICDLKV O. B. WMELPLEY
CAkL ZTOROSSER
ACKMWLEDGEME^T
The folloiving pages are devoted to a selection uj modern sculpture from the Joseph H. Hirshhorn Collection.
Mr. H irshhorn owns one of the finest and most extensive collections which includes historic objects draivn from ancient western civiliza- tions and from primitive cultures, as ivell as a distinguished group of paintings.
It is, Iwwever, his large and unique group of modern sculpture that has gained for Joseph H . Hirshliorn the respect, the admiration and the envy of art conscious people tliroughout the irorld. An inipDitanl part of it— the largest to have been publicly presented— is the subject of this exhibition and booh.
The presentation of ''Modern Sculpture from the Joseph II. Hirshhorn Collection" is an event of great importance for ithich The .S'o/okio/i R. Guggenheim Museum is most grateful.
Harry F. Guggenheim, /'resident
To accommodate the exhibition within the available musemn space and to arrive at a harmonious interplay between sculpture and architecture are obvious aims that have determined selection and presentation of MODERN SCULPTURE FROM THE JOSEPH H. HIRSHHORN COLLECTION at The Solomon R. Guggenheim Museum. The ampleness of the collection far exceeds the capacity of the Museums exhibition space even with the scope limited to the modern era and the medium to sculpture. Since reductions beyond this point became necessary these were approached with the intention to preserve the balance and the emphasis, the range and the personal bias that distinguish the collection as a whole. Daumier, Degas, Manzii, Moore, Lipchitz, Smith and other favorite sculptors of Mr. Hirshhorn form islands of great concentration in the collection and are therefore also represented in depth in the Guggenheim selection. The balance between the collection's already classic portion with Rodin, Bourdelle, Renoir and Matisse, to name but a few of the old masters, and Mr. Hirshhorn's demonstrated commitment toward the little known and experimental — a balance fundamental to the collector's intentions — was also an element to be preserved at all cost in the reduced exhibition version.
Finally, selection and presentation were determined by the Guggenheim Museum's pducalional urieiitalion. an intent to relate, as far as possible, the visual substance of a work of art to its broader historic and stylistic framework.
The presentation of MODERN SCULPTURE FROM THE JOSEPH H. HIRSHHORN COLLECTION at
The Solomon R. Guggenheim Museum required a large collective elTort involving tin- (■(ini|>lilc Mu-runi staff. The entire undertaking was also dependent upon llu- diligi-iit and informed coiili il>uli(iii> ni.ulc throughout tlie project by Mr. Abrani Lerner, Curator of tile Joseph 11. 1 lir^lilidiii ( 'dllcelion.
Tiiomas M. Messer. Director
FORE^^ORD .ABRAM LERXER. Curator of the Joseph H. Hirshhorn Collection
The present exhibition of 4-44 works of modern sculpture from the Hirshhorn Collection is the first comprehensive showing of sculptures from the Collection. Three years ago the Detroit Insti- tute of Arts exhibited 230 pieces and subsequently 110 of these iiere shown in museums in the Middle and Far West. The response was enthusiastic and made all the effort worthwhile, but it tvas disap- pointing that New York had no opportunity to see this exhibition. When the Trustees of the Guggen- heim Museum suggested a much larger and more comprehensive presentation ivhich would offer an even broader survey of modern sculpture, we ivere delighted to cooperate. The result of the collabora- tion is the present exhibition.
Since the text of this book will deal fully with the sculpture, perhaps a few notes on the Collection are in order.
Joseph H. Hirshhorn started his Collection about 30 years ago. Freedom of action, u'hich would seem to be a cornerstone of Mr. Hirshhorn s personality, is also characteristic of the private collector. This degree of independence is usually not available to most curators and museum directors who are responsible to their trustees, budgets, patrons, and history. There is nothing to deter the collector from exercising his own prejudices and enthusiasm as long as he can afford them. In conse- quence, the private collection has a unique individuality — extravagant in some ways, reserved in others. It also has a unique function in that it can complement the historically oriented and carefully balanced museum collection by its ivillingness to emphasize particular artists or movements, and to welcome the very old or very new with equal ardor. It is free to move in any direction and the degree to which it profits from such autonomy is often the index of its quality.
The Hirshhorn Collection never aimed at an all-inclusive historical survey of sculpture. It was and is primarily guided by Mr. Hirshhorn s own inclinations and sensibility, as well as a passion for collecting which has long since passed the point of utilitarian need. He most truly fits Sir Herbert Read's definition of a collector as ". . . abnormal, a greedy lover of beauty."
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When Mr. Hirshhom acqwxei Ms first sculpture, a piece b-v fokn. FLuuzosstl. he ecideTidr felt he leas merely adding to Ms collection a somewkat different kind at art object, oae thai maald eomplemeal the paiiitings aad extend Us range of interest. It mms Mi intenlian at Snt to mid mdj American pieces to the painting eoQedion Kiiek mas. and stiU is. essemtiaily Aimeiican. In time it became evident that tie limited creation of semlptmre. in contrast to lie rdatis^r enonaaas tmtpat of modem painting, ^ade it practice and desirabie to add pieces frotm «ff over tie morid. Widk great insigki Mr. Hiniioni began to collect Us sealptare at a time mken Sue nieces xere asaSahle and interest in tiem negligible.
In the late thirties and early forties tiere was atdy maid teHeramce of tie atediam. It mas collected bv a handful of people and esen tits smM patronage Kent «dde§y to scmlptors of uOler- national reputation. There tcere a fetr deeiers trio nesertidess perssted in brining Sne seaipUae to the public One of these -eidots kos Curt Valentin, to ariomt lie resist of iaiaest in semlptmre im this coantry omes a great debt. It mas aimays a marsdoas experience to cis£r Us smrprisin^y snuM quarters aad find beautiful examples of modem sadplure oterSaming fra^ He ^Series into tie outer kaUs. For tie collector acio mms perceptise. smd eddbitians mere utwabaaMe lessons in tie Ustory and appreciation of sculpture. Jcaepi Birdiiom aros sudk a coBeetar. and miaaeser I accompanied Um to tie Valentin Gallery. I knem tiat ie moadd be mmabk to resist OLt/niiing m least one piece oat of tie many beautiful timgs tiere.
One of tie daraderistie lUngs abcmt Joseph Hirsiiam is Us susOmned iaierest in an artisfs development. Having bou^a Us ^rst Henry Moore ie eomU not resisf mi£ng mem Moores as they came to Us attention. He siomed tie same pasistent interest in Matisse. Gm tmtftti_ Epstein. David Smith. Manzu and otiers.
Obvioasty Joseph Hirsiiom Unes sculpture ami 1ms am eye for its best qmaHnes. Im tie presence of a Sne piece ie cannot conceui Us aUiaaiasm. Defers here ami mhimii anM testify la this glour icUch is a prelude to battleHnes draxn on suei oeeasioms and xkzck. soater or later. results in a transfer of ownersUp.
Something about tie palpable nature of seulpture. its piysieal presence and pUstidty. makes a speciai appeal to ham. Tiere is as ambiguity, a mystery, a mute poetry, that d^^ts Um and incites Us interest and curiosity. TUs ias been accompanied by an equally resdess aeqaasitiratess. a groxing inventory of Us journey in appredatiom ami experience. As keeper of tUs great inr^Jaay. I tcish to express my pleasure in sedng it made available to tie fmbSc.
I cannot praise too UgUy lie ^e spirit tiat motivated lUs exUbitiom. Mr. Harry F. Gug- genheim. President^ and tie Trustees of Tie Solomon R. Guggemieim Fimmiatiem wtere receptive ^J enthusiastic from lie start, and tiey iave our liants for making tie exUUtiom passible and atoAUe to the people of tUs dly. Mr. Thomas M. Messer ias directed and instoBei lie exUbitiem vU* tie brilliance tiat ias become synonymous aciti Us exUbitioms over lie years. Mr. H. H. Ammsam ias produced lie book and mritten an illumimating commentary on lie eoBeeliom ami lie praUems of modem sculpture. We cannot be grateful emougi to lie iurd-morka^ stag of lie ■■nt— amd I espedaily mish to liank Mr. Danid Robbais miose inleBifenee amd emtkmsiasm aided n large meas- ure to tie excellence of lie exUbitiou and lUs book.
MODEM SCULPTURE 1^ THE JOSEPH H.HIRSHHOR^ TOLLECTIOK
The Joseph H. Hirshhorn Collection of Modern Sculpture is perhaps the most comprehensive collection of modern sculpture in existence. Comprising between seven and eight hundred works, many of monumental scale and importance, it traces with few omissions the entire development of sculpture from Rodin to the present day. It is remarkable not only for its general quality and the extent of its coverage, but also for its examination in depth of many of the major masters. Some statistics will suggest the degree in which this is true. These statistics cannot be precisely accurate, because even as they are quoted, new works are in process of being added. Daumier, the one sculptor of the earlier nineteenth century who intrigues Mr. Hirshhorn, is represented by some 37 pieces. Rodin is represented by 14 works including a major cast of The Burghers of Calais. There are 7 Rossos, 5 Bourdelles, 11 Maillols, 17 Degas, 6 Renoirs, 10 Picassos, 12 Matisses, 9 Arps, 9 Duchamp- Villons, 13 Lipchitzes, 17 Giacomettis, 11 Marinis, 26 Manzus, and 51 Henry Moores. Other leading sculptors such as Brancusi, Laurens, Lehmbruck, Archipenko, Hajdu, and Hepworth are each repre- sented by several examples.
Equally impressive is the coverage of newer directions in European and American sculpture. Mr. Hirshhorn is constantly looking at and buying the works of younger sculptors. There is probably no collection, public or private, which contains so thorough a representation of the newest experiments in the sculpture of today.
The comprehensiveness of the collection has suggested the form of the present book. It is arranged as a picture history of modern sculpture, with the illustrations placed in a generally chron- ological order by artist, movement, and country. The brief commentary, accompanying the illustra- tions, attempts in available space to suggest some of the problems with which sculptors have been concerned, and to describe some of the characteristics of the works illustrated. No attempt has been made to discuss every artist or every work of art. However, the grouping of artists and works in the illustrations will emphasize their particular stylistic directions.
Biographies of the artists and the checklist of the exhibition are arranged alphabetically after the illustrations. These are followed by a selective bibliography.
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COMMENTARY h h arnason
Sculpture in the twentieth century has emerged as a major art for the first time since the seventeenth century. Its development in the last sixty years is even more remarkable than that of twentieth century painting. The revolution of modern painting was achieved against the background of an unbroken, great tradition extending back to the fourteenth century. In the nineteenth century, despite the prevalence and the substantial role played by lesser academicians, painting remained the single, great visual art, producing during the first seventy-five years masters such as Goya. David, Ingres, Gericault, Delacroix, Blake, Constable, Turner, Corot, Courbet, and Manet. The leading names in sculpture during this same period were Canova, Thorwaldsen, Rude. David d'Angers, Barye, Carpeaux, Dalou, Falguiere, and Meunier. Of these only perhaps Carpeaux has a continuing reputation, and he more on the basis of his sketches than for his sentimental genre or monumental decorative works. The sculpture of Dauniier, now much admired, was a private art. little known or appreciated until its rediscovery in the twentieth century.
The eighteenth century was also an age of painting rather than sculpture. During that century only the sculptor Jean Antoine Houdon may be compared with painters such as Watteau. Boucher, Fragonard, Guardi, Tiepolo. or Gova. The seventeenth century, and then principallv in the person of Bernini, was the last great age of sculpture before the twentieth. In ihr I'nited States, with the exception of one or two men of originality and high competence, such as St. Gaudens. sculptors were only secondary figures from the beginning of our history until well into the twentieth century.
When we consider the dominant place which sculpture has held in the iiistory of art from ancient Egvpt until the seventeenth century of our era, this decline is all the more remarkable. The decline was not for want of patronage. Although the eighteenth century provided fewer monu- mental public commissions than the Renaissance or Baroque, the nineteenth century saw mountains of sculptural innniirnciits crowding the parks ami |iiiMic squares or adorning llic ailiiterlurr of tin- period. By this time, however, academic classicism had achieved such a rigid grip on the sculptural tradition that it was literally inqjossible for a sculptor to pain a commission or even to survive unless he conformed. The experimental painter could usually find a small group of enlightened private patrons, llnweycr. the very nature ol the x nlplnral inciliuin and llie Iradition ol ninclccMlh century sculpture as a monumental and public art made this more diflicull for llu- siul|ilnr.
1.3
Roniiv
This was the situation until the third quarter of the century, when Rodin emerged on the scene. It is the achievement of Rodin ahuost single-handed to have recharted the course of sculpture and to have given the art an impetus that was to lead to a major renaissance in the late nineteenth and twentieth centuries. There is no one painter, not even Courbet, Manet, Monet, Cezanne, Van Gogh or Gauguin who quite occupies the place in modern painting which Rodin occupies in mod- ern sculpture. He began his revolution, as had Courbet in painting, with a reaction against the senti- mental idealism of the academicians, through the closest return to nature. The Man with the Broken Nose { 1864) (No. 387 t was rejected by the Salon because it was offensively realistic. The re-examin- ation of nature was coupled with a re-examination of the art of the Middle Ages and of the Renaissance, most specifically Donatello and Michelangelo. Although much of academic sculpture paid homage to the High Renaissance, it was the High Renaissance seen through centuries of imitative accretions which largely concealed the original works. Rodin looked at Donatello and Michelangelo as though they were masters of his own time to whom he was apprenticed, and thus he achieved the anomaly of turning its own gods against the academic tradition.
The achievement of Rodin in the liberation of modern sculpture is one of degree rather than of kind. It is possible to find prototypes or analogies among his contemporaries for his treatment of subject matter, space, volume, movement, light, and material. However, in no other sculptor of the nineteenth century are all the elements and problems of sculpture attacked with comparable energy, imagination, and invention. In no other sculptor can be found such brilliant solutions.
The basic medium of expression of sculpture from the beginning of time until the twentieth century has been the human figure. It is in terms of the figure, presented in isolation or in combina- tion, in action or in repose, that the sculptor has explored the elements of sculpture — space, mass, volume, line, texture, light, and movement. Of these elements, volume and space and their interaction have been traditionally the primary concern of the sculptor. In terms of this interaction, the history of most of the great periods of sculpture may be written. If the cycles of Classical Greek and Hellenistic sculpture, Romanesque and Gothic, and Renaissance and Baroque, are traced, in all three may be observed a comparable development from the early or archaic frontality to the ultimate stage of figures existing as articulated, three-dimensional masses in fully realized three-dimensional space. With the exception of certain works of Bernini such as the Ecstasy of St. Theresa, the final solution of most of the cycles of sculptural history has characteristically involved the figure as a relatively coherent central mass revolving in. and in some degree interpenetrated by surrounding space.
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The greater sense of spatial existence in Hellenistic, Late Gothic or Baroque sculpture also inevitably involved an increased sense of implied movement, achieved bv the twisting pose, the extended gesture, or frequently by a broken, variegated surface texture whose light and shadow accentuated the feeling of transition or change.
The Baroque feeling for spatial existence and movement was part of the nineteenth centurv sculptural tradition, particularly in the monumental works of Carpeaux and Dalou: and Rodin was in possession of the full range of historic sculptural forms by the time he returned from his brief visit to Italy in 187.5. The Man with the Broken Nose of 1864 was already a mature and accomplished work suggesting the tragic intensity of the artist's approach to subject as well as his uncanny ability to suggest simultaneously the malleable properties of the original clay and the light saturated tensile strength of the final bronze material.
The Crouching Woman ( 1882) (No. 390) is one of the many individual figures inspired bv the experiments of The Gales of Hell,^ on which Rodin had begun to work in 1880. The Gates them- selves, which occupied the artist until his death in 1917, and even then had not reached a final form, suffer from the very fertility of the ideas and the variety of the forms with which they are crannned. Nevertheless they are of the greatest significance in the artist's later career and in the history of modern sculpture. Saturated as they are with literarv svmbolism to the point where thev almost cease to exist as any sort of sculptural totality, they nevertheless contain a vast repertoire of forms and images which the sculptor developed in this context and then adapted to other uses. The liirbiilcnce of the subject involved inspired him to the exploration of expressionist violence in \\hirli llic human figure was bent and twisted to the limits of endurance, although with rciiiarkaliK lillli- ailual naturalistic distortion.
The violent plav on the luiman inslrument seen here was a nalural |ircanilili- In Ihc expres- sionist distortions of llie (Iguie wliiili Ikivc (lr\clci|ic(l in llic Iwcniiclli crnlur\. \n cm-ii more suggestive preamble is l<i he f<uinil in llie basic concept of ihe entire subieel of Tlic Galrs llic concept of flux or metamorphosis, in which ihc figures emerge from or sink into the matrix of the bron/c itself, are in process of birth from, or death and decay into a quagmire which liolh liberates and tlircalens to engulf tlicni.
The Crouching II o/inin looks at lirst glance like an cxtrenir of analomiial dislorlioii. Actually, there is little distortion iiuohoil. ami llir piisc. \\liii li rould have lieen ngl\ or ludicrous, achieves in Rodin's hands a beauU that is rooted in intense sullcriug. Ihc figuic. a cornpacl. I\\isled
1 Rodin iMiisi'Uni, I'aris.
mass, is wonderfully realized in and expressive of surrounding space. The powerful diagonals, the enveloping arms, the broken twist of the head, all serve both an expressive and a formal purpose, emphasizing the agony of the figure and carrying the eye around the mass in a series of completely integrated views.
The Iris (1890-91) (No. 392) achieves an even greater violence of pose, carrying the sensuality which characterized so many of the later figures to the point of brutality. The headless, one armed torso, by its maimed and truncated form, reaches a height of expressive vitality. The Iris is probably a sketch, but one which arrived in this form at a completeness to which nothing could be added. The sketches of Rodin in their rough immediacy and directness have a natural appeal to the twentieth century artist. However, their presentation in posthumous casts, as finished works of the artist, tends frequently to distort his actual intention.
The portrait sculptures of Rodin represent a chapter in themselves in their search for per- sonality or for symbol statements. The Balzac in its final form was an exploration of the nature of genius, expressed through the means of sculptural "impressionism." The many preliminary versions, on the other hand, represented various attempts to recreate the appearance and the personality of Balzac and gradually from these sketches to approach a generalized statement. (Nos. 393, 394) Whether the final Balzac is or is not a success purely as a sculptural form, it is perhaps the closest approximation of nineteenth century sculpture to a purelv abstract svmbol.
If, of Rodin's sculptures, the Balzac most closely approximates some of the ideals of twentieth century expressionist sculpture. The Burghers of Calais (1884-88) (No. 391) sums up most successfully his transformation of the past into a monument that is both contemporary and personal. The debt of the Burghers to the fourteenth and fifteenth century sculptures of Claus Sluter and Claus de Werve is apparent, l;)ut this influence has been combined with an assertion of the dignity of the common man, analogous to the sculptures of Meunier. The rough-hewn faces, the powerful bodies, the enormous hands and feet transform these burghers into laborers and peasants and at the same time greatly enhance their expressive power. The tendency of Rodin to dramatic gesture is also apparent here, and the theatrical element is emphasized by the highly unorthodox organization, with the figures scattered about the base like a group of stragglers wandering across a stage. The informal, open arrangement of the figures is actually one of the most daring and original aspects of the sculpture. It is a direct attack on the entire classical tradition of closed, balanced groupings in monumental sculpture. The detached placing of the masses gives to the intervening spaces an importance which for almost the first time in modern sculpture reverses the traditional roles of solid and void, of mass and space. Space not only surrounds the figures but completely interpenetrates the group to create a balance which anticipates some of the most revolutionary inno- vations of twentieth century sculpture.
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Koilin: 387. Man II ith Hrnln-n Aiwc, Mash.
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Rodin: 39L The Burghers oj Calais.
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Roflin: 391. The Burghers nj Calais, Details, Pierre rte Weissant (above). .lean de Fiennes (below).
Rodin; 391. The Burghers of Calais. Dclail, F.uslaL-lic di' Si. I'iiTic
Rodin: 390. Crouchins Woman.
Rodin: .102. Iris. Messenger oj ihc Cmh.
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Rodin : 396. Head of Baudelaire.
lioilin; .lOr;. Iliisl iti Halzar. Di'lnil. llrail.
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Rodin: 397. Torso and Detail.
MAUAAtt. ROSSO UOLIIOELLE DESPIAL'
Maillol, also one of the major figures of early modern sculpture, began his career as a painter. At the opposite extreme from the violent variety of Rodin, he concentrated his whole attention on a restatement of the classic ideal of sculpture, stripped of all the academic accretions of sentimental or erotic synthetic idealism, and brought down to earth in the homely actuality of his models. Concentrating almost exclusively on the subject of the single female figure, standing, sitting, or reclining, and almost always in repose, he stated over and over again the fundamental thesis of sculpture as integrated volume, as mass surrounded by tangible space. At the same time, the nudes of Maillol always contain the breath of life, a healthv sensuousness which reflects the living model rather than any abstract classical ideal. ( Nos. 248-251 )
Medardo Rosso also began as a painter and in his sculpture, he, in a sense, alwavs remained a painter. Even in his most impressionist works, Rodin never entirely abandoned his sense of sculptural mass. Thus it is perhaps wrong even to refer to him as an impressionist. Rosso, on the other hand, deliberately dissolved the scul|)tural forms until onlv an impression remained. His favorite medium of wax allowed the most imperceptible transitions so that it becomes difficult to tell at exactly what point the wax becomes the face or the figure. Form is dissolved into amorphous shape and light-filled, vari-textured surface. The very subjects, detailed genre scenes, conversation pieces, stretch the limits of traditional sculpture. Still, in his freshness of vision, his abilitv to catch and record the significant moment, Rosso added a new dimension to sculpture and anticipated the search for immediacy which characterizes the experimental sculpture of our own day. I Nos. -103-409)
Antoine Bourdelle. like Maillol. sought a revitalizing of tiic classical tradition. However, his approach involved an eclectic, somewhat archaeological return to the s|)iiil and lurrns of arciiaic ami early fifth century Creek sculpture, as well as to those of Cothic sculpture. A yiuillihil pm trail Imst. La Marquise (1886) (No. 35) has a serenity which is both classic in feeling and rcminiscci\l ol portraits by Houdon. The Warrior I No. 37) from the Moniunenl lo ihr Fiahlers at Montauban (1873-1896) represents the moment of greatest indebtedness to Rodin, ami \( ith all its innnense power of gesture points to the danger of an attempt lo nul l?i>diii Rodin. This could only lead lo theatricality, a danger from \\hich Bourdelle was rescued by his conscious rcUirn lo anliciuily alter 1900. The Head of Apollo I 1900) (No. 36) is a key work in this return, coinbining as it does a consciouslv archaic quality with vitality which makes it more than a mere eclectic adaptation of anliipiilv.
The torso of the figure called /'n/(V or I'onioiui i I'll I) (No. 38) relates mass and spatial existence to a (lowing, linear niovcincnl of conlour. Allhough this work and others of Bourdelle's female nude figures may be compared with Maillol, they are always clearly individual in their restless activity achieved through the accent on moving outlines.
The mosi imnicdialc inhcrilor of llic liaililion ol Maill'l \\ as ("liarlis Dopian. a limili-cl l>nl sensitive arlisl. His figure studies achieve a repose, a withdrawn elegance which transcends even that of Maillol. and his portrait heads have the reticence of ulmosi siniplitiialion in modelling, the elimiiuUion of all extraneous details. (Nos. 126-128)
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Maillol: 251. A'y/np/i.
Maillol: 250. Kneeling Node. Maillol: 219. Ynnlli.
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Rosso: 404. Came Altrui.
Kosso: 407. i'lcA; Man in Hospital.
Rosso: 108. The Book- Maker.
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Bourdelle: 35. La Marquise. Bourdelle: 38. Torso of Figure Called Fruit.
Rinirtlrilr: M. If arrior.
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Bourdelle; 36. Head of Apollo.
Di'spiuu: 12f!. Pariniil al Mnir. Drniiii. Dospiau: 126. MIU'. /?. (/?iaiir/iini>.
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THE .SC'I'LPTOH-PAI^TERS DAVIVIIKR, DEUAS, RENOIR
One of the most indicative symptoms of the revival of sculpture at the end of the nineteenth century is the number of important painters who practiced sculpture. Gauguin, Degas, Renoir, Bonnard were among them, followed in this century by Picasso, Matisse, Modigliani, Braque, Derain, Leger, and many others. Maillol and Rosso were both first painters before they became sculptors. The pioneer sculptor-painter of the nineteenth century was Daumier, who lived between 1810 and 1879. Most of his wonderful caricature heads were created in 1830-32 and anticipate late Rodins in the directness of the deeply modelled surfaces. (Nos. 65-81) The Ratapoil (18.50) (No. 82) is a com- pletely realized sculpture. The arrogance and tawdry elegance of the pose is presented in terms of spatial existence and movement in which the fluttering, light-filled flow of the clothes acts as counterpoise to the bony armature of the figure itself.
The sculpture of Daumier is a prototype but not an influence for the beginnings of modern sculpture, since it was little known by the sculptors of the first generation. The same is true of the sculpture of Degas, most of which was never publicly exhibited during his lifetime. Degas is unques- tionably the greatest of the late nineteenth century sculptor-painters. His sculptures were conceived in sculptural terms, concerned with the fundamental formal problems of sculpture. Both his horses and his dancers rejjresent continual experiments in space and movement. The posthumous bronzes retain the sense of the original wax material, built up, layer by layer to a surface in which every fragment of wax is clearly articulated. The genre scenes, such as The Masseuse (1896-1911) (No. 110), seem at first to be curious translations of genre painting into sculpture. However, they also, on closer analysis, assert a sculptural mass in a complex spatial interplay. (Nos. 102-113)
Renoir's sculptures, created towards the end of his life, are more directly translations of his late paintings. Since, however, these paintings strongly emphasize sculptural modelling of the figures, the translation is a logical and natural one, and the sculptures emerge as simplified, classically massive figures in repose or in slow movement. The tradition is that of late antiquity seen through the classic peasants of Maillol, the accent on sculptural mass in repose rather than of space or movement. (Nos. 375-379)
36
Diuiiiiii-r: 77. J.c \ ic(i\ l-'inaiid [ RoytT-ColIard) .
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Dauraier: 82. he Ratapoil. 2 Views.
naiiiniii : %. /.c Ruse (I (VmhcM. Oiiuniur: 66. L'llommc I'l Ti'lv I'laic I I'rlei i/c la tojereK
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1^
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Gauguin: 163. Tahitian Figure. Degas: 110. The Masseuse,
Di-gas: 111. DaniiT Holilin:: Her Wia/i' l-'ool anil D.luil. Iloail.
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Degas: 112. Dancer Holding Her Right Foot. Degas: 115. Pregnant Woman.
Dogus: 107. Dam er. Arabesiiue Over Riglil Le,
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Renoir: 375. Small Standing Venus. Kenoir: 377. Head oj a W^oman (above). Renoir: 376. Portrait of Mme. Renoir (below) .
«;i-:k.m.\:\y
Wilhelm Lehmbruck, who worked in Paris between 1910 and 1914, also showed in works like the Torso (1910-11) (No. 233 I the influence of Mailiol. However, the tragic face of this figure reflects a personal expression which becomes more explicit in the great Kneeling Woman I 1911 I. - The Head of a Girl (1913) (No. 234) and the Inclined Torso (1913) (No. 235) illustrate the Romanesque elongation which Lehmbruck used for the suggestion of inward suffering. These are works of delicate power, withdrawn and filled with a spirit of melancholy, works in which the contour line assumes a major significance in the definition of the volumes of the figure. The elongation of these figures, which is presented with such natural ease that it does not seem like distortion, repre- sents a major break from the control of realistic proportions.
The German expressionist sculptors represented a wide variety of points of vieu allluiugii in general they did not depart very far from nature in the direction of expressive distortion or of abstraction. Barlach looked back for his sources to German medieval art as well as to the folk art of Germany and Russia. His fondness for groups of interacting figures is suggestive of the wood carv- ings of peasants. These are sculptures of simple vet strongiv fcU rninliini \i)\f. suOcriiig. :niger. humor, stated with the broadness of caricature, in terms of highly simplified sculptural masses fre- quently expressing iheir cmotir>ns in Icrnis of a single, encompassing movement of the mass. ( Nos. 22-26)
Kathe K ol I w i I/, although best known as a gr;i|ilnc ,n (i-l. dllainrd In her sculpt uir ci prolniinil sense of scniplnial mass as an expressive medium. I in- rrlici Muli)lurcs arc i-om|iacl. masshi' fragments, filled with feeling which is both intensified and coMtrollcd by tiic economy ol tiie means. The I'iein (19,'xS) (No. 221) transforms the intertwined figures into a solid pyramid of closely integrated forms whose densitv heightens the passionate expression of grief and sufTering.
GciIkhcI Marclss {niiliniirs I'.ailarli's carlln i|iKilil\ of Immur in groups, animals, and single figures. The Sealed Girl I 19,i3) (No. 270) and Ctrl iiilli liniuls I I'lilll (No. 27.'i 1 whose blocked out, heavy featured. |)casanl faces have all the nai\e charm of German medieval sculpture, achieve in the figures an awkward adolescent grace, presented w ith overtones of cubist control.
- Miisc'uni of Modern An. N.'w \mk -15
46
Lehmbruck: 235. Inclined Torso of a Woman.
Lfliiiibnuk: 23'1. //<W of a Girl. I.clinil>nn-k : "J.t.l. Torso.
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Barlach : 25. Two Monks Reading
Bailach: 22. Kiissiaii flcgiinr ll'nmnn. Matari-: 287. Hcrlinins BnllmK-.
¥>
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KoUwitz: 221. Mother and Child (Pietci)
Kollwilz: 210. Sell Portrait.
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Marcks: 276. Seated Girl. Marcks: 275. Girl With Braids.
FHAIVCE BHAXCLSI
The scene of the major revolution in modern sculpture, like that in modern painting during the first years of the twentieth century, was Paris. One of the first great figures was Brancusi. an artist who created no school, but who strongly affected the course of subsequent sculpture. Although the development of his sculpture traces a continuing search for the essences of forms which was a continuing reaction against the complexity and literary subject of Rodin, Brancusi still admired Rodin and admitted him to be the master of the new sculpture. His own sculpture, however, moved constantly towards an intensive examination of a few, fundamental forms in terms of which he sought to define the nature of sculpture itself.
A Rodinesque Sleeping Muse (1906),'* whose naturalistic features emerged imperceptiblv from the unshaped marble, became the Sleeping Muse (1909-11 1 (No. 39), an egg-shaped form with sharply delineated features repeating the ovoid contours, balanced lightly on a flat plane. This in turn became the teardrop Prometheus I c. 1911) (No. 40) with features almost disappearing into the volume of the head. The process of simplification was continued in subsequent works until all extrusions were eliminated and there remained an egg shape to symbolize not only the beginning of the world but in a specific sense the beginning of sculpture.
In his search for essences, Brancusi pointed the way for twentieth century sculptors. He was never really an abstractionist, because there was always in his works a subject idea, reduced to a single fundamental. Thus, birds became the idea of flight; fish, the motion of swimming: a cock, the cock's comb or the cock's crow.
The simplification of forms involved not onlv the esseiilial slalenient of a subject, Inil the essential statenieril of the nature of materials and of the nature of sculpture ilsell. For Brancusi the nature of his materials must be stated without qualification. In the carlv archaic heads and figures the rough block of the stone defines the image. The marbles and bronzes emphasize the curving forms with a lliiish of the highesi polish. The finish is further eniphasized by contrast \( ilh bases of rough stone or roughlv hewn uood, {Torso of a ) oiing Mini. 1921 I I No. II l The great wooden totems remain tree trunks shaped with the axe.
All the sculptures of Brancusi are, finall\. slalernriils in llicir essences ol masses and volumes existing in and defining llirec-dimensional space. Thus, in form, icuilrnl. .iiul nialerials. Brancusi lil)erale<l scnlplure from llu' lilcrarv illii>ii>ni>iii nl llir nineteenth century. Koilin eidisted their own classical gods in his light against ihc ac ailcmicians. Brancusi refined the classical ideal to its ultimate essence.
■1 Nol in i-\liibiti(m 53
, v^-^ "^,i-i'„„i,.
54
Brancusi: Z9. Sleeping Muse (above).
Brancusi: 40. Prom ei/ieus (below).
Hranrusi: 41. Torso of a Young Man.
55
FRAIVrE CUBIST SCI'LPTIKE
Although his contribution was a unique one and throughout his life he seems a curiously isolated figure, Brancusi was not alone in his search for absolutes. The revolutions in painting of post-impressionism, fauvism, and cubism were accompanied by comparable revolutions in sculpture. In painting, the cubists, beginning in 1907 with Picasso and Braque, sought to destroy finally the Renaissance concept of a painting as an imitation of the natural world, as a window opening out into naturalistic space. They wished to assert for the painting its own identity, its own pictorial space arising out of its own physical nature as a flat canvas surface to which pigment is applied. Their explorations led Braque and Picasso first to geometric, Cezanne-like landscapes, then to highly sculptural figure studies. By 1910, three-dimensional, sculptural modelling had disappeared, the color had been deliberately subordinated to a close harmony of greys, browns, and greens, and the subject (figure or still life) had been transposed into a linear geometry of intersecting and frequently transparent planes, a sort of 'grid' moving within a confined depth from the frontal plane of the painting.
In sculpture the problem was a comparable search for the fundamentals of sculptural form through stripping off all the illusionistic accretions of the Renaissance tradition. Brancusi was carrying on his similar explorations but they were not as familiar to the younger experimental sculptors as were the cubist innovations of the painters. Cubism, with its strict geometry of spatial analysis, seemed immediately applicable to the problem in sculpture, and was quickly adapted. The first cubist sculptors were affected not only by cubist painting but, like the cubist painters, by the discovery of African primitive sculpture. Picasso's Head of a Woman (1906) (No. 366) in the brutal geometry of the features shows in sculpture the same debt to African sculpture as is to be found in the paintings of 1907 and 1908. His Head of Fernande Olivier (Cubist Head) (1909) (No. 368) is a literal translation into sculpture of a cubist painted head. The Head of Fernande Olivier is most important historically as the first cubist sculpture. However, some question may be raised in what degree the deep, geometric faceting of the surface actually enhances or clarifies the sculptural form.
The same question may be asked concerning Archipenko's first cubist sculptures. There is no question that Archipenko was the pioneer cubist sculptor. In works such as the Seated Female Nude (1909) (No. 3) his use of a barely suggested geometric structure gives to the elegant revolving figure a firmness which prevents it from becoming purely decorative. By 1912, Archipenko had fully realized the implications of cubism for sculpture and had made contributions of the highest significance by opening up voids within the sculptured figure to the point where the historic concept of a sculpture as a solid surrounded by space was completely reversed. Now for the first time in
56
I'icasso : .%!!. llcai! nj Ffniniiilr IVivirr ( Cubist lleml i . ncliiil pufic 85.
history, a sculpture became a series of voids or spaces shaped and defined by solid outlines. In 1913 Archipenko made another great contribution in adapting to sculpture the new technique of collage and beginning to make constructions out of difTerent materials such as wood, glass, and metal. Although the Medrano figures which he constructed during the next few years tend as sculptures towards the mannered and the decorative, the technique which he devised was of immense importance in opening the way to the entire field of sculpture as construction, sculpture as space rather than as mass.
The artist of greatest unfulfilled talent among the first cubist sculptors was Duchamp-Villon, whose tremendous potential was cut off at his early death in 1918. However, the limited number of works he left behind are not only revolutionary in their exploration of new aspects of sculptural form, space and movement, they are in their own right sculptural masterpieces. The Torso of a Young Man (1910) (No. 131) uses cubist geometry to reiterate and strengthen a classic ideal of the figure. The Head of Baudelaire (1911) (No. 132) has the repose and classic structure of ancient Greek sculpture, achieved by the balance and extreme simplification of the features integrated into the strongly articulated skull. The Seated Woman (1914) (No. 137) combines a traditional twisting pose with integrated curves and planes to reach a complete three-dimensional spatial existence. This figure has now moved substantially towards abstraction, and the final step is reached in the great Horse and the Head of a Horse (1914) (No. 136). The various preliminary versions of The Horse such as Horse and Rider (1914) (No. 135) and The Little Horse (1914) (No. 138) trace the develop- ment of the idea from a flowing, curvilinear, relatively representational study to the complete abstraction of all elements into the final, powerful statement of diagonal planes, concave and convex shapes moving, unfolding and integrating space into the mass of the sculpture. Although their approach and their solutions are quite different, Duchamp-Villon sought the same essence as did Brancusi. By continually stripping away all extraneous details he came at last to complete sculptural experience. The portrait head became a mask of few related shapes, lines, volumes (Head of Professor Gosset, 1917) (No. 1391; the recognizable Horse and Rider became the abstract space machine of the final Horse.
No other sculptor has explored the entire range of possibilities in cubist sculpture as has Jacques Lipchitz, and yet cubism is only one chapter in his extensive and brilliant career. In 1913 he introduced some geometric stylization into a series of figure sculptures; and by 1915 was producing a wide variety of cubist works in stone, bronze, and wood construction. The bronze Head (1915) (No. 237) is stripped down to a single rectangular mass penetrated by a few diagonal planes and concave accents. The Bather (1915) (No. 238) achieves attenuated elegance with vertical planes
58
accented by curved voids at top and bottom. The bronze Reader ( 1919) ( No. 239) and the Reclining Nude with Guitar (1928) (No. 242) summarize his more massive and complicated cubism of the twenties which also involved an increasing accent on the expression of the subject. Lipchitz con- tinued to use geometric structure in the monumental figure compositions of the thirties, but here the expressive content became paramount and gradually led to the free, baroque modelling of his later works.
The cubist sculptures of Henri Laurens retain generally a strong sense of the subject, whether still life or figure. The frequent use of color, beautifully and soberly integrated into low relief or free standing stone blocks, accentuates the relation between cubist painting and sculpture. Many of the cubist sculptors experimented with color, as the cubist painters sought relief effects with collage. Laurens' cubist works explore most particularly problems of mass in sculpture. By the late twenties his interest had shifted to the creation of volumes without mass and he had begun to compose in the curvilinear, moving rhythms of his later style. (Maternity, 1932) (No. 231)
Zadkine has never really deserted cubism, although from the very beginning his cubist sculptures took on expressionist overtones. The marble Mother and Child I c. 1913 ) ( No. 438 ) illustrates the massive closed quality of his first works. Positive and negative spaces are interchanged and the whole is exceptionally tightly organized. However, the interest in the formal elements does not prevent an intense statement of the mother-child relationship, which makes of this essentially a subject sculpture. He has a particularly fine feeling for the quality of wood, and his wooden sculptures [Female Torso) (No. '140) retain the compact, living bulk of the tree form. His later sculptures move more and more to a mannered expression, involving elaborations of geometric and curvilinear shapes. {Standing Figure, 192.5-28) (No. J39) Although the figures are constructed out of a vast variety of semi-architectural fragments, solids interpenetrated bv voids, line? plavini; over surfaces, they are still essentially human figures, actors — gesturing, writhing and sutlering.
Cubism was one of the greatest liberating forces for sculpture in history, ll openeil the IKith to new subjects other than the human figure; it led the way to complete abstraction; it ilclined the nature of sculpture as an art of mass, volume, and space; and it developed new possibilities in the utilization and expansion of these elements.
Although working independently of the culiists. Otto Freundlich ilcM'lnped a nioiiurneiital sculpture of comparable simplified, regularized masses, as early as l')12. A similar and liigliK impressive use of regular cubic or cylindrical masses is the building up ol innniiiiu-ntal ligurcs li\ the Austrian. Wotrulia {Figure iiilh Rdisfil Anns. I9.5()-.S7) (No. 1371. I",\cn closer in spirit and forms to I'Vcundh'c ll is the Argentine s(iil|ilor. Alicia I'enallui. I Ihc Spcirhlrr. j'l.iT i i \ci. .id! i
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Picasso: 367. Head of a Woman.
AnliipiMiko: 1. f'rninir Torso. Anhipi'iikci: 3. Svaletl Female Nude.
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Duchamp-Villon: 131. Torso of a Young Man.
DuchainpX illiiii: K^7. Si'iileii Woman. 2 Views.
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lis-
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Duchamp-Villon : 139. Head of Professor Cosset. Duchamp-Villon: 134. Maggy.
l)iU'hani|iViUon: 1.^2. HcaJ i)/ Baudelaire.
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Duchamp-Villon: 136. Head of a Horse.
niiiluini|i\ illiin: l.'ili. l.illJf llnrar. Dui'liainp-Villon : l.'iS. Horse anil RiHer.
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Lipchitz: 242. Reclining Nude With Guitar.
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Lipchilz; 238. lialher.
Lipchil/.: 237. Hrad.
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Wotruba: 437. Figure With Raised Arms.
Laurens:, 229. Ciiilar nitcl Clarinvl.
Laurens: 231. Malernih.
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Zadkine; 440. Female Torso. Zadkine: 438. Mother and Child (above). Zadkine: 4.39. Standing Figure,
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Ptnalba: 361. The Sparkler.
TBE SCIJLl*TOK-I>Ai:!\TEKS TWENTIETH CElVTURf
Of the twentieth century sculptor-painters, Matisse has perhaps made the most consistent statement in sculptural terms. His Bust of a Woman (1900) (No. 289) uses an impressionist play of light over the entire surface to create a curious and ambiguous sense of character; and thus is still close to an effect that is painterly. However, the Slave (1900-03) (No. 290), inspired by Rodin's Walking Man, is a solid and powerful sculptural mass whose deeply modelled surface accentuates the mass. Works like the Decorative Figure (1903) (No. 291), the Large Seated Nude (1907) (No. 296) and Reclining Nude (c. 1919) (No. 298) use the classical contraposto, the twisting pose of the figure, to create spatial existence, in a manner reminiscent of the late Renaissance. The Two Negresses { 1909) (No. 297) again employs a traditional motif popular in the Renaissance, of showing the figure front and back, in a group of the greatest structural strength. The sculptures of the late twenties and thirties continue to express space through the twist of the figure, and, eliminating or sub- ordinating surface, light, texture, reach an even greater degree of expression of the sculptural mass. (Reclining Nude No. 2, c. 1929, and Venus in the Shell, 1931) (Nos. 299, 300)
The sculpture of Modigliani was influenced by Brancusi and by primitive or archaic art. However, he was able to absorb these influences into a highly personal expression in the elongated and spiritual heads whose volumes are so wonderfully expressive of the rough stone blocks from which they emerge. (Nos. 307, 308)
Picasso's sculptures throughout his life have been essentially brilliant adaptations of his paintings, becoming more or less sculptural in the degree that the pictorial experiments variously lent themselves to sculptural effects. From the Head of a Jester (1905) (No. 363), suggestive of the blue period figures, one can parallel his development as a painter, through the massive, primitive wood carvings of 1907, the Head of Fernande Olivier (1909) (No. 368), the cubist constructions of 1913 and 1914, the surrealist bronzes and constructions of the late twenties, down to all the figure fantasies of today. His incredible ingenuity has produced innumerable masterpieces in sculpture; in many constructions he has explored problems of sculptural space; he has made many of the most brilliant uses of the found object to create works of the most delightful fantasy; yet continually one is brought back to the source of the sculpture in his painting or graphic work. (Nos. 363-371)
Braque, Derain, Leger, de la Fresnaye, Bonnard, Vailotton and many other painters of our time have produced important sculptures. The contribution of the painter to modern sculpture is very great, in large part because he approaches sculptures from a fresh and non-sculptural — in the traditional sense — point of view.
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Malissc; 239. liiisl oj a 11 oiiiiin. Dclail.
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Matisse: 290. Slave.
Matisse; II'JU. Hrlail. Iltnil of Slave.
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Matisse: 291. Detail, Head of Decorative Figure.
^Iati^&^: 291. Dcroratiir Fii:nrt\
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Matisse; 297. Two Negresses. Two Views.
Malissf-: 300. I'viius in a Shell. Malissi': 296. Larpe Sraletl .\ii(le
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Matisse: 298. Reclining Nude.
Matisse: 299. Reclining Nude No. 2.
Modigliani: 307. Head.
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Picasso : 363. Head of a Jester.
Picasso: 365. Head.
Picasso : 368. Head of Fenwiule Olivier. ( Cubisi Head I . Detail.
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Picasso: 369. Head oj a Woman.
Picasso: 370. I.itih- flul.
Picasso: 371. faun.
de la Fresnaye: 159. The Italian Girl.
Hi;uiiii': l-i. Ilfsprris. ntriuu: Ul!. Ileail «i a Woman.
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Leger: 232. Head of a Woman.
g^- "S
n.innanl: .U. Girl Ralhins. \allolli.n: l.'l-'. li)»;ip (wW Pressing.
'11
COIVSTKlIlTIVI»>M GAHO AAU I'EVSNEK
During the first twenty years of the twentieth century manv sculptors were moving inevitably to certain basic conclusions on the nature of sculpture. There was first the fact that sculpture forms no longer need be expressed through the human figure; and second that sculpture no longer need be a three-dimensional mass existing in surrounding three-dimensional space. Brancusi, while maintaining the tradition of the solid surrounded by space, translated the figure into an abstract shape of an essential simplicity which stated the fact of existence and movement in space with ultimate clarity. Archipenko and Lipchitz began to construct from materials of wood and metal to reverse the traditional relation of solid and void. The futurist sculptor, Boccioni, dissected and interpene- trated the solids to unite them inextricably with the voids and to put them in movement in space. Picasso's 1913 relief constructions adapted for sculptural spatial experiment the still lifes of cubist painting.
In 1913 also, the Russian, Tatlin, created purely abstract reliefs which were arrangements of planes projecting into and enfolding voids. In 1915, Naum Gabo, then in Norway, began con- structing heads of sheets of wood, metal, or cardboard, in which the head became an arrangement of voids bounded by planes. The constructivist exhibition of 1920 and the Realist Manifesto issued by Gabo and his brother, Antoine Pevsner, drew the inevitable conclusion to which all these experiments had been leading. The Manifesto renounced volume and mass as primary sculptural elements and substituted depth as defined by planes or lines; it renounced the static rhythms of past sculpture and substituted 'kinetic rhythms as the basic forms of our perception of real time.'
Gabo pursued these ideas in Germany in the twenties and after 1946, in the United States. Pevsner, who had been first a painter, settled in Paris and turned to constructivist sculpture. Each developed his own characteristic style, but both have continued to explore their stated principles. With these men was born a new concept, one of the most influential in the history of sculpture. (Nos. 161, 362)
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Cahu; 1()1. Lincni ( onstnntitm ,Vr». /.
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Bill: 33. Endless Loop I.
Pevsner: 362. Constrinlivii in Spiral.
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Uhlmann: 431. Standard. Ihlcnfeld: 211. Composition in a Cube (above). Gargallo: 162. Pierrot.
OOIVXAI.KX LIPriilTZ
The constructivists and their followers developed the direction of geometric abstraction, frequently, as in the case of Gabo after 1920, using transparent plastic materials or string or wire constructions in order to destroy any sense of bulk and to make all forms and their relationships clearly apparent from any point. The search for a new definition of sculptural space was carried on in other ways by Julio Gonzalez, who as early as 1908 was working directiv in wrought iron, thus initiating the technique of direct metal sculpture which has transformed the nature of sculpture in our own time. In the twenties, Gonzalez began to produce wrought and cut iron sculptures, techniques which led to a great series of abstracted fantastic figures of open construction in which the beaten and twisted metal was expressed with a strong sense of the rough power of the material. (Nos. 187-192)
In 1926 Jacques Lipchitz began to experiment with small open-work sculptures, modelled in wax and cast in bronze, but giving the effect of wire constructions. These also were important prototypes of the effects sought by many of the direct metal sculptors. In llic late lucnlies Lipchitz produced some of his major cubist sculptures. At the same time he was mo\ing auav Imni specific cubism and beginning to explore new subjects which demanded new sculptural means. The monu- mental Figure (1926-30) (No. 241) is a tremendous primitive totem of overpowering jirescncc. The /oy of Orpheus (1938) (No. 243) illustrates the new, free, baroque foiin.- ilr\(lu|iecl duiing the thirties, with rounded miIumics (i|icih'(I up in licillnws iind \oids. whirling ecstalicalK in space. Since I9,')() Liprbilz has found an i-nnrrnous repertoire of subjects in classic mxllis !>• \\liii h In- lias given new meanings for his own lime. Through many of them may be followed the theme of metamorphosis, the idea of constant change and transition from one element to another. Thus Europa in lur passionate endiraee of the bull is absorbed inlo ihe godhead. (No. 21 I i
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Gonzalez: 189. Montserrat Mask, Crying.
Gon/.alt'/: IHH. Hnul of a Girl. ('.nn/alrz: 192. Abstract Figure,
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Lipchitz: 243. Joy of Orpheus.
Lipchitz: 244. Rape oj Europa II.
Li|ichilz: 241. Figure.
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FHAIVCE ARP AIVII ABSTRACT SCULPTURE
Although Jean Arp was a founder of Dada, even his earliest collages and reliefs demonstrate an innate sensitivity to formal relationships which tended to override the sense of fantasy. When he began to do sculpture in the round at the end of the twenties, his seriousness of purpose as a sculptor became most apparent. Fantasy still persists down to the present day, frequently emerging in delightful elements of humor, but the serious and brilliant pursuit of the 'human concretion' is paramount. Arp belongs in the line of Brancusi. although the effects he seeks are entirely his own. Although, as he himself has said, all his sculptures are torsos, the torso is refined to a biomorphic shape, realized in space, solids and voids creating a sense of pulsating life which makes the figure move and change form before our eyes. This is a complete art of metamorphosis, of objects whose being is the act of becoming. (Nos. 9-16)
The tradition in sculpture stemming from Brancusi, of extreme purity, has strong followers throughout the world. Chauvin. working largely in isolation, has sought a limited perfection. Gilioli uses a geometric rather than an organic base, breaking up the beautifuUv polished marble block in precise rectangles or triangles, or controlling slightly curving pyramidal forms with sharply delineated contours. Hajdu, in his marbles, creates precisely and elegantly outlined profiles of suggested figures or flowers. (Nos. 57, 180-182, 197-201)
FRANCE FANTASY
The element of fantasy, present in the works of Jean Arp. and in a highlv different manner in Gonzalez and in many works of Picasso and Lipchitz, has been a continuing and ever increasing force in modern sculpture. The Merzhau of Schwitters and the ready-mades of Duchamp inaugurated a tradition of 'found object' sculpture which has reached a fantastic climax in younger sculptors of today. Most of the surrealists have tried their hand at sculpture. Miro has produced sculptured figures (Personage, 1953) (No. 305) as well as ceramics with all the appealing madness of his paintings. Max Ernst has in recent years turned increasingly to sculpture. Works like Moon Mad (1944) (No. 150) ox Mother and Daughter (1959) (No. 151) present little Martian figures which can be menacing or funny and sometimes both.
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The great master of fantasy in modern sculpture is Giacometti. The early works are surrealist dream creations in a specific sense, with strange objects scattered about a large plane, to establish a mood of haunting mystery in which space or emptiness becomes a sensation of over- powering loneliness. It is this quality which he has continued to seek in the sculptures of the last twenty years. In these, enormously elongated figures stand or walk in isolation, lost in a great void of the spirit. These are not fantasies in the sense of the deliberate shock practiced by the surrealists. They are, rather, tragic expressions of mankind suffering, isolated, and unable to communicate. (Nos. 16.5-176)
Germaine Richier created a world of monsters in bronze, whose pitted and broken surfaces take on the quality of lacerated and torn flesh, rotting and decomposing. These are yet very human and sympathetic monsters, capable of grief and suffering, and even at times of a clumsy, macabre humor. (Nos. 380-384) They are the ancestors of a whole generation of monsters who people the world of sculpture today. In France, the principal exponent of this tradition is Cesar, whose l\'ude 1 19.581 (No. 52) is simply a pair of legs with lower torso, horribly and w-onderfully eroded and made more horrible by the curious sense of life which still remains. La Maison de Davolte { 1960 1 I No. 54 I . built up out of fragments of scrap iron, is a huge structure, suggestive of a figure torso or a flattened out head in which the primary expressive element is the fantastic texture of the entire surface. Here the decay of the materials conveys a larger message of decay in which there is still a kind of order and beauty. Cesar represents in a work like this the great international development of so-called 'junk sculpture,' sculpture assembled from any sort of found objects, old fragments of metal, the rubliish which slowly piles up at the edges of the modern industrial world. This rubbish is seen by these sculptors as part of the landscape of our society, a landscape of decay, destruction. and death, in which, nevertheless, there is a hope of revival, a new life, the creation of beauty from ugliness. Always present in this tradition is the idea of change, of metamorphosis as the controlling force of both the scul|)tiirc and ot lile itself.
Cesar also experiments with a much more ordered and controlled scul|ilurc. Miirsrillcs ( 196t)) {No. 53) is a great architectural, sculptural relief whoso surface is built up of a large number of small, regular, shifting and overlapping planes, gradually compressing into a closely textured, vibrating central area.
French sculpture today continues to show variety and \ilalilv. Paris cotiIItiucs In dravi sculptors as well as painters froin all mi-v lUr \\nv\d. so every iiilcrniiliniKil riuMMil i^ rcprrM-nlcd. The Dane, Robert Jacobsen. nnu creates lioKI and rough geometric loii.-lrurlioii In uciiled metal {Muvemerit in Acceleration. 19571 (No. 213). The Swiss. Robert Miillcr. creates fanlaslic figure objects I roll! hammered sheets ol iron or slicl [lliltri spurn. I 9,58 1 I No. 3361. Ipousleguv presents primeval ritual figures in great, massive bronze casting in which llic o\er-all liiii>h i> ccnilrasled with roughly broken areas {DiniiL 19.591 I No. 2121.
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104
Arp: 13. Venus of Meuiion. Arp: 12. Griffon.
Arp: 1 t. Unman Lunar Speilral. .\i|>: If). Tnrsn. h'riiit.
lOS
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Hajdii: 199. The Bird, TJraiuis II.
Iluidu: l!00. Coriiinc. Ilajilii: 201. .S'l/ric.
lOT
108
Chauvin: 57. If kite Peacock.
Gilioli: 181. Paqvier.
|
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Sijinnii: 11 1. 7'(ir,<(i I upiuT left* . ihl rrarlo: 120. /'iirri)». PonccI : 372. .(r/ira/i/ it'ornieclal^ I upper right i.
109
110
Giaconietd: 166. Man.
C'uu'diiirtti : Ui7. Ri'ilinin:: Woman.
Ill
112
Giacometti : 175. Bust of Diego.
Ciai-iinii-lli: ITO. W'alldns Ma
113
114
Giacometii: 172. Dog
Ciaromctti: 177. Monumcntai HeatL
11?;
116
Richier: 380. Figure With Upraised Arm (Man of the Forest). Richier: 381. Leaf.
Uicliicr: 381. Delail of Leaj.
117
%
118
Ernst: 150. Moon Mad.
ICnisI : Ifil, Molhii iiiul Ihiii^hlrr.
Miilla: 301. Sciilpiiire.
119
120
Miro: 305. Personage. Dubuffet: 130. Abundance.
Ipouslejiuy : 212. Oiivid. Iliiiuily: 209. foiigasscrie II,
121
122
Liegme: 2Zb. Personage (upper left ). Jacobsen; 213: Movement in Acceleration ( upper right ) .
Miiller: 335. Rittersporn (lower left). Storel: 426. The Athlete (lower right).
Cesar: 52. /V»(/c.
123
124
Cesar: 53. Marseilles and Detail.
Cesar: S-). I.i: Mai.son (/<• Ihiiot/f and Di-tail.
125
ITALY
Since the second World War, sculpture has received an enormous impetus not only in France and Germany but even more dramatically in Italy, England and the United States. The older artists in the new Italian sculpture had established reputations before the war. but in the last twenty years these reputations have become international. Manzii was influenced by Rosso but his real love is Donatello and the Italian Renaissance. The Dancer with Skirt (1956), Dancer (1954) and Girl in Chair (1955) (Nos. 261. 258, 259) are conipletelv traditional works which have, nevertheless, a light- ness and vitality which make them contemporary. The Girl in Chair (1955) particularly, with its introduction of the seemingly prosaic chair, illustrates the close study of nature in which the artist's works are rooted, and also the poetry which he is able to instill into the subject. The Cardinal series {Standing Cardinal, 1954) (No. 256) take a conventional subject and draw from it a mood of withdrawal and mystery, at the same time utilizing the heavy robes to create a simple and monu- mental sculptural volume. The sketches for the great series of religious reliefs for Salzburg Cathedral look back to Ghiberti as well as to Rosso in their free, impressionist handling, and to Delia Quercia in the classic modelling and order of the individual groups. Manzu as a sculptor is an anomaly — a Renaissance artist who has established his place in the contemporary world, a traditional sculptor who is never academic.
It is perhaps one of the greatest strengths of modern sculpture as compared with modern painting, that even among experimental sculptors no one point of view is ever dominant to the exclusion of all others. The rise of abstract sculpture did not see an accompanying decline in figurative sculpture. Today throughout Europe and the United States may be found schools of realist, expressionist, abstract expressionist, abstract geometric, all flourishing and all contributing to the strength of the modern movement in sculpture.
Marino Marini was also an established and mature artist before the war, already experi- menting with his favorite subjects including the horse and rider theme. His art is more violently
126
expressionist than that of Manzii, both in the distortion of the forms and in textural elaboration of the surfaces. The Susannah ( 1943) (No. 278) illustrates the solidly obese figure that he has continued to favor, the primitive modelling of the features on the surface of the head, and the textured surface, with paint worked into the gouges to add color and textural variety. The figures of the fifties became niijre angular, sometimes elongated, the naive, primitive element more pronounced, and the color, worked in an arbitrary series of geometric areas, is frequently a dominant note. {Dancer, 19.54) (No. 282)
Marini is a brilliant portraitist. His portrait heads are all characteristic Marini heads, surfaces grooved, slashed, torn, and vari-colored, forms distorted, features exaggerated; vet thev catch in an uncannv degree the expression and the personalitv of the sitter [Curt Valentin, 19531 (No. 281).
The horse and rider subject began to interest Marini in ihr late thirties and during the war it became for him a symbol for suffering and homeless humanity. The earlier versions of the forties are plump, sedate, and relatively relaxed, reminiscent of Chinese carvings of peasants on oxen. As he continues with the subject the action becomes more dramatic, the horse and rider more angular and attenuated. The horse, with elongated widely stretched legs and upthrust head, screams his agony. The rider with (Uillluriu stumps of arms falls back in a violent gesture of absolute despair. [Horse and Rider, 1950-53) (No. 279)
Many of the younger Italian artists in reaction against the reputation aiul inlluence of Manzu and Marini, have turned awav from figuration and are working in various veins of free abstraction. Of these, one of the most impressive and original is Fietro Consagra. who creates in bronze and in wood, great plaques whose surfaces are penetrated and undercut to create a mosaic ol strange shapes and suggested figures who have their lib- in an ambiguous depth behind llie surlaee plane. (Nos. 58, 59)
127
128
Manzu: 258. Dancer.
Munzu: 259. Girl in Chair.
129
•#iS
130
Manzu; 261. Dancer With Skirt.
Maii/.u: 256. Sldtidiriii ('.arilinal.
131
132
Manzii: 268. St. Conrad of Parzham and St. Francis.
Manzu: 273. St. Severin.
Manzu: 253. Seli-Poriniil ll'iili Mnilr/ al Hi'raamn.
133
134
Marini: 278. Susan?m.
Mariiii: 281. Curl t'ali-nlin.
Marini: 280. liiill.
135
136
Marini: 282. Dancer.
Mjiriiii: 27'). [forsr ntnl Rjilrr.
137
138
Mastroianni; 286. Head (above).
Cascclla : 51. Statue of Gandoglia Marble ( below ) .
Minguzzi; 30-1. The SImdoiis. Clonsngra: 59. Public Colloquy.
13"
£j\ftiILA>U
The postwar development of sculpture in England is even more phenomenal than that in Italy, since there had been produced in England very little sculpture of consequence between the Middle Ages and the twentieth century. The first, major modern British sculptor (if the brilliant but tragically short-lived Gaudier-Brzeska is excepted ) was Epstein, an American by birth, whose whole career was centered in England. In his stone carvings Epstein used a geometric simplification to emphasize the shape and the weight of the stone block in the creation of primitive images of brutal power. In his bronze figures and portraits the bronze reflects the highly fluid modeUing and texturing of the clav. The Visitation (1926) (No. 147) is one of his masterpieces of religious sculpture, a beautifully and sensitively modelled figure, filled with a spirit of profound pathos. The portrait of Joseph Conrad (1924-2.5) (No. 146) illustrates his qualities as a portraitist. The texture of a relief map, the heavily undercut brows, the hooded, piercing eyes, the energetic, inquiring pose, all combine to give a sense of living personality.
Of present-day sculptors in England. Henry Moore is the dean and unquestionably the most fertile and creative mind. The early stone sculptures show influences from those of Epstein as well as from primitive African and pre-Columbian art. In the Mother and Child { 1931) (No. 309) he has developed the more rounded treatment of the stone which is identified with him. The figures are carved with simple monumentality, the material of alabaster is strongly expressed, and the distortion of the enveloping left arm together with the small, primitive, alert head of the mother, gives to the group a compact structure and a definite emotional impact. In the early thirties. Moore turned to abstract forms and by opening up the masses and creating dispersed groups he studied various kinds of space relationships. Here started his continuing fascination with a sculpture of tensions between space and solid, between positive and negative spaces. These experiments were soon translated back into figures in which he opened up great voids which became the material of the sculpture, rather than the stone or wood. {Family Group, 1945) (No. 313)
The exploration of spatial problems led Moore in the forties and fifties to a greater use of bronze, in which material he could open up the figures to the point where the bronze was simply a frame, defining the forms of the voids. Interior-Exterior Reclining Figure (1951) (No. 315) is one of a series of intricate and subtle arrangements of solids and voids achieving a complete interpene- tration. During the war Moore had made thousands of drawings of the underground air raid shelters. These inspired some of his most tender family groups and some of his most classic, restrained and monumental draped figures {Draped Reclining Figure, 1952-53) (No. 319). The early fifties brought forth new experiments in attenuated, angular 'bone figures'. The King and Queen (1952-53)
140
(No. 320) with their masks for faces, their flattened out, leaf-like figures, attain a sense of personality, of a regal dignity. The Falling Warrior (19.56-57) (No. 330) is a macabre and tragic symbol of a world bent on destroying itself. In the mid-fifties, as well, Moore produced a series of "L pright Motifs' of which the most notable is the Glenkiln Cross (1955-56) (No. 329), a gigantic and savage totem, which links the Christian symbol to the fertility columns of primitive mankind.
Moore, working with a relatively limited number of subjects — reclining figure, mother and child, family group — has yet attained an enormous range of expression in his sculpture. He has explored the entire range of sculptural forms and materials, and has alwavs brought his explorations back to problems of humanity.
Although certain of her forms may derive from those of Henry Moore ( her experiments with strings to balance and define the voids of certain sculptures of the fifties probably stem from similar experiments carried on by Moore in the forties) Barbara Hepworth reallv belongs to the tradition of Brancusi and Arp. Her search has been primarily for abstract, organic forms of the greatest purity which define basic spatial problems. Pendour (1947) (No. 205) attains great spatial variety within the simplicity of the total form, with white color being used to accentuate the voids. In some of her recent bronzes, such as Porthmeor (Sea Form) (1958) (No. 207) she begins to investigate freer shapes, more roughly textured, containing a suggestion of some living organism.
Moore and Hepworth stand somewhat aside from the younger British sculptors of the postwar era. Reg Butler has developed an impressive and highly expressive figure style, which has more in common with Marini and the Italians than il lias with Moore. [Manipidalor, 195-1; Girl. 1954-56) (Nos. 46, 47) Armitage, Meadows, Chadwick. Frink explore their separate and highly individual problems of expression in lironzes of violent action or macabre repose. Paolozzi is the principal British exponent of the 'junk sculpture' or 'found object' school. Out of all the detritus ol decayed machines he creates marvellous monsters of ferocious vilalitv, whose incredible agglomera- live surfaces, reflecting in bronze the thousands of nuts, bolts, wires, and other machine parts, take on the pathetic beautv of a dviiig rivilizalion [Large Frog. 1958) (No. 359). One of ihc niosl indi- vidual of the younger sculptors is William Turnbull. who creates out ol a \c\\ massive eleiucnls nl stone, wood, anil bronze, sculptures of an cIt-nicTital inonumcntaiity which lake one back In llic dolmens of Stonelicnge (Head. 1957: lldiiimi-iheail. l')(,(li (Nos. 129. 1.30). Thr >l\li> ..I ilicsc younger Brilish s(ul|il(jrs have chaMgcd radiiallv during llic lasl Icn years. In 1950. Bullcr. Chad- wick. I'aoliizzi and Turnluill were all uorking in a linear. n|irn l\|ii' ol' niclal s(ul|ilurc. using gener- ally alislracl shapes.
Ml
142
Epstein : 146. Head of Joseph Conrad, Detail.
I'"|i~li'iii: I 17. Till- I'isiiiiiiiiii. Di-kiil.
143
144
Moore: 309. Mother and Child.
Moore: 315. Interior-Exterior Reclining Figure.
Mooi'i': 313. Fatiiily Croii/t.
Moore: 335. Helmet Head No. 3.
145
146
Moore: 320. King and Queen.
Moore: 330. Falling « aninr.
117
148
Moore: 319. Draped Reclining Figure.
"9
Moore: 329. Gteiikiln Cross.
149
150
Moore: 331. Seated Woman.
Trink: If.O. l-nllcn IlinI Man.
151
152
Hepworth: 206. Head.
lli|nvorili: :^07. Pnrlhnivor I Sea Form > I ulrnvr I. Ucpwiuili: 20."). Pcndour (below I.
153
154.
Butler: 47. Girl.
Biillcr: '1(>. Mdnifnilafor.
155
156
Armitage: 8. Seated Woman IFilh Square Head.
Paolozzi: 359. Large Frog.
Mriiiliiws: 303. Armed ISiisI laliovr i. (lliailwirk; S.S. Ritual Danriiii: i l»'lii« i.
158
Turnbull; 430. Hammerhead.
Turnlnill: IL"). Ilvud.
159
I':VITEI» STATES
Modern sculpture in the United States is so extensive and varied, and the Hirshhorn Collec- tion is so rich in exajnples that only the briefest outline of some of the chief tendencies and figures can be attempted in limited space. America has also had her sculptor-painters. Thomas Eakins created accomplished genre sculptures; Max Weber experimented successfully with cubist sculpture. Larry Rivers and Jasper Johns are now working in the field of sculpture. (Nos. 140-143, 433, 385, 214)
Until the second World War, sculpture in the United States was plentiful but largely tradi- tional. Of the pioneers. Nadelman of course was an international figure, trained in Europe. His sculptures alternate between the highly accomplished marbles and bronzes, combining an academic classicism with an art noiiveau elegance; and the painted wooden figures, delightful puppet-like commentaries on the urban life of the early century. (Nos. 337-343)
Gaston Lachaise was also trained in Europe, although he came to America in 1906. His enormous, regal women, balanced on their slender legs and feet, seem at times to be almost carica- tures of their Maillol origins. These are amazing figures, combining grotesque obesity with an incredible elegance of movement. (Nos. 222-228)
William Zorach is the dean of the traditionalists, an artist whose works have maintained qualities of simplicity and monunientality of the classic tradition. (Eve, 1951) (No. 444) In various modes, traditional figurative sculpture has been carried down to our own times by Maldarelli {Bianca No. 2, 1951) (No. 2.52), Jose de Creeft (Dancer, 1949-57) (No. 101), Chaim Gross (Per- formers (See Saw), 1944) (No. 194) and Saul Baizerman (Mother and Child, 1931-39) (No. 19). Baizerman's technique of hammering figures from sheets of copper created, in serenely classical figures of the Maillol tradition, studies of volumes without mass. The hammered-out voids of the reverse become abstract sculptures in which space is the medium. Most of the leading American sculptors of the earlier generation were carvers in stone or wood. Of these, John B. Flannagan was outstanding in his ability to express subject and material so that thev became inseparable. The Mother and Child (Not Yet) (1936) (No. 155) envelops the two heads and the mother's hand in a single, encompassing movement which gives all the essentials of the emotion expressed. The roughly textured surface of the grey fieldstone is not only stated as material, but serves to unify the figures into an entity. Flannagan's studies of little animals are sensitive translations into stone of an immediately caught and characteristic gesture or position. Flannagan. like Brancusi, was seeking essences. Without ever deserting representation, he sought continually for the simplest, most ele- mentary and yet basic statement of the subject.
Reuben Nakian. who has developed into one of the most impressive and monumental of the direct metal sculptors, using geometric forms for expressive effect, was originally an outstanding figure sculptor (Ecstasy, 1947) (No. 344). A brilliant series of terra cotta incised reliefs translate his teacher, Lachaise, into high comedy (Nymph and Cupid) (No. 349).
The major international figure among American living sculptors is Alexander Calder, whose reputation is as great in Europe as it is in the United States, and whose works are known and enthu- siastically collected all over the world. His wire circus figures and portraits of the twenties are
160
delightful toys and are also iiiiportant in the development of new sculpture forms, since they literally are direct metal sculptures in which the metal wire is used to define the voids which are the primary forms. He is thus a pioneer in the concept of sculpture as space. With the invention of the abstract mobile in the early thirties, he incorporated actual rather than implied motion as a central element for sculpture. The earlier mobiles owed much of their inspiration to Mondrian in their classic purity. His long friendship with Miro and his own innate feeling for humor and fantasy soon led him to his characteristic free, organic shapes in terms of which he has made a thousand expressive variations, frequently continuing to combine them with geometric forms. He works now with an endless repertoire of organic and geometric shapes in the creation of mobiles and stabiles which are delicate, massive, humorous, menacing in turn, wires and flat shapes, black or brilliantly colored, encompassing space and shaping movement. (Nos. 48-50)
In recent years motion has become a central interest of artists in Europe and America. Experiments in the use of mechanical means for creating effects of movement are carried on con- tinuously, as well as those wherein (as in Calder's mobiles) the delicate balance of the free elements causes them to move with the slightest breath of air. Jose de Rivera, in his beautifullv and meticu- louslv crafted constructions, uses movement as a frame rather than as a central part of the structure. His sculptures are thin sheets of steel or aluminum or iirilliantlv polished coils which encompass and shape space. As these slowly rotate on their bases, the effect is that of giving the spectator a gradual succession of completely integrated views. (Nos. 123-125)
The tradition of Brancusi and Arp has today few major followers in the United States. Of these the most important is Isamu Noguchi, whose works in all media — stone, metal, wood, clay — embody many different approaches, but maintain the consistent classic clarity of Brancusi combined with shapes of the Japanese ceramic tradition. (Nos. 354, 355) Of the younger sculptors. Rosati has until recently created in marble and bronze delicate and elegant figures which are personal variants of the tradition of Arp. He is now working in a still highly sini|ilifir(l luil more massive idiom reminiscent of Freundlich and Wotruba. (Nos. 400-402)
The greatest single development in American sculpture during the last twenty years has been in the direclion of direct metal scul|)ture. forced anil \\('lded: aiifl latch in the cast bronze sculpture which incorporates ideas and elements frnin the constructivist tradition. The artists of this direction are many and varied in their approaches. Cenerallv their sculpture is non-representational, hut with strong suggestions of figures and subjects presented in specificalK and forccfnllv exprcssi\c maimer. Roszak. first a painter, became a geometric coiislructivisl in ihr ihirlies. then in the forties de\clii|i(M| hi^ free fiirni conslruclions of stci'l. Iiiazcd with binnzc. brass, or nickel. These are romantic statements, rooted frc(|ucnll\ in lilcralnrc. pii\\crfnl in -hniliirc yet elegant in llu'ir incrediblv varied Icvlural snrfaics. (No.-. III). Mil
I )a\ id Sin i ill. \\ ho ihjw \\ ovks priiicipalK in .-li-i-l. iiKiinlaiiis a stronglv archili'i'lnral >li miuic in IkiIIi his iiiiirc Licoinclric works ami in llic liiiT sciilplnn'S thai arc roolcd in a scn-r nl living forms in landscape. (Nos. 416-121) l.iplnn. using haiiiniercd -heels of mdal brazed with nickel and siUcr. creates organic forms iIkiI uiiIoM like llnucrs or lake on llii' strange slia|ics ol
161
iiivtliical beasts. (Nos. 246, 247) The problem of space has increasingly occupied Ferber, first in his cage and roofed structures and most recently in his great environmental sculptures into which the spectator can walk. (No. 15.'3) Recently, sculptors of the direct metal school have been turning to bronze casting in "lost wax," frequently using techniques and forms of constructivism. Philip Pavia builds up his figures in wax on armatures of wood and cardboard which play an im- portant part in the effect of the final bronze. (No. 360) David Slivka molds sheets of wax into undulating forms which present the thesis of sculpture as volume and space both abstractly and traditionally. (No. 415)
In America as in Europe, direct metal sculpture has now led to a wild outburst of 'found object' or 'junk' sculpture. The industrial society of the United States with its fantastic graveyards of wrecked automobiles or decaying machinery, lends itself to the symbolic interpretation inherent in the works of this school. Among them, Stankiewicz creates articulated figures in which the function of the original machine becomes integrated into the decrepit man-machine it has become. (No. 425) Julius Schmidt transforms machine parts into classical, balanced architectural bronzes in which the rust of the original takes on a new textural beauty. (No. 412)
The figurative school of sculpture has continued and increased in strength in recent years. Baskin, looking back to Barlach. creates obese little figures that are both defiant and pathetic, as well as owls that easily dominate the human figures. (Nos. 27-32) Glasco strangely suggests both Arp and Lachaise in inflated, highly polished bronze figures whose compressed features or pygmy heads foretell the death of the intellect. (Nos. 183-186) William King carries on the tradition of Nadelman in carved and bronze mannikins which are delightful satires on contemporary life and classic tradi- tions. (Nos. 215, 216) The list of accomplished figure sculptors among the younger generation is long and growing. Their approach is dominantly satirical or bitterly critical of the world in which they live. Harold Tovish, in beautifully finished bronze, gives us a world of death's heads, torture victims, and the lost and isolated spectators who are mankind. (Nos. 427, 428)
The possibilities of wood as a sculptural material are being re-explored, not only by the figurative sculptors but also by carvers and constructivists working more abstractly. Raoul Hague for many years has shaped tree trunks into powerful semi-abstract forms which combine the living movement of the tree with sculptural structure of masses in space. (No. 196) Gabriel Kohn has developed geometric constructions of heavy wood strips glued together and shaped with the pre- cision of machines. (No. 217) Louise Nevelson, using fragments of furniture, boxes, and balustrades, painted uniformly black or white or gold, has created great wall structures of overwhelming threaten- ing power.
There are in the United States, as in any country, sculptors who defy classification. Joseph Cornell is unique unto himself, combining in his wonderful little boxes, elements of surrealism with American troinpe I'oeil, to create an image at the same time naive and sophisticated. (Nos. 60-62)
These few comments have only touched on a number of the directions and interests of con- temporary American sculpture in terms of a few of the leading or typical sculptors. Most of those represented in the exhibition and illustrated in this book could not even be mentioned, as the result of limitations of space. There are obviously a number of important sculptors not yet repre- sented in the collection. The illustrations will indicate, however, the range and the vitality of American sculpture today. It only remains to say that we are living in the most vital and varied period in the history of American sculpture, the period in which this art has come of age, and the United States has taken her position as an international force.
162
Eukins: 1)0. Kniltins.
Eakins: \]'2. Arcadia.
163
ririiKiMHikMMM«MMUMi~^><>iB"^
,164
Nadelman: 343. Head of Baudelaire.
Naili'Iiiian: 3,13. Horse.
Nail.lman: 310, Thr llosh-ss. Detail
Km
166
Lachaise : 224. Walking Woman.
Lachaise: 225. Egyptian Head.
Lucliaisf: 227. U uiiiaii on a Conch.
167
168
Baizerman: 20. My Mother.
Maldarelli: 252. Bianca No. 2.
Baizcrnian: 19. Mother and Child.
169
170
Zorach: 444. Eve.
Zorach: 443. Setting Hen.
Flannii^'un: l.iS. Molhrr ami (.hilil lAiif Ic/i. Klannapan: ISfi. Triumph ol the Enp
171
172
Robus: 386. Song. de Creeft: 101. Dancer.
Gross: ]9\. ['rrjonniT.s [See SawK
173
.-j^^pSM&^^^gyxow^ij^^.jj 'n^-^^- :
174
Nakian: 347. Nymph and Cupid.
Nakian: 344. Ecstasy.
Ki'fli r: .171, Head nf Cnnil Snmaritnn. Wi-ber: 433. Spiral Rhylhm.
17,S
176
Calder: 50. Stabile (Le Petit Nez).
I
Cald.T: 18. Mobile
177
178
de Rivera: 124. Construction No. 35.
F!ii)iniu]i: 1M-. Conalriirliiin No. I (iiliovc).
di' Ki\(ia: 123. <:<mslnirlinn. Rid anil lllack I liilinv I.
179
180
Noguchi: 355. Lekythos. Noguchi: 354. Iron Wash.
Rosati: 101. llamndryud.
181
"1^
182
Smith: 420. Sentinel U.
Sniilli: •12'1'. liallon l.aniliiig.
Sniilli: tlT. Sled Draiiiiis
183
184
Roszak: 410. Invocation I.
Ft'ibfr; l'i3. Personage No. I.
185
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186
Lipton: 247. Mandrake.
4-
ncliiii-r: 11"). Jtiroh's l.nihlfr. Cripiir: 1'13. Four )tnsirianx.
187
188
Hare: 202. Fruit Tree.
Andrews: 2. S/ri Qiiren. Iliinl; 210. I.inlr t'crtnr.
189
190
Pavia: 360. Horsetail. Schmidt: 412. Untitled.
MKka: 115. Mfihl I aliovc I .
Apn^tini: ].S(jrnren /J?/i. ■/./). llu-lowl.
191
..■ V- -'^ -Jti*"^
192
Stankiewicz: 425. Figure.
Cluunhcrlain : S6. I'ntitled.
193
194
Hadzi: 195. Helmet. V {Elmo). Higgins: 208. Dunce.
Sfley : 113. luirnialily i abin c Icfl ) .
Oclalc: 356. Tokobushira (above right).
Maiisol: 28.5. i milled (below).
19.5
196
Baskin: 31. Owl.
T<)vi's!i: l^f!. llffiil in Sparc.
Glasco: 181. Rcr/inin:: Itomaii.
ly;
198
King: 216. Venus. Weinberg: 434. The Bride.
Darriiui: 63. Litiii:hing Hahc.
Zirglcr: Mi. liecliiiiiig Girl.
199
•w-*^
200
Zajac: 441. Easier Goat With Two Stakes.
^Ci^^M>.^
^eTvw
Olivoirii: ^^^7. It nnidii Stiiiulin,^ in Oiu-ii l!ii\. HImis: '.Wr,. llrmL
201
i r
202
Hague: 196. LamontviUe Elm.
Nii'VvUon: S?t2. Monti (a in Woman fuliovt-K
Kohn: 1^17. yantiirket i brio
203
204
Cornell: 60. Suite de la Longitude.
Joliii^: I'll, rin^
Nivola: 353. The Mother.
205
BIOGRAPHIES m CHECKLIST
■•KTEit A«><»STI.'\'I
KEIN'IV'ETn AKMITAVE
Born in New York City, 1913. Studied at Leonardo da Vinci Art School, New York. Numerous group exhibitions primarily in United States, including: Aspects de la sculpture americaine, Galerie Claude Bernard, Paris, 1960; New Sculpture Group, Stable Gallery, New York, 1960; sculpture show, Dwan Gallery, Los Angeles, 1961. One-man shows: Galerie Grimaud, New York, 19.59; Stephen Radich Gallery, New York, 1960, 1962. Member, Faculty of Painting and Sculpture, Columbia University, 1961-62. Lives in New York City.
1. SARACEN 121.5 A. D. 1960. Bronze, II. 29%".
OLIVER AISIMIEWS
Page 191
Born in Berkeley, California. 1925. .Sludii'd at University of Southern California, Los Angeles; Stanford University. 1948 began to study sculpture; visited Europe. First one-man exhibi- tion, Santa Barbara Museum of Art, 1950. Exhibits in New York at Alan Gallery, most recently in 1961. f_.ivcs in .Santa .Monica, California.
2. SKY QUEEN. 1960. Steel, H. 20". Page 189
ALEXAIVUEK AII4'llll>E>'KO
Born in Kiev, 1887. 1902-05 studied at Kiev Art School. To Mos- cow, where he studied and exhibited, 1906. 1908 to Paris; at- tended ficole des Beaux-Art.s. Founded his sculpture school. Paris, 1910. Associated with cubists and participated in their exhibitions, including 5e<7/o« tVOr, 1912. Represented in .\rmory Show, New York, 191.3. Joined Der Sturm, Berlin, 1913. 1921-23, Berlin. ScIiIimI in United States, 1923. Has exhibited and taught extensively here at various schools including New Bauhaus, Chicago and his own school. New York. Most recent one-man exhibilion in New York, Perls Galleries. 1962. Lives in New York City.
3. SEATED FEMALE NUDE. 1909. Bronze, M. 1.5". Page 61 Signed sifle of base, Archipenko 1909.
Foundry n)ark rear edge of base, Heinz Barth.
4. FEMALE TORSO. ,-. IW). Alaluisier, II. 18-''i". Page 61
Si;ineil iin li;uk i>l base. Anhipvnho.
.5. POIMHAIT IlKAD.c. 1921. NUnbl.-. II. KiVi".
Born in Leeds, England, 1916. Studied at Leeds College of Art, 1934-37; Slade School of Art, London, 1937-39. Taught at Bath Academy of Art, Corsham. First exhibition. Institute of Con- temporary Arts, London, 1946. Other exhibitions include: first one-man show, Gimpel Fils, London, 1952; Venice Biennale, 1952; The Netv Decade, The Museum of Modern Art, New York, 1955; Brussels World's Fair. 1958; //. Documenta. Kassel, 19.59. Lives in Corsham. England.
6. .STANDING FIGURE. 1953. Bronze, H. 43%". Initialled KA rear of base.
Foundry mark NOACK, Berlin rim of base.
7. SEATED FIGURE. 1954. Bronze, H. IIW.
8. SEATED WO.MAN WITH SQUARE HEAD. 1955. Page 156 Bronze. H. 14'/-".
JEAN ARP
Born in Strasbourg, 1887. 1905-07 studied at Weimar .\cadeniy; 1908 at Acadeinie Julian, Paris. 1909-11. Weggis. Switzerland, founded Moderner Bund. To Munich. 1911 ; joined Hlaue Reiler. Met Kandinsky and Delaunay. To Berlin, 1913; member of Der Sturm. Association with Picasso, Max Jacob. Apollinaire. .\ founder of Dada movement with Hugo Ball and Tristan Tzara, Ziirich, 1916; with Max Ernst. Cologne, 1919. 1922-26 lived main- ly in Paris, where he joined surrealist movement. Active as painter, j)oet, graphic artist as well as sculptor. Contributor to man>' periodicals: among numerous publications are Les Ismes de I'Ar/. with I.issilzky. 1925; Dream.'i and Projects. 1952; sculpture for University of Caracas, 1953; relief for UNESCO Building, Paris, 1957. Recent major exhibitions include retro- spective. The Museum of Modern .\rt. New York, 1958; //. Docu- menta. Kassel, 1959. Lives in Meudon, near Paris.
9. SNAKEBREAD. 1942. Bl.ick granite, 6'o X 10' 1 n6',".
10. HI ST OF AN ELF. 1949. Polished bronze. H. 12".
11. IIKAD ON CLAWS. 1949. Poli-be,! bronze. II. 18'.j".
12. GRIFFON. ,-. 1950. Polished bronze. H. 22'i". Page 104 1.3. VFM S(l|- Mil IKIN. |il.-,(.. Polished bronze. II. 19',".|'ap,. 104
14. Ill .MAN 1. 1 .N.\i;SI'i;( TKAl.. Bronze. H. 45".
Page 105
207
15. SILL CONFIGURATION. 1960. Polished bronze, H. 13%".
16. TORSO OF FRUIT. 1960. Marble, H. 30". Page 105
SAVI. BAIZF.RMAN
Born in Vitebsk, Russia, 1889. Studied at Imperial Art School, Odessa, 1904. To United States, 1910. Studied at National Acad- emy of Design, New York; Beaux-Arts Institute of Design, New York, 1911-20. Exhibited in London, 1924; first exhibition in United States, New York, 1933. Died in New York City, 1957.
17. CEMENT MAN. 1920-57. Bronze, H. 5%".
18. RABBI. 1920-57. Bronze, H. 5%". Signed on back, S. Baizerman.
19. MOTHER AND CHILD. 1931-39. Page 169 Hammered copper, H. 31". .Signed on side. S. Baizerniiin.
20. MY MOTHER. 1940-49. Copper, H. 13". Signed below left ear, 5. Baizerman 49.
21. NEREID. 1955-57. Hammered copper, H. 47%'
Page 168
LEOIV'ARU BA»»KIN
Born in New Brunswick, New Jersey, 1922. Studied at New York University, 1939-41; Yale University School of Fine Arts, 1941- 43; New School for Social Research, New York, 1949; Academie de la Grande Chaumiere, Paris, 1950; Accademia di Belle Arti, Florence, 1951. First one-man show, New York, 1939. Recent exhibitions include: Pittsburgh International, 1958, 1961; Sao Paulo Bienal, 1961 ; Art Since 1950, Seattle World's Fair, 1962. Grants include Guggenheim Fellowship, 1953; National Insti- tute for Arts and Letters Grant, 1961. Lives in Northampton, Mass.
27. JOHN DONNE IN HIS WINDING CLOTH. 1955. Bronze, H. 21%".
28. PORTRAIT OF ESTHER. 1956. Bronze, H. 8V/'.
29. THE GUARDIAN. 1956. Limestone, H. 27".
30. THE CROW. ( plaque ) 19.59. Bronze, 11% x llVj", edition of 8. Monogrammed bottom right.
31. OWL. 1960. Bronze, H. 20iL'", edition of 6.
Page 196
32. STUDY FOR BARLACH. 1960. Bronze, H. 6'/^", edition of 6. Monogrammed back of neck.
ERIMST BAIILACH
Born in Wedel, Germany, 1870. 1888-91 attended School of Ap- plied Arts, Hamburg; 1891-95 studied sculpture at Dresden Academy, Paris, 1895-96, when he briefly attended Academie Julian. Traveled to Russia, 1906: to Florence, 1909. 1910 settled in Giistrow, Germany. Active as a graphic artist as well as sculptor; wrote many plays which he illustrated. Among his plays are Der arme Vetter, 1910; Der Findling, 1920; Der blaue Bolt, 1923. Executed sculpture commissions for churches and memorials in Germany, including Giistrower Cathedral, 1927; Magdeburg Cathedral. 1929. Work declared '^degenerate" by Hitler regime, 1937; some sculpture subsequently destroyed by Nazis. Died in Rostock, 1938.
22. RUSSIAN BEGGAR WOMAN. 1907. Bronze, H. 9". Page 49 Signed on back. E. Barlach.
23. THE AVENGER. 1923. Bronze. L. 23%". Signed on left side base, E. Barlach.
Foundry mark NOACK, Berlin on left rim of base.
24. TWO MONKS READING, (small version) 1923. Bronze, H. 5%". Signed on left side, E. Barlach. Foundry mark right rear, NOACK, Berlin.
25. TWO MONKS READING. 1932. Bronze, H. 23". Page 48 Signed on bottom right side, E. Barlach 1932.
Foundry mark under signature. NOACK, Berlin.
26. LAUGHING WOMAN. 1937. Bronze, H. BVs".
MAX BILL
Born in Winterthur, Switzerland. 1908. Studied at Kunstgewer- beschule, Ziirich; Bauhaus, Dessau. Has practiced architecture since 1930. Taught at Kunstgewerbeschule, Ziirich; Institute of Technology, Darmstadt. Writings include: Le Cor busier and Pierre Jeanneret, 1934-38, 1938; Modern Swiss Architecture, 1925-45, 1950. Among recent exhibitions: Sao Paulo Bienal, 1953 ; Brussels World's Fair, 1958 ; //. Documenta, Kassel, 1959. Lives in Ziirich.
33. ENDLESS LOOP I. 1947-49. Page 94
Gilded copper on crystalline base, 9'!4 x 28 x 8".
PIERBE BO.'VNAnB
Born in Fontenay-aux-Roses, near Paris, 1867. Studied law ; 1888-89 attended ficole des Beaux-Arts and Academic Julian, Paris. Met Denis. Vuillard, Serusier. Joined Nabi group. First group exhibitions at Independants and Le Bare de Boutteville's, Paris, 1891. 1893 met VoUard who showed and published his book illustrations. First one-man show at Durand-Ruel's, Paris, 1896. Subsequently exhibited extensively throughout Europe and United States. 1926 visited United States as member of Pitts- burgh International jury. Died at Le Cannet, 1947.
34. GIRL BATHING, c. 1923. Bronze, H. 10%".
Page 91
208
EMILE-ANTOiKE BOtT||DEI.I.E
Born in Montauban, France, 1861. Studied at ficole des Beaux- Arts, Toulouse. To Paris, 1885, attended ficole des Beaux-Arts where he studied with Falguiere and Dalou, a pupil of Carpeaux. Entered Rodin's studio, worked there for many years as chief assistant. First exhibition, Galerie Hebrand, Paris, 1905. From 1909 taught in his studio. La Grande Chaumiere. Public monu- ments include: Monument for the Dead of 1870, Montauban, 1902; bas reliefs for Theatre des Champs-filysees, Paris, 1912; Mickiewicz Monument, Paris. Died in Vesinet, near Paris, 1929.
35. LA MARQUISE. 1886. Bronze, H. 15%". Page 32
36. HEAD OF APOLLO. 1900. Bronze, H. 16' ■;". Page 34
37. WARRIOR. 1900 ( Monument de Montauban I . Page 33 Bronze, H. TO-Jio". Monogrammed bottom left thigh.
Foundry mark, Susse fondeur, Paris, no. 3.
.38. TORSO OF FIGURE CALLED FRUIT. 1911. Page 32
Bronze, H. 34%".
one-man show, Galerie Kahnweiler, Paris, 1908. First sculpture in plaster, 1920. Executed sets for Diaghilev Ballet: Les Fdcheux, 1923; Zephyr e el Flore, 1925. First of numerous major retrospec- tives, Kunsthalle, Basel, 1933. Participated in Pittsburgh Inter- national, 1937 (first prize), 1939, 1958; Venice Biennale, 194S (first prize 1, 1950, 1954, 1958, 1960. Lives in Paris.
42. HESPERIS. 1939. Bronze, H. 15%". Page 89 Signed on front, G. Braque.
Foundry mark, Susse Fondeur Paris 1/6. Executed in 1939, cast in 1956.
43. LITTLE HORSE. 1955. Bronze, H. iV-i". Signed, bottom rear left leg, G. B.
Foundry mark, bottom rear right leg, Susse Fondeur Paris 2/6.
44. LITTLE HORSE, GELINOTTE. 19.55. Bronze, H. 7>V'. Signed, left rear leg, G. Braque. Foundn mark, right rear leg, 1/6 and right foreleg, Susse Fondeur Paris.
nea nt'Ti.Eii
CONSTANTIN BIIANCITSI
Born in Pestisani Gorj, near Tarju-,)ui, southern Rumania, 1876. Apprenticed to a carpenter; studied at Craiova, 1894-98; Bucha- rest Academy of Fine Arts, 1898-1902. 1902-04 to Paris, through Germany and Switzerland. Settled in Paris; studied at ficole des Beaux-Arts under Mercier. Refused invitation to work in Rodin's studio. From 1909 friendship with Modigliani. Represented in Armory Show, New York, 1913. .Showed regularly at Salon des Independants, Paris, until 1920. 1921 met American collector John Quinn who purchased many of his works. Visited New York, 1926, 1934, 1939; India, 1937. Designed Temple of De- liverance for Maharajah of Indore I never executed). Retrospec- tive The Solomon R. Guggenheim Museum, New York, 1955 (his first comprehensive museum exhibition t. Died in Paris, 1957,
Born in Bunlingford, England. 1917. Practiced architecture, 1937-50, when he gave up his practice to devote himself entirely to sculpture. First exhibition, Hanover Gallery, London, 1949. Received Gregory Fellowship, Leeds University, 1950-53; Arts Council Commission for Festival of Britain. 1951 ; Grand Prize, Unknown Political Prisoner Competition, 1953. Recent exhibi- tions: //. Documenla. Kassel. 1959; Pittsburgh International, 1955, 1961. Lives in Berkhamstead. England.
45. FAMILY GROUP. I9-«i. Iron. H. 36". unique.
46. MANIPULATOR. 1954. Bronze, H. 65'-".
47. GIRL. 1954-56. Bronze, H. 7'6". Initialled, edge of base, RB 5/8. Foundrv- mark, Susse Fondeur Paris.
Page 155 Page 154
.39. .SLEEPINGMU.se. 1909-11. Marble, II. 11 i-j". Page ,54
Signed bottom, Brancusi.
40. PROMETHEUS, c. 1911. Polished bronze, II. 7". Page .54
41. TORSO OK A YOUNf; MAN. 1924. Page 55 I'olished brass. II. 18". ( With original wood base, II. 581';;"). Signed, C liranrnsi Paris 1924.
OEOIKiIES IIIIAUI E
Born in Argentcuil, France, 1882. 1893-99 l.e Havre. Tn Paris, 1900. 1TO2.04 studied at Academic Humbert. Paris. Exhibited with Kuuvcs at .Salon des Independanls, 1906. From 1907 close association with Picasso, with whom he developed cubism. First
ALEXA^'IIEII r.\I.IIEII
Born in IMiiladelphia. 1898. Studied engineering. Stevens Insti- tute of Technology. Philadelphia. 1915-19, 192;l-26 studied at Art Students League, New York. To Paris. 1926, where he de- veloped his miniature circus. 1928 one-man exhibition of wire sculpture. New York. 19.30 met Lcger and .Mondrian in Paris: joined .(hslraclion-Crcalion group. 19.32 first exhibited mobile sculpture in Paris. Galerie \ ipnon. Since 1933 has lived in Rox- bury, Connecticut, making freciuent trips to Paris. Settings for Salie's Sornite. 19.36. Illustrated The Fables of .tesop. 1931; Three \ oung Rats. 1941, among others. Commissioned to design mobile for Terrace Plaza Hotel, Cincinnati. 1946. Among recent exhibitions: Brussels World's Fair, 1958: //. Doaimenta, Kassel, 1959.
209
48. MOBILE. 1957. Painled metal, H. 40"
49. MOBILE. 1958. Painted metal, H. 30"
50. STABILE (LE PETIT NEZ). Black metal. H. 66%".
Page 177
Page 176
York, 1959; Aspects de la sculpture americaine, Galerie Claude Bernard, Paris, 1960; Sao Paulo Bienal, 1961. Lives in New York City.
56. UNTITLED. I960. Welded metal, II. 20". unique.
Page 193
AlVnnEA f'AS«'EM..A
Born in Pescara, Italy, 1919. Studied with his father and Do- menico Rampelli. Executed ceramic architectural decoration in Rome. First exhibition, (-alleria Obelisco, Rome. 1949. Several one-man exhibitions since then, primarily in Italy. Worked with architect Gardella on faijade of Olivetti building, Diisseldorf.
51. STATUE OF GANDOGLIA MARBLE. 1961. Marble, 9 x 15Mi x 6%", unique.
Page 138
LOUIS rHAU^'IN
Born in Rochefort-sur-Mer, France, 1889. Studied with Joseph Bernard, Paris, until 1914. Exhibits only occasionally, in group shows. Comprehensive exhibition, Galerie Maeght, Paris, 1949. Lives in France.
57. WHITE PEACOCK. 1946. Stone. H. 101,4". Signed, rear base, Chauvin.
Page 108
CESAR (Cesar Baldaccini)
Born in Marseilles, 1921. Studied at ficole des Beaux-Arts, Marseilles and Paris. First one-man exhibition, Paris, 1955. Re- cent shows include: Venice Biennale, 1956; Sao Paulo Bienal, 1957; Pittsburgh International, 19.58 (third prize), 1961; The Art of Assemblage, The Museum of Modern Art, New York, 1961; Art Since 1950, Seattle World's Fair, 1962. Lives in Paris.
52. NUDE. 1958. Bronze, H. 26%". Page 123
53. MARSEILLES. 1960. Iron. H. 96". Page 124
54. LA MAISON DE DAVOTTE. 1960. Iron, H. 6', unique. Page 125
PIETRO rOIVSAGRA
Born in Mazara del Vallo, Sicily, 1920. Studied at Accademia di Belle Arti, Palermo, 1938-44. To Rome, 1944. 1947, first one-man show, Galleria Mola, Rome ; founding member of group Forma. Exhibitions include Venice Biennale, 1950, 1952, 1954, 1956 (special room, Einaudi Prize) ; 1960 (special room. Grand Prize for Sculpture) ; Pittsburgh International. 1958 (Honorable Men- tion). Wrote: La Necessitu delta Scultura. 1952; L'Agguato C'e, 1961. Lives in Rome.
,58. LITTLE COLLOQUY. 1956. Bronze, H. 29ys", unique. Signed, bottom of base, Cortsagra 56.
59. PUBLIC COLLOQUY. 1956. Wood, H. 78%". Signed, bottom of base, Consagra 56.
Page 139
lYNl* CHAOWK K
Born in London, 1914. Studied architecture. Began sculpture, 1945. First one-man exhibition, Gimpel Fils, London, 1950. Re- cent exhibitions include: Venice Biennale, 1952, 1956 (Inter- national Sculpture Prize); .Sao Paulo Bienal, 1957; Brussels World's Fair, 1958; //. Documenta, Kassel, 1959; M. Knoedlei and Co., New York, 1961. Lives in Cotswolds, England.
55. RITUAL DANCING. 1955. Iron and concrete. H. 47%".
JOHN CHA>IREIILAI1K
Born in Rochester, Indiana, 1927. Studied at Art Institute of Chicago Professional School, 1950-52; Black Mountain College, Black Mountain, North Carolina, 1955-56. First one-man exhibi- tion, Wells Street Gallery, Chicago, 1957. Group shows include: Recent Sculpture, U.S.A., The Museum of Modern Art, New
JOSEPH <'«»RIMEI.L
Born in Nyack, New York. 1903. First one-man show, Julian Levy Gallery, New York, 1932. Group exhibitions include: Pitts- burgh International. 1958; The Art oj Assemblage, The Museum of Modern Art, New York, 1961 ; Art Since 1950, Seattle World's Fair, 1962. Awarded Ada S. Garrett Prize, Art Institute of Chicago, 1959. Lives in New^ York City.
60. SUITE DE LA LONGITUDE, c. 1957. Pa|
Box construction, 13% x 19%", unique. Signed on back, Joseph Cornell.
61. LUNAR LEVEL NO. 1. Box construction, 9 x 12", unique. .Signed on back. Joseph Cornell.
62. SAND FOUNTAIN. Box construction, 10% x 8", unique. Signed on back, Joseph Cornell.
:204
210
.lEAIV-PAlTI. nARItlAU
Born in New York, 1929. Studied at Pratt Institute, Brooklyn, 1947-48; Brooklyn College, 1948-51; Academic des Beaux-Arts, Paris, 1949; University of Minnesota, Minneapolis, (M.F.A.), 1951-53. In Florence, 1955-57 on Fulbright Fellowship. Exhibi- tions include two-man show. Fine Art.s Center, Colorado .Springs, 1957; Washington Irving Gallery, New York, 1959. Lives in Colorado Springs.
63. LAUGHING BABE. 1956. Bronze, M. 8", unique. Signed, rear, Darriau 56.
Page 199
64. BANDAGED HERO NO. 1. 1957. Bronze, H. 9V/,", unique.
iio;voiiE i»Ar>iii-:ii
Born in Marseilles, 1810. 1816 to Paris. Studied at Academie Suisse around 1823. 1825-30 worked as assistant to a lithographer. 1830-32 first caricatures, lithographs and sculpture. 1831 be- came a contributor to Caricature, a Parisian journal opposed to the Third Empire. Friendship with Balzac. Baudelaire; asso- ciation with painters of the Barbizon school. 1878 exhibition at Durand-Ruel's, organized by Victor Hugo. Died in Valmondois, 1879.
65. LE NIAIS. c. 1830-32. Bronze, H. 5". Foundry mark, MLG 6/30.
66. L'lIGMME A TETE PLATE (PELET DE LA LOZEREl.
c. 1830-32. Bronze, H. 5W. Foundry mark. MLG 12/25. Page 39
67. LE SUBTIL (LECOMBE ) . c. 1830-32. Bronze, H. 6' !•". Foundry mark, MLG 12/25.
68. L'lMPORTANT PERSONNAGE (BARTHEl. c. 1830-32. Bronze, 11. 6%". Foundry mark, MLG 21/25.
69. LE MfiPRISANT tODIERl. c. 18.30-32. Bronze, H. SV/'. Foundry mark, MLG 21/30.
70. L'lRONlSTE ICALLOIS Vl.c. 1830-32. Bronze, H. 8«:j". Foundry mark, M L(; 21/25.
71. L'lNFATUfi DK SOI i HAIl.l.lOT ). c. 1830-.32. lirnnze, II. 6%". Foundry mark. /!//,(; 2;/.iO.
72. LE VANITEUX (CH. fiTIENNE l . e. 18.30.32. Bronze. II. 6%". Foundry mark, MLG 21/25.
73. 1.K(;R0S, GRASET...SAT1SFA1T (DUBOIS). c 18;!0-,32. Bronze, I \..1^>>,". Foundry mark. MLG 21/25.
74. LE MOOUEl R (DELORTl. c. 1830-32. Bronze. II. 9". Foundry mark, MLG 21/25.
75. SPIRITUEI. KT MAI, IN ( l)-AIU;OliTi. e. 18.30-32. Bronze. II. 5 1...". Foundry mark, MLG 21/30.
76. 77. 78. 79. 80. 81. 82.
83.
84.
85. 86. 87. 88. 89. 90. 91. 92. 93.
LE GOURMET (PATAILLEi. c. 1830-32. Bronze, H. 6%". Foundry mark, MLG 21/2.5.
LE VIEUX FINAUD (ROYER-COLLARD). c. 1830-32. Page 37 Bronze, H. 5Vi". Foundry mark, MLG 21/25.
LA TETU BORNE (BENJAMIN DELESSERT). c. 1830-32. Bronze. H. 6%". Cast in 1925, 25/25.
L'ORATEUR ( DUPIN l . c. 1830-32. Bronze, H. 5%". Cast in 1925, 11/25.
L'ENTETE ( VATOUT) . 1830-32. Bronze, H. 7%". Cast in 1925, 21/25.
LE FAT (LE COMTE SEBASTIANI). c. 1830-32. Bronze, H. 7%". Cast in 1925, 11/25.
LE RATAPOIL. c. 1850. Bronze, H. 17".
Signed top of base. Daumier.
Foundry mark, rim of base, .4lexis Rudie
Page 38
95. 95.
97, 98. 99.
100.
LE BOURGEOIS EN ATTENTE. Bronze, H. 6". Initialed on side, HD. Foundry mark, rear, Vahuani 16/30.
LE BON VIVANT. Bronze, H. 6%".
Initialed on rear, HD. Foundry mark, right rear, I'ahiiani 16/30.
LTNDfiCIS ( CH. DE LAMETH ) . Bronze, H. 5?4". 29/30.
LEHARGNEUX (SOULT I. Bronze, H. 6". 1.5/25.
LE MAUVAIS (CUNIN GRIDAINE I. Bronze. H. 6". 18/25.
LE GATEUX ( HARLE PERE l . Bronze, H. 5". 12/30.
L-AMOUREUX. Bronze, H. 7". 11/30.
LE VISITEUR. Bronze, H. 6%". 23/30.
LE PETIT PROPRIfiTAIRE. Bronze. II. 7". 23/30.
LE PORTIER PARISIEN. Bronze. II. 6'^". 15/30.
LE CONFIDENT. Bronze, H. 71s". 23/30. Bronze, H. 15-'i". 1.5/30.
IK KonElROli LERAMASSKl li UK lull TS HKi IC \KES. Bronze. II. 15-' i". 15/30.
LE REPRf-SENTANT. Bronze. II. 7".
LE RUSe (VIENNETl. Bronze, H. 7->i". 12/30. Page 39
I.ERIKl R f:l>E\Tfi. Bronze. 11.6' j". 12/25.
LE DfiDAIGNEUS i PRl .NKI.I.E i. Bronze. 11. S-y,". 30/30.
TRI.^TEJUSQU'A LA \IOKT. I!r,.n/e. Il.6'.j". U/25.
KK Kill KUK FT Ul Si- iCOMI'K UK \UiN 11 U>U:Kl. Bronze. 11. 7-'.,". 7/25.
21]
JOSE DE niEEFT
Born in Guadalajara, Spain. 1884. Studied in Barcelona and Madrid. To Paris, 1905; studied at Academie Julian, 1906-07; Maison Greber, 1911-14. Knew Picasso, Oris. To United States, 1928. Extensive exhibitions in United States since then. Has re- ceived many prizes including: Victory Prize, Metropolitan Mu- seum of Art, New York, 1942; first prize, Audubon Artists, 1957. Active as a teacher. Now teaches at Art Students League, New York. Lives in New York City.
101. DANCER. 1949-57. Wood, H. 59" Signed on side, Jose de Creeft.
Page 172
111. DANCER HOLDING HER RIGHT FOOT. c. 1896-1911. Page 41 Bronze, H. 20". Signed top of base. Degas.
Foundry mark. Hebrard 68/ B.
112. DANCER HOLDING HER RIGHT FOOT, c. 1896-1911. Page 42 Bronze, H. 21". Signed top of base. Degas.
Foundry mark. Hebrard 23/G.
113. WOMAN WASHING HER LEFT LEG. c. 1896-1911. Bronze, H. 7%". Signed side of base. Degas. Foundry mark, Hebrard 61 /C.
114. WOMAN GETTING OUT OF HER BATH. c. 1896-1911. Bronze, H. 16%". Signed on front. Degas.
Foundry mark, Hebrard 71 /N.
EHUAR DEOAS
Born in Paris, 1834. Began drawing at an early age. Studied law briefly; enrolled in ficole des Beaux-Arts, Paris, 1855. Traveled extensively, particularly in Italy; visited United States. 1865-70 contributed to Salon. Participated in first, second, third Impres- sionist exhibitions. First sculpture, about 1866. From 1879 showed regularly at Salon des Independants. Did not exhibit sculpture after 1881, although he continued to work in this medium. Withdrew almost entirely from public exhibitions after 1886. Died in Paris, 1917.
115. PREGNANT WOMAN, c. 1896-1911. Bronze, H. 16%". Page 42 Signed on front. Degas.
Foundry mark, Hebrard 24/ E.
116. DANCER PUTTING ON STOCKING. 1896-1911. Bronze, H. 18". Signed on bottom of foot on base. Degas. Foundry mark, Hebrard 62/ D.
117. WOMAN WASHING HER LEFT LEG. c. 1896-1911. Bronze, H. 6". 17/G.
118. WOMAN STRETCHING, c. 1896-1911. Bronze, H. 14%". 53/E.
102. PRANCING HORSE, c. 1865-1881. Bronze, H. 10%". Signed in from. Degas. Foundry mark. Hebrard 65/D.
103. APPLE PICKERS, c. 1865-1881.
Bronze bas relief. 17% x 18%". Signed at bottom. Degas. Foundry mark, Hebrard 37/E.
104. THOROUGHBRED HORSE WALKING, c. 1865-1881. Bronze, H. 5%". 66/C.
105. DANCER, c. 1882-1895. Bronze, H. 25%". 72/D.
106. HEAD OF A CHILD, STUDY FOR PORTRAIT OF MME. S. c. 1882-1895. Bronze, H. 6%". 7/J.
107. DANCER. ARABESQUE OVER RIGHT LEG. c. 1882-1895. Bronze, H. 12". Signed right rear top of base. Degas. Page 43 Foundry mark, Hebrard 3/0.
DOHUTHY ItEHIVER
Born in Cleveland, 1908. To Pasadena. 1915. Studied at Skidmore College (B.S. in Art), Saratoga Springs, New York; Art Stu- dents League, New York; Atelier 17, Paris. Extensive travels in United Stales and Europe. Numerous group and one-man exhi- bitions of sculpture and graphics in United States and abroad. Group exhibitions include: Sculpture, U.S.A., The Museum of Modern Art, New York, 1958; Aspects de la sculpture ameri- caine, Galerie Claude Bernard, Paris, 1960. Among recent one- man shows; Gres Gallery, Washington, D. C, 1959; Willard Gallery, New York, 1959, 1960. Lives in New York City.
119. JACOB'S LADDER. 1957. Bronze, 32'/- x (,¥/' Signed at bottom, Dehner 57.
Page 187
108. DANCER AT REST. r. 1882-1895. Bronze. H. 18". Signed on base. Degas.
Foundry mark, Hebrard 63/ E.
109. DANCER MOVING FORWARD, ARMS RAISED, c. 1882-1895. Bronze, H. 14Vt". Signed on side of base, Degas.
Foundry mark, Hebrard 19/ F.
110. THEMASSEUSE.c. 1896-1911.
Bronze, 16% x 15". Signed top of base. Degas. Foundry mark, Hebrard 55/C.
Page 40
MARIA IMITIVEZ ItEI. PK.AUO
Born in La Paz, Bolivia. Studied at Academy of Fine Arts, La Paz, 1927-29. Held chair of sculpture and anatomy at Academy of Fine Arts, La Paz, 1930-38. Exhibitions include. Petit Palais, Paris, 1953; World House, New York, 1962. Lives in La Paz.
120. PIGEON. 1958. Alabaster. H. 8", unique.
Page 109
212
AlV'ltlllv IIKIIAIIV
JEA>° Ut'RIJFFF.T
Born in Chatou, France, 1880. 1898-99 studied at Acadeniie Carriere, Paris. From 1898-99 friendship with Matisse, Vlaminclc; worked with Vlatninck at Chatou. 1905 exhibited with Fauves at Salon d'Automne; visited London. 1907 contract with dealer Kahnweiler; produced first sculpture. Made masks from shell cases found on battlefields during World War I. First prize Pittsburgh International, 1928; retrospective, Salon des Inde- pendants, Paris, 1937. Executed ballet and theater decor includ- ing: Diaghilev production of La Boutique Fantastique, 1919; Satie's Jack in the Box, 1926. Among book illustrations: Coquiot's En Suivant la Seine, 1926; Rabelais' Pantagruel, 1943; Saint Exupery's Oeuvres, 1950. Died in Garehes, France, 1954.
121. EXPRESSIVE HEAD. 1939-54. Bronze, H. 15%", 4/11.
122. HEAD OF A WOMAN. 1939-54. Bronze, H. 17", 4/11. Page 89
Born in Le Havre, 1901. 1918 studied painting, music, languages in Paris; interested in art of the insane. Traveled in Italy and Brazil. 1924 gave up art for business. Resumed painting in 1942. First one-man exhibition, 1944, Galerie Drouin, Paris. First ex- hibition in New York, 1946. Visited Sahara, 1947, 1948; New York, 1951, 1962. Has executed sculpture in a variety of unusual materials. Recent exhibitions include: Stadtisches Museum, Schloss Morsbroich, Leverkusen, 1957 ; Arthur Tooth and Sons, London, 1958; //. Documenta, Kassel, 1959; regular exhibitions at Pierre Matisse Gallery, New York; retrospective. The Mu- seum of Modern Art, New York, 1962. Lives in Vence.
129. THREE MASKS. 1935. Papier mache
al Robert Polguere. 10',i x 7',4". bl Andre Claude. 9'i x 6". c) Rene Poultier. 11 x 6".
130. ABUNDANCE. 1954. Slag Iron, H. 14%".
Page 120
josK nv. iiivKiiA
Born in West Baton Rouge, Louisiana, 1904. Studied at Studio School, Chicago. 1929-30. Worked as a machinist, blacksmith, tool and die maker, 1922-30. First one-man show in New York, Mortimer Levitt Gallery, 1946. Recent exhibitions include: Pitts- burgh International, 1958, 1961; Art Since 1950. Seattle World's Fair, 1962. Grants include: National Institute of Arts and Let- ters Grant, 1959. Lives in New York City.
123. CONSTRUCTION, RED AND BLACK. 1954. Page 179 Painted aluminium, H. 1^-/'.
124. CONSTRUCTIONNO. 3.5. 1956. Steel, H. 17%". Page 178
125. CONSTRUCTION NO. 76. 1961. Bronze forged rod, H. 6Vr'.
CnAilI.ES ItKSI'IAIT
Born in .\lonl-<lc-Marsa[i, France, 1874. To Paris, 1891; sludieil at ficole des Arts Decoralifs under a pupil of Carpcaux and at ficole des Beaux-Arts. First exhibition Salon des Artistes Frantais, 1898. 1907-14 worked for Rodin. Died in Paris, 1946.
126. JEANNE i MLl.K. KAMIKNSKA i. 1921. I'uge .35 Bronze. II. 15". Signed front of base, C. Despiau.
Foundry mark nii reverse. I'alsuani.
127. .STANDING FEMALE FlGURE.c. 192.5. Bronze. ll.3I'i". Signed IroiU of base. ('. Dcsiiiau.
Foundry murk ri'ar rim of base. AUxis Kiiilier Fonileur I'aris.
128. I'OliTKAIT OK .\IME. DEUAIN.
.Stone. I I, 1(/'. Illiiiiue.
Page 35
BAY.MO^iW DL'C'HAMP-VILLO'
Born in Damville (Eurel, France. Brother of artists Marcel Duchamp, Suzanne Duchamp and Jacques Villon. Studied medi- cine before devesting self to sculpture. Self-taught as an artist. First exhibition, Societe Nationale des Beaux-Arts, Paris, 1901. Participated in annual exhibitions of Societe Nationale until 1908. 1905 became Associate .Member of Salon d'.\utomne. where he exhibited annually until 1913. Work also shown at Salon des Independants, Section d'Or ; in Prague, Berlin. Ghent; in Armory Show, New York, 1913. Joined French army, 1914. Died 1918, Cannes.
131. TORSO OF A YOUNG MAN. 1910. Plaster, H. 24". Page 62 Signed on base, R, Dnchump-l'iUon.
132. HEADOFBAUDELAIRE. 1911. Bronze. II. IS'V'. Page 65
133. THE BASIN. 1911. Bronze, H. 22%". Signed on base, Duchamp-Villon.
Foundry mark edge of base, Louis Carre -Editeur.
134. MAGGY. 1912. Bronze, H. 23%". Page 64 Signed right side, Duchamp-Villon.
Foundry mark on reverse, Georges Ruttier -Fondeur Paris.
135. HORSE AND RIDEK. 1914. Brcn/c II. 8', ".2/8. Wgebl
136. HEAD OF A HORSE. 1914. Bronze. II. 18',s". Page 66 Foiind;y mark. C. Rudier 7 H.
137. SE.ATEI) WOMAN. I»14. Brnn/.e. II. 27',i". Page 63 Fonndi \ HKirk. (,'. Rudier.
138. LITTLE HORSE. 1914. Bronze. II. ll"i". .5/8. Page 67
139. HEAD OF PROFESSOR COSSET. 1917. Page 64 Brnn/e. II. 11^". 1/8.
213
THOMAS EAKKWS
Born in Philadelphia, 1844. 1861-66 studied drawing at Pennsyl- vania Academy of Fine Arts and anatomy at Jefferson Medical School, both in Philadelphia. To Paris, 1866, studied at ficole des Beaux-Arts under Gerome. Returned to Philadelphia, 1870. Taught at Pennsylvania Academy, 1876-86. Joined Society of American Artists, 1880. From 1886 taught at Philadelphia Art Students League, organized by his pupils. To New York, taught at National Academy of Design, 1888-94. Elected to National Academy, 1902. Died in Philadelphia, 1916.
140. KNITTING. 1881. Bronze plaque, 18% x 14ys". Page 163 Signed on front bottom, Thomas Eakins, 1881.
Foundry mark, Roman Bronze Works, N. Y .
141. SPINNING. 1881. Bronze plaque, 18% x 14%". Signed on front bottom, Thomas Eakins, 1881. Foundry mark. Roman Bronze JForks. N. Y.
142. ARCADIA. 188.1 Plaster. llVs x 24". Signed, Eakins. Page 163
143. SKETCH FOR MEMORIAL ARCH. e. 1893. Wax, 6% X 11%". Signed, Eakins.
146. HEAD OF JOSEPH CONRAD. 1924-25. Page 142 Bronze, H. 17". Signed on reverse, Epstein.
147. THE VISITATION. 1926. Bronze, H. 65". Page 143 Signed back of base. Epstein. This cast made in 1955.
14«. HEAD OF ALBERT EINSTEIN, c. 1933. Bronze, H. 17".
149. CHRIST FIGURE, c. 1957. Lead, H. 251/2".
MAX ERNST
Born in Briihl, near Cologne. 1891. Studied at Bonn University. Self-taught as an artist. A founder of Dada movement, Cologne, 1919; a founder of Surrealist movement, Paris, 1924. Painter, sculptor, illustrator, poet. Contributed to many Dada and Sur- realist publications. Among books he has written and illustrated: Histoire Naturelle, 1925; La Femme 100 Tetes, 1929; Semaine de Bonte, 1934; Beyond Painting, 1948. 1937 designed sets for Jarry's Vbu Enchaine. 1945 collaborated with Hans Richter on him Dreams That Money Can Buy. One-man exhibitions through- out Europe and United States. Recent major retrospectives: Musee d'Art Moderne, Pari.s, 1959; The Museum of Modern Art, New York, 1961. Lives in Paris.
ROKEHT E:V4;I>IAIM
Born in Belmont, Massachusetts, 1927. Studied at Rhode Island School of Design, Providence; Yale University, New Haven; with Albers and de Rivera. One-man exhibitions: Stable Gallery, New York, 1960, 1962. Group shows include: Recent Sculpture U.S.A., The Museum of Modern Art, New York, 1959; Sao Paulo Bienal, 1961. Currently Director of Sculpture, Yale University, Department of Art. Lives in Durham, Connecticut.
144. CONSTRUCTIONNO. 1.1961-62. Muntz metal, H. 17". Page 179 Initialed, RE '62.
145. CONSTRUCTION NO. 2. 1961-62. Muntz metal, H. 14".
JACOB EPSTEIN
150. MOON MAD. 1944. Bronze, H. 38", edition of 6. Page 118
151. MOTHER AND DAUGHTER. 1959. Page 119 Bronze, H. H'/s", 6/6.
152. BOSSE DE NAGE RESSUCITfi. 1959. Bronze, H. 19", 6/6.
HEIIHEHT feriier
Born in New York City, 1906. Studied at College of the City of New York, 1924-27; Columbia University, 1928; Beaux- Arts In- stitute of Design, New York. First one-man show, Midtown Gallery, New York, 1937. Recent group exhibitions include: Nature in Abstraction, Whitney Museum of American Art, New York, 1958; Pittsburgh International, 1958; //. Documenta, Kassel, 1959; Art Since 1950, Seattle WoHd's Fair, 1962. Lives in New York City.
Born in New York City, 1880. Studied evenings at Art Students League, New York. Worked in bronze foundry, 1901. To Paris, 1902; studied at ficole des Beaux- Arts and Academic Julian. To England, 1905; later became British subject. Associated with Vorticists. Paris, 1912, associated with Brancusi, Modigliani. 1913, founding member of London Group. First one-man show. Twenty-one Gallery. London, 1913. Knighted, 1954. Executed architectural sculpture, large scale figures as well as portrait busts. Among his major public commissions are.: The Tomb of Oscar Wilde, Paris, 1912; Virgin and Child, Convent of the Holy Child Jesus, London, 1952; Monument to the Dead oj the Work- ing Classes, Trade Union Building, London, 1958. Died in Lon- don, 1959.
153. PERSONAGE NO. 1. 1957. Brass, H. 25" Signed, rear of base, Ferber 57.
JOHN B. ELANNAnAN
Page 185
Born in Fargo, North Dakota, 1895. Studied painting at Min- neapolis Institute of Arts, 1914-17. Began sculpture in wood c. 1922. After 1928 worked exclusively as a sculptor. 1932 re- ceived Guggenheim Fellowship. Preferred direct carving in stone ; turned to metal for reasons of health, 1939. Died in New York, 1942.
214
154. PIETA. c. 1925. Wood, H. 13"
PABLO GARGALLO
1.55. MOTHER AND CHILD ( NOT YET ) . c. 1936. Page 171
Stone, H. 13%".
156. TRIUMPHOFTHEEGG. 1937. Cast stone, H. 12". Page 171
157. WOMAN WITH FOX. c. 1937. Cast stone, H. ISMi".
Born in Maella. Spain, 1881. Raised in Barcelona. Studied at Academy of Fine Arts, Barcelona. To Paris, 1906. .Association with Picasso and cubists. 1914 returned to Barcelona, where he taught. Pioneered in techniques of metal sculpture. Died in Spain, 1934.
162. PIERROT, c. 1920. Sheet metal and silver, H. 8".
Page 96
nOGEII WE I.A FltEN^'AYE
Born in Le Mans, 1885. 1903 studied at Academic Julian, Paris. 1908 attended Academie Ranson with Denis and Segonzac for a few months. 1910-12 executed sculpture after meeting Bourdelle, Duchamp-Villon and Maillol. 1910-11 traveled in Germany and Italy. Friendship with Villon and Gleizes. 1912 exhibited at Salon d'Automne and Salon des Independants; 1912-13 showed with Section d'Or. Military service, 1914-18. Died at Grasse, 1925.
158. TORSO OF A WOMAN, c. 1910. Bronze, H. 16", 2/6. Foundry mark, Alexh Hiulier, Foruleur.
159. THE ITALIAN GIRL. 1912. Bronze, H. 24". Signed on bottom, R de la Fresnaye, 2/6. Foundry mark, Alexis Riidier, Fondeur.
Page 88
PAl'L GAI'GI'I.N
Born in Paris, 1848. Worked as a stockbroker. Began to draw, 1873. Friendship with Pissarro. 1880-84 showed in Fifth, Sixth and Seventh Impressionist Exhibitions. 1883 left stockbroker's job to devote himself to painting. Visited Brittany, 1886, 1888 (with Van Gogh 1 , 1889. Friendship with Bernard; associated with artists of Nabi group. 1887 visited Panama, Martinique. 1888 first one-man exhibition, Boussad and Valadon's. 1891 to Tahiti; returned to Europe, 1893. Settled in Tahiti again, 1895. 1901 to Marquesas, where he died in 1903.
163. TAHITIAN FIGURE. 1893. Bronze. H. 11%" Foundry mark, Valsuani4/10.
164. HEAD. Bronze, H. 15".
Page 40
EI.IZAIIETII Fni.\'K
Born in Thurlow, England, 1930. .Studied at Chelsea School of Art. Group and one-man exhibitions in Europe and United States since 1954. Recent one-man shows: Waddington Galleries, London, 1961; Felix Landau Gallery, Los Angeles, 1961; Bertha Schaefer Gallery, New York, 1961. Lives in London.
160. FALLEN BIRD MAN. 1961. Bronze, L. 72", 1/3.
Page 151
ALBERTO GL4<'0>IETTI
Born in Stanipa, Switzerland. 1901. Until 1915 studied with his father Giovanni Giacometii in Slanipa. later at ficole des -•Vrts et Metiers, Geneva; 1922-25 in Paris under Bourdelle. 1930-32 associated with Surrealists in Paris. First one-man exhibition in Paris, 1933. Represented in Venice Biennale, 1956; Brussels World's Fair, 1958; //. Documenta, Kassel, 1959; Pittsburgh International, 1961. Lives in Paris.
IVAITIM <>.%B«»
Horn in Bryansk, Russia, 1890. Brother of Antoine Pevsner. 1909-14 studied medicine, natural science, then art history, Uni- versity of Munich. Met Kandinsky in 1910. Spent war years in Copenhagen and Oslo. 1917-20 taught in Moscow with Kandin- sky, Tallin, Malevitch. 1923 to Berlin; joined I^ovembergnippe. Taught at Bauhaus, 1928. 1932-35, Paris; became member of Abstraction-Creation group. To London, 19.36; edited magazine Circle, International Survey of Constritrlive Art with Ben Nicholson and J. L. Martin. After visit to United States, lived in St. Ives, Cornwall, 19.39..15. To United Slates, 1946, settled in Woodbury, (ionn., where he still lives. Has lectured at Graduate School of Design, Harvard University since 1948.
161. LINEAR CONSTRUCTION, NUMBEK 1. 1942-43. Plastic, H. 12".
.*^igned on base. Ctibo.
Page 93
165. MAN AND WOMAN. 1928. Bronze, H. 12',4". Signed top of base. A. Giacunietti. Foundry mark. 5//i\ve Fundenr Paris 1/6.
166. .MAN. 1929. Bronze, H. 15\':i".
Signed on side, Alberto Giacometii 1929 3/6.
Page 110
167. RECLINING WO.MAN. 1929. Painted bronze, 1.. 16--.s". Page 111
168. TALL FK'.l HE. 1917. Hrnnz,'. II, 79". Signed top of base. Alberto Ciaconietti I ti. Foundry mark on base al back. 5(/.s5c Fondeur Paris.
MM. WOMAN. 19.53. Bron/.e. II. 19' i".
Signed on base, 195:i/ .llberto Ciacometti 2/6. Foundry mark, Sasso Fonderia.
170. |)IK(;(I..STl 1)\ I U(tM LIFE, 195.5. Bronze, H. 15's".
Signeil on back. Albert Ciacometti 2 0. Foundry mark, Susse.
215
171. BUST OF DIEGO. 1956. Bronze, H. 11%" Signed on front, Alberto Giacometti 2/6. Foundry mark, Siisse Fondeur.
172. DOG. 1956. Bronze, H. 171/2". Signed on base, Alberto Giacometti 3/8. Foundry mark, Siisse Fondeur Paris.
Page 114
173. THIN STANDING FIGURE. 1956. Bronze, H. 12%", 1/6. Signed top of base, Alberto Giacon\etti. Foundry mark, Siisse Fondeur.
174. SEATED WOMAN. 1956. Bronze, H. 30%", 1/6.
175. BUST OF DIEGO. 1957. Bronze, H. 24%", 1/6.
Page 112
176. BUST OF DIEGO ON STELE. 1958. Bronze, H. 65". Signed on bottom, A. Giacometti. Stamped, top of stele, 1/6.
177. MONUMENTALHEAD. 1960. Bronze, H. 37 ■...". 1/6. Page 115 Signed on base, Alberto Giacometti.
Foundry mark on base rear, Susse Fondeur Paris.
178. BUSTOFAMAN (DIEGO). Bronze, H. 11%". Signed bottom of base, .Alberto Giacometti 4/6. Foundry mark rear bottom, Susse Fondeur.
Page 113
179. "WALKING MAN, Bronze, H. 26%", unique. Signed top of base, A. Giacometti.
E»IILE GILIOLI
Born in Paris, 1911. Studied at ficole des Arts Decoratifs, Nice, 1928 ; 6eoIe des Beaux-Arts, Paris, 1931. First exhibition, Galerie Bretau, Paris, 1945. Executed public monuments: at Voreppe, 1946; Grenoble, 1950; Chapelle en Vercors, 1951; Vassieux, 1951. Exbibitions include: Sao Paulo Bienal, 1954; //. Docu- menta, Kassel, 1959. Lives in Paris.
180. LITTLE SPHERE. 1947. Bronze, H. 16%", 1/5.
181. PAQUIER. 1951-60. Marble, H. 14%". Page 108 Signed left edge, Gi7io/i' 1951-60.
182. A LITTLE TALE FROM CRETE. Bronze, H. 24", 2/5.
JOSEIMI ULA!«rO
Born in Paul's Valley, Oklahoma, 1925. Studied at University of Texas, Austin. 1941-42; briefly at Jepson Art Institute, The Art Center School with Rico Lebrun, Los Angeles, 1946; School of Painting and Sculpture at San Miguel Allende, Mexico City, 1948; Art Students League, New York, 1949. Traveled in Europe and Africa. Lived in Taos, New Mexico, 1952-54. First one-man show, Perls Galleries, New York, 1950. Numerous shows since then. Most recent one-man exhibition, Catherine Viviano Gallery, New York, 1961. Lives in New York City.
183. HEAD. 1955. Bronze, H. 9%". Signed on reverse, JG.
184. RECLINING WOMAN. 1956. Bronze, L. 13". Page 197 Signed on reverse, IG.
185. HEAD. 1957. Alabaster, H. 9%".
186. CARESS. 1958. Marble, H. 23".
JULIO GONZALEZ
Born in Barcelona, 1876. Apprenticed to his father, a goldsmith. Studied painting evenings at Barcelona School of Fine Arts. 1900 to Paris. Devoted self primarily to painting. Association with Picasso, Brancusi, Manolo, Max Jacob. From about 1926 devoted self almost exclusively to sculpture. 1930-32 worked with Picasso, giving him technical assistance on welded iron con- structions. Became member of Cercle et Carre group. Died in Arceuil, 1942. Posthumous retrospectives include: Musee d'Art Moderne, Paris, 1952; The Museum of Modern Art, New York, and The Minneapolis Institute of Arts, 1956.
187. CAGOULARD. 1934. Bronze, H. 6". Foundry mark, Susse 1/9.
188. HEAD OF A GIRL. 1936. Bronze, H. 12%' Signed in front, Gonzalez 1/6. Foundry mark at bottom, Susse Fondeur.
Page 99
189. MONTSERRAT MASK, CRYING. 1936. Bronze, H. 9". Page 98 Signed and marked inside, c. by Roloda, Gonzalez,
5/6 Susse Fondeur.
190. MASK, CALLED RELIGIOUS. 1941-42. Bronze, H. 6%", 1/9.
191. HEAD OF MONTSERRAT II. 1942. Bronze, H. 12%", 5/6.
192. ABSTRACT FIGURE. 1942. Bronze, H. 13". Page 99
PETER GHIPI'E
Born in Buffalo, 1912. Studied at Albright Art School, Buffalo, 1923-25; Art Institute of Buffalo, 1929-35; Atelier 17, New York, 1944-47. Taught at Art Institute of Buffalo; Federal Art Project, New York; Pratt Institute, Brooklyn; Smith College, North- ampton, Mass. ; Atelier 17, New York. Now teaches drawing, graphics, sculpture at Brandeis University, Waltham, Mass. First one-man show, Orrefors Gallery, New York, 1942. Awards in- clude First Prize, Boston Arts Festival, 1955. Executed murals for Puerto Rican Information Center, New York, 1958. Lives in New York City.
193. FOUR MUSICIANS. 1957. Bronze, H. 14", unique. Signed, P. Grippe.
Page 187
216
CHAIM GROSS
Born near Kolomyja, Austria, 1904. To United States, 1921. Studied at Educational Art Alliance School; Beaux-Arts Insti- tute and Art .Students League, all in New York. First exhibition in New York, 1932. Commission for New York World's Fair, 1938-39. Recent one-man exhibitions: Whitney Museum of Amer- ican Art, New York, 1959; Forum Gallery, New York, 1962. Lives in New York City.
194. PERFORMERS (SEE SAW). 1944. Bronze, L. 19". Page 173 Signed on bottom, Chaim Gross 44,
DIMITHI IIAIIZI
197. WOMAN. 1956. Bronze, H. 20%". Signed front corner, Hajdu.
Foundry mark on base at rear, Vahiiani 2/5.
198. ADOLESCENCE. 1957. .Marble, H. 35--!4". Signed at bottom, Hajdu.
199. THE BIRD, URANUS II. 1957.
Bronze, H. 39", 1/3. Signed top of base, Hajdu 1957. Foundry mark on rim of base, Valsuani.
200. CORINNE. 1958. Marble, II. 33VV'.
201. SYLVIE. 1958. Pink marble, H. 20%". Signed on base, Hajdu.
Page 106
Page 107 Page 107
Born in New York City, 1921. First studied chemistry and worked as a chemist. Then studied at Cooper Union, New York; Brook- lyn Museum Art School. 1950 received Fulbright Grant, studied in Athens. Received Tiffany Award, 1954-55; Guggenheim Fel- lowship, 1957-58. Extensive exhibitions since 1956, including Venice Biennale, 1956, 1958; Pittsburgh International, 1958, 1961. Most recent one-man show, Stephen Radich Gallery, New York, 1962. At present working in Rome.
195. HELMET V (ELMO). 1959-61. Bronze, H. 6'3", 1/4. Page 194
HAOVI, HAUITE
Born in Constantinople, 1905. 1921 to United States to study; attended Iowa State College, Ames. To Chicago. 1925 to New York, where he studied at Beaux-Arts Institute of Design, 1926- 27; Art Students League, 1927-28. Worked on W.P.A. Federal Art Project, New York, 1935-39. 1941 settled in Woodstock, New York. Traveled in Europe, 1950-51. First exhibited at The Mu- seum of Modern Art, New York, 1933. (Jroup shows since then, including Annuals, Whitney Museum of American Art, New York; 12 Americans, The Museum of .Modern Art. New York, 1956. Lives in Woodstock, New York.
196. LAMONTViLLE ELM. 1952. Elrnwood. 11. 18". uni.|ue. Page 202
iiTiK:v':\'i<: iiA.iitii
Born in Turda, Kujnania, 1907. 1927 to Paris. Studied nt ficole dc8 Beaux-Arts, under Bourdellc and Niclaus.se. Naturalized French citizen since 1930. Traveled in Greece, Crete, llnlliind. Worked as a stone grinder. First one-man exhibition at (Valerie Jeanne Bucher, Paris, 1939. Recent exhibitions include Sao Paulo Bienal, 1956; Pittsbinpli International. 1958; //. Uocu- inenta, Kassel, 1959. Lives in Bagneux. a suburb of Paris.
DAVIW HAKE
Born in New York City, 1917. Studied in New York, Colorado and Arizona. Duiing war years worked with Breton, Ernst, Du- champ on review VVV, New York. First one-man show. Art of This Century, New York, 1945. Group exhibitions include: Sao Paulo Bienal, 1957; Nature in Abstraction, Whitney Museum of American Art, New York, 1958; Pittsburgh International, 1958, 1961; An Since 1950, Seattle World's Fair, 1962. Lives in New York City.
202. FRUIT TREE. 1956. Steel and bronze, H. 5'9' V'. Page 188
203. SEATED FIGURE WITH WINGS. 1958. Bronze, H. 13". Signed on reverse, Hare 59.
BAHBAHA HEPWUKTII
Born in Wakefield. Yorkshire, 1903. Studied at Leeds School of Art, 1920; Royal College of Art, London. 1921-24. 1924-25 Italy. Returned to England, 1926. Associated with Moore, Arp, Bran- cusi. Member of 7 & 5 group, 1931-36; Unit One group; 1933-34; Abstraction-Creation group, Paris, 19,33-35; founding member Penwith Society oj Arts. Cornwall, 1949. First one-man exhibi- tion, Beaux-.\rts Gallery, London, 1927. Has exhibited extensively since then, including Venice Biennale, 1950 (retrospective) : Brussels World's Fair, 19.58: //. Documenta. Kassel, 1959; Siio Paulo Bienal. 19.59 K;ran<l Prize I. Has lived in St. Ives, Corn- wall since 1936.
204. liECLINlNG FIGI UK. 1933. Alaha-t,T. II. 7'/',
205. I'I:M)(U U. 1917. Painted wood. L 28", uiiii|ue.
206. HEAD. 1952. .Mahogany and string. H. 17".
207. PORTIIMEOR iSEA FORM i. 19,58. Bronze, II. 30'-.'", unique.
Page 1.53 Page 152 Page 153
217
E»WAK» HIGCINS
Born in Gaffney, South Carolina, 1930. Studied at University of North Carolina. First one-man exhibition, Leo Castelli Gallery, New York, 1960. Group exhibitions include: Recent Sculpture, U.S.A., The Museum of Modern Art, New York, 1959; Pittsburgh International, 1961 ; Art Since 1950, Seattle World's Fair, 1962. Lives in Long Island City. New York.
208. DUNCE. 1960. Welded steel and plaster, H. 34", unique.Page 194 Signed on top edge of base, Ed. Higgins 1960.
glass windows in church, St. Jacques de Montrouge. From 1949 devoted himself exclusively to sculpture. Numerous exhibitions, primarily in France, since participation in first group show, Galerie La Hune, Paris, 1943. Recent exhibitions include Pitts- burgh International. 1961; one-man show, Galerie Claude Ber- nard, Paris, 1962. Lives in Paris.
212. DAVID. 1959. Bronze, H. 60", 2/6. Signed at bottom, Ipousteguy. Foundry mark at bottom, Susse Fondeur.
Page 121
PHILIPPE HIQI'ILY
Born in Paris, 1925. Orleans, 1937-44; Indochina, 1945-47. Stud- ied at ficole des Beaux-Arts, Paris, 1947-51. Numerous group exhibitions including Salon de Mai, Paris, 1956, 1957, 1959, 1960, 1961; Pittsburgh International, 1958; I Biennale de Paris (Critics' Prize), 1959; Salon de Mai, Amsterdam. 1961. One-man shows: Galerie Palmes, Paris, 1954; Galerie du Dragon, Paris, 1958; The Contemporaries, New York, 1959, 1961. Has lived in Paris since 1947.
KOHERT JA4'OHSEN
Born in Copenhagen, 1912. First one-man exhibition, Copen- hagen, 1944. To Paris, 1947. Extensive exhibitions, including: one-man show, Kunsthalle, Basel, 1958; Brussels World's Fair, 1958; Pittsburgh InternationaL 1958, 1961; //. Documenta, Kassel, 1959; Art Since 1950, Seattle World's Fair, 1962. Lives in Montfermeil, France.
213. MOVEMENT IN ACCELERATION. 1957. Iron, H. 20%".
Page 122
209. FOUGASSERIE II. 1959. Bronze, H. 1I%". Signed, 59 Hiquily.
Page 121
JASPEII JOIIIVS
RICHAnn HI'IVT
Born in Chicago, 1935. Studied at Art Institute of Chicago, 1953-57. Traveled in Europe, 1957-58 on Nelson Raymond Travel- ing Fellowship. Exhibitions include one-man show, Alan Gallery, New York, 1958; Pittsburgh International, 1961. Teaches at University of Illinois, Urbana. Lives in Chicago.
210. LITTLE VECTOR. 1958. Steel, H. 17" Monogrammed, bottom center.
Page 189
Born in Allendale, South Carolina, 1930. Studied at University of South Carolina. Traveled in Japan. 1952 to New York City, where he still lives. First one-man exhibition, Leo Castelli Gal- lery, New York, 1958. Since then many group and one-man shows in United States and Europe. Group exhibitions include: Venice Biennale, 1958; 16 Americans, The Museum of Modern Art, New York, 1959; Exposition Internationale du Surrealisme, Paris, 1959; American Vanguard, U.S. I. A. show traveling in Europe. 1961.
214. FLAG. 1960. Bronze relief, 12% x 18%", 1/4.
Page 205
KLAITS IHI.EIVFELD
Born in Berlin, 1934. 1951 began studies at Hochschule fiir Bildende Kiinste, with Hans Uhlmann, Berlin; first work in metal. Traveled to Spain, 1954; in United States, Mexico, 1957. Group exhibitions at Amerika Haus. Berlin, 1953; North Caro- lina Museum of Art, Raleigh, 1957. One-man shows in Germany.
211. COMPOSITION IN A CUBE. 1961. Bronze, 13 x 13 x 13".
JEAN IPOUSTEGUY
Page 96
Born at Dun-sur-Meuse, France, 1920. Studied with Robert Lesbounit, Paris, 1938. 1947-48 executed frescoes and stained
WILLIAM KIXG
Born in Jacksonville, Florida, 1925. Studied at University of Florida, Gainesville, 1942-44; Cooper Union, New York, 1945-48; Brooklyn Museum Art School, 1948-49. 1949-50 Fulbright Grant ; worked at Accademia di Belle Arti, Rome. Instructor in Sculp- ture, Brooklyn Museum Art School, 1953-60. Executed mural for SS United States. 1952; for Banker's Trust Co., New York, 1959. Exhibitions include one-man shows, Alan Gallery, New York, 1954, 1960; participation in Pittsburgh International, 1958; As- pects de la sculpture americaine, Galerie Claude Bernard, Paris, 1960. Lives in New York City.
215. NOISY GIRL. 1956. Bronze, H. 35".
216. VENUS. 1956. Bronze, H. 62%", 1/3. Page 198
218
OAnillEI. KOIIIV
Born in New York City, 1910. Studied at Cooper Union, New York, 1929; Beaux- Arts Institute of Design, New York, 1930-34. First one-man show, Galleria del Zodiaco, Rome, 1950. Group exhibitions include: Recent Sculpture U.S.A., The Museum of Modern Art, New York, 1959; Sao Paulo Bienal, 1959; An Since 1950. Seattle World's Fair, 1962. Lives in New York City.
217. NANTUCKET. 1960. Wood, H. 27" Signed at bottom, KOHN.
Page 203
223. ETERNAL FORCE. 1917. Bronze, H. 12%". Signed back of base, G. Lachaise 1917, N. 2. Foundry mark at rear rim, .4. Kunst. N. Y.
224. WALKING WOMAN. 1922. Bronze, H. 19". Signed back of base, G. Lachaise 22.
225. EGYPTIAN HEAD. 1923. Bronze, H. 13". Signed at bottom, Lachaise 1923.
Page 166
Page 167
226. RECLINING WOMAN WITH ARM UPRAISED, c. 1924. Bronze, H. 13%". Signed at bottom, G. Lachaise.
227. WOMAN ON A COUCH. 1928. Bronze, L. 16" Signed on back al bottom. C. Lachaise 1928.
Page 167
KATHE KOLI.WITZ
Born in Konigsherg, 1867. Graphic artist and sculptor. .Studied painting and drawing in Berlin. 1885 and in Munich, 1888-89. Married Karl Kollwitz, a doctor, 1891; settled in Berlin. Visited Paris, 1904; studied sculpture at Academic Julian. Met Rodin. Lived in Italy, 1907. First exhibited sculpture at Freien Sezes- sion, Berlin, 1916. 1920 elected (o Prussian Academy of Arts. 1927 visited Russia. Expelled from Prussian Academy and for- bidden to exhibit by Nazi regime. Died in Moritzburg, 1945.
218. REST. 1936. Bronze bas-relief, 3% x 12%". Signed on back. Kol/witz. Foundry mark on back, Berlin.
219. SELF-PORTRAIT. 1936. Bronze, H. 14%". Signed on back of head at bottom, Kollwitz.
220. GRIEF. 1938. Bronze bas-rolief. lOVi x 10". Signed on side, Kollwitz.
Foundry mark on side, Berlin.
221. MOTHER AND CHILD I PIETA). 1938. Bronze, H. 28". Signed on back, Kollwitz. Foundry mark. Modern An Foundry, N. Y. Edilion of 6.
Page 51
Page 50
228. OGUNQUIT TORSO, c. 1928. Polished bronze, H. 10%".
■lEIN'RI LArnE^IS
Born in Paris. 1885. Apprenticed to a decorator. Studied draw- ing in Paris. 1911 joined Cubists. First exhibition Salon des Independants, Paris, 1913. 1915 began polychrome sculpture; 1916 first papiers colles. Decor for Ballets Russes, Le Train Bleu, 1924. Book illustrations include Idylls of Theocritus, 1945; The Golden Ass, 1949 ; Three Stories by Saroyan, 1954. Executed monumental sculpture for University of Caracas, 1954. Among his extensive exhibitions: Section d*Or, Salon des Independants, Paris, 1920; Cubism and Abstract Art, The Museum of Modern Art, New York. 1936; Venice Biennale, 1948. 1950; Sao Paulo Bienal. 1953 I sculpture prize I ; //. Documenta, Kassel, 1959. Died in Paris, 1954.
229. GUITAR AND CLARINET. 1920. Page 71 Polychrome stone, 12% x 13' i;", unique.
230. CUBIST WOMAN. 1921. Bronze, H. iV/'.
231. MATERNITY. 1932. Bronze, L. 55", 1/6. Page 71 Signed on rear base. ///. l/(t. Foundry mark on rear rim. I'alsuani.
GASTON LAt ILXIKE
FEn^'.A.-vn I.E4;Eil
Born in I'aris, 1882. Studied al f'colc Bernard I'alissy. Paris, 1895; ficole Nalionale des Beaux-Arls, Paris, 1898-1905. 1906 to United Slates, settled in Boston. 1912 to New York City. Met Paul Manship and became his assistant, 1913. Architcclural sculpture includes: frieze for Telephone Building, New York, 1921; reliefs for Rockefeller Center, 1931; first one-man show. Bourgeois Galleries, New York. 1918; Stieglitz' Intimate Gal- lery, New York, 1927; Retrospective. The Museum of Mciderri Art, New York, 1935. Died in 1935.
Born in .Vrgentan, Normandy, 1881. .Vpprenticed to an architect in Caen. 1900 to Paris. Worked as architectural draughtsman. .Studied at Gcole des Arts Decoratifs and Academic Julian. As- sociated with cubists. 1910-14. Stage designs for Swedish Ballet, 1921-23; 1924 film Ballet Mecaniqiie; 19-16 collaborated on film Dreams that Money can Buy. Visits to United Stales, 1931, 1938, 1941. -15. 1949 mosaic for church facade at Assy; 1951 stained glass window for church at .Assy. Executed scuipUire in laler vears of career. Died in Gif-sur-Yvetle, 19.55.
222. .STANDING WOMAN, c. 1912. lirdnze, II. 7'-". Signed on back, G. Lachaise.
232. HEAD OF A W OMAN. 1950,52.
Rronzc bas-relief. 18 x 13". 1/8. Signed. F. I.cger I. S.
Page 90
219
Born in Duisberg-Meiderich, Germany. 1881. Attended Kunstge- werbeschule. 1895-99 and Akadeniie. 1901-06. both in Diisseldorf. Visited Italy, 1905. Settled in Paris, 1910. Met Matisse, Derain, Brancusi. Friendship with Archipenko. Second trip to Italy, 1912. 1914 to Berlin. Lived in Zurich, 1917-18. Returned to Ber- lin, 1919 and was elected to Berlin Academy. Exhibitions before his death include: Cologne Sonderbund. 1912; Berlin Secession, 1916; Kunsthaus, Ziirich, 1917. Died in Berlin, 1919.
233. TORSO. 1910-11. Bronze. H. 261,4".
Signed on back of base, W^. Lehmbrnck. Foundry mark on back of base. Berlin.
Page 47
234. HEAD OF A GIRL. 1913. Bronze. H. 16". Page 47
Signed on back, W'\ Lehmbrnck. Foundry mark on back. Vahuani.
235. INCLINED TORSO OF A WOMAN. 1913. Cast stone, H. 36".
Page 46
240. MAN WITH GUITAR, c. 1922. Bronze plaque. 7% x 10%". Signed on face at top, /. Lipchitz.
Foundry mark, \ ahnani.
241. FIGURE. 1926-30. Bronze, H. 85%". Page 101 Signed on lower base, /. Lipchitz 1926-30.
242. RECLINING NUDE WITH GUITAR. 1928. Page 68 Bronze, H. 16". Signed on rear base, /. Lipchitz.
Foundry mark on rear base, Vahuani.
243. JOYOFORPHEUS. 1938. Bronze, H.lSVi". Page 100
244. RAPE OF EUROPA II. 1938. Bronze, H. 16%". Page 100 Signed on top of base, /. Lipchitz 7/7.
245. BEGGAR SELLING FLOWERS. 1955-.56. Bronze, H. 141/2". Signed on rear of base with thumb print and /. Lipchitz.
SEYMOI'K I.IPTOIV
ADRIEX LIEOME
Born in La Chaux-de-Fonds, Switzerland, 1922. Studied at art school in La Chaux-dc-Fonds; stonecutting in Geneva. 1946 to Paris; studied at Atelier Ossip Zadkine; Academic de la Grande Chaumiere. Visited United Slates, 1951-52. Exhibited at Salon des Realites Nouvelles, Paris, 1959. First one-man show, 1960. Lives in Paris.
236. PERSONAGE. 1960. Bronze. H. 10"
Page 122
Born in New York City, 1903. Studied at The College of the City of New York, 1922-23; Columbia University, 1923-27. Self-taught as sculptor. First one-man show, A.C.A. Gallery, New York, 1938. Recent exhibitions: Sao Paulo Bienal, 1957 (acquisition prize) ; Venice Biennale (special room), 1958; Pittsburgh International, 19.58, 1961 ; Art Since 1950, Seattle World's Fair, 1962. Received grant from National Institute of Arts and Letters, 1958; Gug- genheim Fellowship, 1960. Lives in New York City.
246. WINTER SOLSTICE NO. 2. 1957. Nickel and silver, H. 19".
247. MANDRAKE. 1959. Bronze on monel metal, H. 36". Page 186
JACQl'ES LIPCHITZ
Born in Druskieniki, Lithuania. 1891. 1909 to Paris, studied at £cole des Beaux-Arts and Academic Julian. 1913 met Picasso: association with cubism. Friendship with Gris, Matisse, Modig- liani. First one-man exhibition Galerie Leonce Rosenberg, Paris, 1920. Joined Esprit Nouveau group, 1922. First one-man exhibi- tion in United States, Brummer Gallery, New York, 1935. 1939-40 lived in Toulouse. 1941 to New York. 1953 settled in Hastings- on-Hudson. New York, where he still lives. Recent major exhibi- tions include: retrospective, The Museum of Modern Art, New York, 1954; Brussels World's Fair. 1958: //. Docnmenta. Kassel, 1959.
237. HEAD. 1915. Bronze, H. 24". Page 69 Signed on back with thumb mark and Lipchitz.
Foundry mark, 2/7.
238. BATHER. 1915. Bronze. H. 32Vi.", 2/7. Page 69
239. READER. 1919. Bronze, H. 30". Page 69 Signed on bottom rear with thumb mark and Lipchitz. Foundry mark on bottom rear, 5/7.
Ani.STinE .M.VILLOL
Born in Banyuls-sur-Mer, 1861. Studied at ficole des Beaux-Arts, Paris, under Cabanel and Gerome. Worked as a painter and tapestry designer. Friendship with Bourdelle and Denis; met Gauguin. First showed sculpture at Salon. 1896. Abandoned tapestry and turned exclusively to sculpture because of failing eyesight, 1900. 1902 first one-man exhibition, VoUard's, Paris. Exhibited regularly at Salon d'Automne. 1908 visited Greece. First exhibition in United States, Albright Art Gallery, Buffalo, 1925. Book illustrations include: Virgil's Eclogues, 1912-13 (published 1925 ) ; Ovid's .4rt of Love. 1933; Verlaine's Chansons pour Elle, 1939. Lived in Banyuls and Marly-le-Roy. Died in Banyuls, 1944.
248. BATHER WITH RAISED ARMS. 1898. Bronze, H. 12%".
249. YOUTH. 1910. Bronze, H. 39%". Signed on base. M.
Foundry mark on rear of base, Alexis Rudier, Fondeur, Paris, #3.
Page 29
220
250. KNEELING NUDE. 19.35. Bronze, H. SSV/'. Signed on bottom, A. Maillol 2/6. Fountli^- mark on rear, Georges Rudier Fondeur, Paris.
Page 29
251. NYMPH. 1936-38. Bronze, H. 60%". Page 28
Signed on rear of base, M. Foundry mark on rear of base, Rudier.
ORONZIO .MAI.ItAKKM.I
Born in Naples, 1892. To United States, 1910. Studied at Cooper Union; National Academy of Design; Beaux-Arts Institute, all in New York. To Paris, 1931. Executed commissions for Post Office Department, Washington, D. C. ; St. Patrick's Cathedral, New York; New York Housing Authority. Teaches at Columbia University. Lives in New York City.
252. BIANCA NO. 2. 1951, Bronze, H. 9". Signed on bottom of foot, Maldarelli.
GIACOAIO HIAIVZU
Page 168
Born in Bergamo, 1908. At age of 11 worked with a carver and gilder, later as a stucco worker. Self-taught as an artist except for some sculpture classes at Accademia Cicognini, Verona. 1930 to Milan, where he now lives. First one-man exhibition, Galleria del Milione, Milan, 1932. Taught at Accademia Albertina, Turin, 1941 and Accademia Brera, Milan, 1943-54. Commissioned for bronze door for St. Peter's, Rome, 1950; central portal for Salz- burg Cathedral. Represented in Venice Biennale, 1948 (sculpture prize), 1956.
253. SELF-PORTRAIT WITH MODEL AT BERGAMO. 1942.
Bronze relief, 61 x .38'L'", unique. Page 133
Signed at bottom, Manzu. Foundry mark, Fonderia M.4F Milano.
2.54. THE DEPOSITION, c. 1950. Bronze bas-relief, 13% x 9'^", .Signed on hack and foundry mark
Fonderia MAF Milano/MANZV.
2.55. THE EXECUTION. 1950. Bronze bas-relief, 13 x 8Vi". .Signed on hack and foundry mark
Fonderia MAF Milano/ MAN/.V.
256. STANDING CARDINAL. 1954. Bronze, H, 66'.". Page 131 Signed on rear at bottom, Manzu.
Foundry mark, Fonderia M.4F .Milano.
257, HEAD OF A WOMAN, 19.54. Bronze, H, 19". Signed anil marked, Fonderia MAF Milano/.MANXU.
2,58. DANCER. 1954. Bronze, H. 25'...". Page 128
Signed and rnarki'il, Fonderia MAF Milano/MANZV.
259. (;IKL IN (HAIR. 1955. B.onze. Il.44-'i". Page 129
Signed on rear of chair, Manzu. Foundry mark on rear of cliair, Fonderia MAF .Milano.
260. SEATED CARDINAL. 1955. Bronze, H. 35%". Signed and foundry mark on rear at bottom, Fonderia MAF Milano/MANZV.
261. DANCER WITH SKIRT. 1956. Bronze, H. 80" Signed and foundry mark on rear at bottom, Fonderia MAF .Milano/MANZU.
Page 130
262. BUST OF INGE NO, 2, 1956. Bronze, H. 24".
Signed and foundry mark, Fonderia MAF Milano/MANZU.
263. SECOND SKETCH FOR SALZBURG CATHEDRAL DOORS. 1957, Bronze bas-relief, 36% x 18Vo".
264. THIRD SKETCH FOR SALZBURG CATHEDRAL DOORS. 1957. Bronze bas-relief, 25% x 13%".
265. ST, NOTBURGA. 1957. Bronze bas-relief, 13% x 13".
266. ST. MARTIN I. 1958. Bronze bas-relief, 8'4 x 8'4".
267. ST. MARTIN AND ST. SEVERIN. 1958. Bronze bas-relief, 21% x 19%".
268. ST. CONRAD OF PARZHAM AND ST. FRANCIS. 1958. Bronze bas-relief, 13 x 12%". Page 132
269. SITTING HEN. 1958. Bronze bas-relief, lO'i x 1014".
270. DOVE II. 1958. Bronze bas-relief, 11 x 10%".
271. DUCK. 1958. Bronze bas-relief, 13% x 15%".
272. DOLPHIN. 1958. Bronze bas-relief, 10% x 10%".
273. .ST. SEVERIN. 1958. Bronze bas-relief, 211,4 x 28%". Page 132
GEHHARn >IAR< KS
Born in Berlin, 1889. 1907 studied painting with Richard Scheibe. Taught at Kunstgewerbeschule, Berlin, 1918; at Bauhaus, Wei- mar, 1920-25; at Kunstgewerbeschule, Halle, 1925-3.3. Forbidden to exhibit by Nazis. 1946-50 taught at Landeskunstschule. Ham- burg. Represented in Venice Biennale, 1954; /. and //. Docu- menla, Kassel, 1955, 1959. Has lived in Cologne since 1950.
274. OLD AM) YUl Nt; WOMAN. 1945. Bronze, II. 23". Monogranuned on front, top of base. Foundry mark on rim of base. Muriendorf Foundry II.
275. GIRL WITH BRAIDS. 1950. Bronze, H. 45". .Signed and marked on top of base. No. 2.
276. SEATED GIRL. 1953. Bronze. H. 2.S".
277. CROl'ClllNC; ARAB. 19,56. Bronze. II. 4^',". Monogranuned on rear.
Foundry mark at Imllnni of base. Mariendori and R. H. liarlh. BIN.
Page 52 Page 52
221
MAHIIVO MARINI
Ei;« ALD MATARE
Born in Pistoia, 1901. Studied painting and sculpture at Accade- mia di Belle Arti, Florence. 1928-29 studied sculpture in Paris. Taught at art school of Villa Reale, Monza. 1929-40. 1940 ap- pointed professor of sculpture, Accademia di Brera, Milan. Lived in Ticino, Switzerland, 1942-46. Since 1946 has lived in Milan and Forte dei Marmi. Has traveled to United States and throughout Europe, with several long visits to Paris. Included in Venice Biennale, 1950, 1952 (sculpture prize), 1954; Brussels World's Fair, 1958; //. Documenta, Kassel, 1959.
278. SUSANNA. 1943. Bronze, H. 28%". Page 134 Signed near foot, MM.
279. HORSE AND RIDER. 1950-53. Bronze, H, 81". Page 137 Signed on back at top of base, MM.
280. BULL. 1953. Bronze, H. 33". Page 135 Signed on back at top of base, MM.
281. CURT VALENTIN. 1953. Bronze. H. 91/2". Page 135 Signed on back of neck at bottom, MM.
282. DANCER. 1954. Bronze, H. 6SV2". 1/3. Page 136 Signed on back of base at center, MM.
283. STANDING NUDE. Bronze, H. 16%".
284. WOMAN SEATED, ARMS BEHIND BACK. Bronze, H. 25%".
MARISOL
Born in Paris, of Venezuelan parentage, 1930. Studied at ficole des Beaux-Arts, Paris. To New York, 1950; studied with Hans Hofraann and at Art Students League. Group exhibitions: An- nuals, Stable Gallery, New York, 1954-57; Festival of Two Worlds, Spoleto, 1958; Humor in Art, Dallas Museum of Con- temporary Art, 1958; Pittsburgh International, 1958; Pan .Amer- ican, An, Art Institute of Chicago, 1959; The Art of Assemblage, The Museum of Modern Art, New York, 1961, One-man shows: Leo Castelli Gallery, New York, 1958; Stable Gallery, New York, 1962. She lives in New York City,
285. UNTITLED. 1960. Bronze, H. 12". Page 195
UMRERTO MASTROIAIViVI
Born in Fontana Liri, near Rome, 1910. First one-man exhibi- tion, Genoa, 1931. Many exhibitions since then. Among recent group shows: Venice Biennale, 1950, 1952, 1954, 1958 (first prize for sculpture) ; Pittsburgh International, 1958, 1961; //. Docu- menta, Kassel, 1959. Teaches at Accademia di Belle Arti, Bologna. Lives in Turin.
286. HEAD. 1957. Bronze, H. 21%". Signed on reverse, Mastroianni.
Page 138
Born in Aachen, Germany, 1887. Studied painting and graphics, Berlin Academy, with Kampf and Corinth, 1907-14. Self-taught as a sculptor. 1911-12 contact with Blaue Reiter Group. Munich. Taught at Diisseldorf Academy, 1932. Recent exhibitions include: Pittsburgh International. 19.58; //. Documenta, Kassel, 1959. Lives in Biiderich, Germany.
287. RECLINING BULLOCK. Page 49 Bronze, H. 3%". edition of 12. Monogrammed on rear.
288. RAM'S HEAD. Bronze, H. 4", edition of 12. Monogrammed at bottom.
HENRI MATISSE
Born in Le Cateau, 1869. 1891 studied in Paris with Bouguereau and Moreau. First sculpture, 1899. Studied sculpture briefly with Bourdelle at La Grande Chauniiere, 1900. Exhibited at Salon des Independants from 1901, at Salon d'Automne from 1903. One- man show, Ambroise Vollard's, 1904. Leader of the Fauves. 1908 exhibited in New York, Moscow and Berlin. Showed bronzes and terra cottas at Salon d'Automne, 1908. Returned to sculpture often during subsequent career. 1910 to Spain; 1911 to Moscow; 1911-13 trips to Morocco. Designed Vence chapel, completed in 1951. Died in Nice, 1954.
289. BILSTOFAWOMAN. 1900. Bronze, H. 241/2". Page 75
.Signed on back of base, HM.
290. SLAVE. 1900-03. Bronze, H. 36%". Pages 76, 77 Signed on back of base, HM 7/10.
291. DECORATIVE FIGURE. 1903. Bronze, H. 29". Pages 78, 79 Signed on side, HM 1903.
Foundry mark on rim of base, rear, Valsuani.
292. SEATED NUDE, ARMS BEHIND BACK. 1904. Bronze, H. 111/2".
Signed, HM 3/10. Foundry mark, Valsuani.
293. RECLINING FIGURE IN CHEMISE, 1905. Bronze, H. 5%".
Signed on rear, HM.
Foundry mark on edge, Valsuani. Edition of 10.
294. MARGUERITE. 1906. Bronze, H. 51/2". Signed on back, HM 6.
Foundry mark on side, Valsuani.
295. THE DANCE. 1906. Bronze, H. 16%". Signed on back of base, HM 1/10. Foundry mark on back of base, Valsuani.
296. LARGE SEATED NUDE. 1907. Bronze, H. 16yo". Page 81 Signed on back, HM 10/10.
Foundry mark on back, Valsuani.
222
297. TWO NEGRESSES. 1909. Bronze, H. I8V2". Page 80 Signed on back, Henri Matisse 1/10.
Foundry mark on back, A. Bingen & Eustenoble, Paris.
298. RECLININGNUDE.c. 1919. Terra cotta.L. 19". Page 82 Marked on rear of base, Henri Matisse 1/5.
299. RECLINING NUDE NO. 2. c. 1929. Bronze, H. 77s". Page 82 Signed and marked behind supporting elbow, HM 7/10.
300. VENUS IN A SHELL. 1931. Bronze, H. 13". Page 81 Signed on back of base at top, HM 3/10.
Foundry mark on back of base, Valsuani.
MATTA (Roberto Matta Echaurren)
Born in Santiago, Chile, 1912. 1933 graduated from School of Architecture, Santiago. Studied architecture for three years in Le Corbusier's office, Paris. 1937 began painting; joined Surrealist group, Paris. To United States, 1939; 1941 visited Mexico, then worked in Madrid, Paris, New York and Rome. Recent exhibi- tions include: //. Documenta, Kassel, 1959; Art Since 1950, Seattle World's Fair, 1962. Lives in Paris.
301. SCULPTURE. 1958. Bronze and iron. H. 28". Signed on base, MATTA 40. Foundry mark at bottom, Susse Fondeur Paris.
BEItlVAKU .MKAIIOWS
Page 119
Born in Norwich, England, 1915. Studied at Norwich School of Art; Royal College of Art, London. After service in RAF during war, resumed sculpture, working often as assistant to Moore. Exhibitions include: Venice Biennale, 1952; Sao Paulo Bienal, 1957; Pittsburgh International, 19.58, 1961. Lives in London.
302. BUMPUS BIRD HEAD. 19.59. Bronze, H. 41Vo".
303. ARMED BUST. 1961. Bronze, II. 19".
joA>' >aino
Born in Barcelona, 1893. 1919 to Paris. 1922 exhibited in inter- national Dada exhibition, Paris; 1925 participated in first Sur- realist group exhibition, Paris. Executed decor for DiaghUev Ballet, 1925. Sculptures of combined objects and fantastic forms, 1930"s. Murals: 1937 Paris Exposition; Terrace Plaza Hotel, Cincinnati, 1947; Graduate Center, Harvard University, Cam- bridge, Mass., 1950-51. Continued to execute sculpture in 1940's and 1950's. Works frequently in ceramic in collaboration with Artigas. Received Guggenheim International Award, 1953. Lives in Palma, Mallorca.
305. PERSONAGE. 1953. Black marble, H. 38". Page 120 Signed on rim of base, MIRO.
306. PERSONAGE. 1953. Bronze, H. 12y2". Signed inside base, Miro 1/8. Foundry mark, V. Gimeno Fundit, Barna.
AMEDEO .MOniGEIANI
Born in Leghorn, Italy, 1884. Studied painting in Italy. 1906 to Paris. Exhibited at Salon des Independants, 1908, 1910. 1911; Salon d'Automne, 1912. Friendship with Brancusi, who encour- aged him to begin sculpture. 1910-14 concentrated almost ex- clusively on sculpture. 1914-15 met Leopold Zborowski who be- came his friend and dealer and introduced him to dealer Paul GuUlaume. First one-man exhibition, Galerie Berthe Weill, Paris, 1917. 1918 to south of France. 1919 exhibited at Salon d'Automne and Hill Gallery. London. Died in Paris, 1920.
Page 157
307. HEAD. c. 1910. Stone, H. 19%".
308. HEAD. c. 1917, cast 1950. Bronze, H. 19%". Foundry mark on back of neck, Ale.xis Rudier. Edition of 3.
IIEIVIIY .MO»IIK
Page 83
MI«'IA>«» >ll.'%4;i 7.ZI
Born in Bologna, 1911. Studied at Accadcmia di Belle .'\rti, Bologna. First exhibition, Florence, 1931. Since then has ex- hibited widely in Europe and United States. Represented in Venice Biennale, 1948. 1950 (sculpture prize), 1952, 1954, 1960 (special room) ; S."io i*aulo Bienal. 1951; The New Decade, Tlie Museum of Modern Art. New York. 1955; //. Dorumenla. Kassel, 1959. First one-nuin show in New York. ( ialheriin- \i\iarin Gal- lery, 1956. Received third prize. Unknown Political Prisoner Competition, London, 1953. Teaches at Accadcmia di Brera, Milan, where he lives.
:«M. THE SHADOWS. 1956-57 Signed. MINGUZZI.
Bronze. II. 70".
Page 139
Born in Castleford, Yorkshire, 1898. Studied at Leeds School of Art. 1919: received Royal Exhibition Scholarship in Sculpture, 1921, and attended Royal College of .Vrl, London. 1925 received Royal College of Art Travelling Scholarship; visited Paris. Rome, Florence, Ravenna. First one-man exhibition, Warren Gallery, London, 1928. First public conmiission, relief for facade of Lon- don Underground Railway Headquarters. 1928. Commissioned by War /Vrtisls Advisory Conunillee to make drawings of under- ground shelters, 1940, and coal mine drawings. 1941. 1946 lirst visit to United Stales on occasion of retrospective. The .Museum of Modern Art. New York. Prizes include \ cnice Biennale. Inter- national .Sculpture Prize. 19'lfl; Sao Paulo Bienal. International Prize for Sculpture, 1953; International .\rl Exhibition, Tokyo. Foreign Ministers Prize, 1959. Retrospectives throughout Europe and United Stales. Most recent major exhibition in United Slates, M. Knoedhr and Co.. New York. 1962. Lives in Hertfordshire.
223
309. 310.
311. 312. 313. 314.
31.5.
316.
317. 318. 319.
320.
321.
322.
323. 324. 325. 326. 327. 328.
329.
330.
331.
332.
333.
MOTHER AND CHILD. 1931. Alabaster, H. 13". Page 144
COMPOSITION. 1934. Bronze, L. le'/s". Signed on reverse, Moore 1/9.
CARVING. 1935. Cumberland alabaster, H. 11%".
FAMILY GROUP. 1943. Bronze, H. 6".
FAMILY GROUP. 1945. Bronze, H. 17%". Page 145
ROCKING CHAIR NO. 2. 1950. Bronze, H. 11". Foundry mark, lahuani. Edition ol 6.
INTERIOR-EXTERIOR RECLINING FIGURE. 1951. Page 144 Bronze. H. 13Vo". Signed on rear at bottom. MOORE. Edition of 8.
STANDING FIGURE NO. 1. 1952. Bronze, H. 9%". Signed back of base, MOORE.
LEAF FIGURE NO. 1. 1952. Bronze, H. 19".
LEAF FIGURE NO. 2. 1952. Bronze, H. 18%".
DRAPED RECLINING FIGURE. 1952-53.
Page 14S
Bronze, H. 41". Foundry mark top of base, Susse Fondeur Paris.
KING AND QUEEN. 1952-53. Bronze, H. 641/2". Edition of 5.
FIGURE RECLINING ON ONE ELBOW. 1952-53. Bronze, L. 24". Edition of 7.
RECLINING FIGURE (EGYPTIAN). 1952-53. Bronze, L. 8Vi". Edition of 9.
WOMAN ON STEPS, c. 1953? Bronze. H. 6V2".
WARRIOR'S HEAD. 1953. Bronze, H. 10".
MOTHER AND CHILD. 1953. Bronze, H. 20".
SEATED WOMAN ON BENCH. 1953. Bronze, H. 8%".
RECLINING FIGURE IV. 1954. Bronze, L. 24".
UPRIGHT MOTIF NO. 3. 1955. Bronze, H. 10". Edition of 9.
GLENKILN CROSS. 1955-56. Bronze, H. 132". Page 149
Edition of 6.
FALLING WARRIOR. 1956-57. Page 147
Bronze, L. 52". Edition of 10.
SEATED WOMAN. 1956-57. Bronze, H. 57". Page 150
Edition of 6.
SEATED FIGURE AGAINST CURVED WALL. 1956-57. Bronze, H. 22". Edition of 12.
SEATED GIRL AGAINST SQUARE WALL. 1958. Bronze, H. 91/2".
334. THREE MOTIFS AGAINST WALL NO. 2. 1959. Bronze, L. 41", 4/10.
335. HELMET HEAD NO. 3. 1960. Bronze, H. 11 V2", 4/10. Page 145
■lOKERT .MILLER
Born in Ziirich, 1920. Studied with Germaine Ricbier, 1939-44. 1947 to Italy; 1950 settled in Paris. First one-man show, Paris, 1954. Exhibitions include: Venice Biennale, 19.56, 1960; Sao Paulo Bienal, 1957; Pittsburgh International, 1958, 1961; //. Documenta, Kassel, 1959. Lives in Villiers-Ie-Bel, France.
336. RITTERSPORN. 1958. Welded iron. H. 46Vo".
ELIE IVAUELMAN
Page 122
Born in Warsaw, 1882. Briefly attended Warsaw Academy; stud- ied in Kracow. To Munich, where he studied Greek sculpture and 18th and 19th century dolls at the Glyptothek and Bayerisches National Museum. To Paris, ca. 1900. Worked briefly at Atelier Colarossi, ca. 1904. First one-man exhibition Galerie Druet, 1909. Represented in Armory Show, New York, 1913. To United States, 1914. Lived in New York City. First one-man show in New York, Stieglitz" Gallery 291, 1915. 1919 settled in Riverdale. After ca. 1930 withdrew almost entirely from exhibitions. Died in 1946. Memorial exhibition, The Museum of Modern Art, New York, 1948.
337. FIGURE STUDY. 1913. Gilded bronze, H. 12%".
338. HORSE, c. 1914. Bronze, H. 12%". Page 165
339. HOST. c. 1917. Painted cherry wood. H. 29".
340. THE HOSTESS. 1918. Painted cherry wood. H. 3211.". Page 165
341. CIRCUS PERFORMER, c. 1919. Painted cherry wood, H. 31%".
342. ORCHESTRA CONDUCTOR, c. 1919. Wood, H. 37".
343. HEAD OF BAUDELAIRE, c. 1936. Marble, H. 17".
llEi'BEN XAKIAJV
Page 164
Born in New York, 1897. Worked with Manship and Lachaise. First exhibition, 1922. Received Guggenheim Fellowship, 1931. One-man exhibitions include: Downtown Gallery, New York, 1930, 1933, 1935; Egan Gallery, New York, 1949, 1950, 1952, 1962. Awarded sculpture prize, Sao Paulo Bienal, 1961. Lives in Stamford, Connecticut.
344. ECSTASY. 1947. Bronze, H. 12". Signed on reverse of head, Nakian.
Page 174
224
345. NYMPH. 19.59-60. Terra cotta. 10 x ll'/l.".
346. NYMPH. 19.59-60. Grey terra cotla, 10% x 9%".
347. NYMPH AND CUPID. 1959-60. Terra cotta, WVi x 13%".
348. NY.MPH. 1959-60. White terra cotta, 9'X; x 9'X:".
349. NYMPH AND CUPID. 19.59-60. Terra cotta, 11 x 9".
350. NYMPH AND CUPID. 1959-60. Black terra cotta, 10 x 12".
351. EUROPA SERIES. 1960. Bronze, H. 12". .Signed on reverse, Nakian.
Foundry mark, Roman Bronze Works, Inc., N. Y.
Page 174
Guggenheim Fellowship, worked with Brancusi. Associated with Calder and Giacometti. 1929-31 studied drawing in Peking and worked as potter in Kyoto. First one-man exhibition, Eugene Schoen Gallery, New York, 1929. Public commissions include re- lief for Associated Press Building, Rockefeller Center, New York, 1938; sculpture for gardens of UNESCO Building, Paris, 1958. Has designed decor for Martha Graham dance company, furniture and lamps. Since 1952 has lived near Tokyo and in New York.
354. IRON WASH. 1957. Iron, H. 9".
Only cast to date ; three others due.
3.55. LEKYTHOS, 1958. Greek marble, H. 13"
Page 180
Page 180
TOSHIO Olt.VTE
Born in Kiev, Russia, 1900. To United States, 1905. 1929-30 stud- ied at Art .Students League, New York, with Kenneth Hayes Miller; 1931 with Hans Hofmann, Munich. Archaeological stud- ies in Mexico and Central America. First one-man show, Nieren- dorf Gallery, New York, 1940. Recent exhibitions include 16 Americans, The Museum of Modern Art, New York, 1959; The Art of Assemblage, The Museum of Modern Art, New York, 1961 ; Pittsburgh International, 1961. Lives in New York City.
Born in Tokyo, 1930. Attended art school, Tokyo, 1950-54, 1957 entered National Chiba I'niversity. To United States. 1958. Par- ticipated in group exhibitions at Graham Gallery, New York, 1959; Houston Museum of Fine Arts, 1959. First one-man exhibi- tion at Radich Gallery, New York, 1962.
356. TOKOBASHIRA. 1962. Oak, H. 30". Signed on reverse. To.
Page 195
3,52. MOUNTAIN WOMAN. 1947. Terra cotta, H. 9".
COSTANTIi'VO >'IV4»I.A
Page 203
Born in Orani, .Sardinia, 1911. Worked as a mason. Graduated from Istiluto Superior! d'Arte, .Monza, Milan. 1936-38 Art Di- rector, Olivetti Corporation. Executed many murals, including some for Italian Pavillion, Paris World's Fair, 1937. To United States, 1939. Director, Design Workshop, Harvard University Graduate School of Design, 1954-57. Numerous exhibitions, in- cluding retrospective, Columbia University School of Architec- ture, New York, 1962. Lives in New York City.
IVATHAIV OI.IVEIIIA
Born in Oakland, California, 1928. Studied at Mills College, Oakland, with Max Beckmann; received MFA from California College of Arts and Crafts, 1952. Taught at California School of Fine Arts, San Francisco; presently guest instructor, L'niversity of Illinois, Urbana. Awards include Tiffany Award for Graphic Arts. Among group exhibitions: New Images of .Man. The Mu- seum of Modern Art, New York, 1959; I. Paris Biennale. 19.59. One-man shows: Alan Gallery, New York, 19,58, 1960; Krannert Art Museum, Urbana, 1961; Walker .'\rl Center, .Minneapolis, 1961. Lives in Piedmont, California.
357. WOMAN STANDING IN OPEN BOX. 1960.
Bronze, H. 14", unique. Signed at lop, Oliveira (>0.
Page 201
353. THE MOTHER. 1953.
Sand and plaster (relii'f I, 20 x 16'.i".
ISAAIIT IV»«iil « III
Page 205
Horn in l.os Angeles. 1901, of .lapaoesc ami .Atneriean parentage. Lived in .japan as a child. Apprenticed to a eabiiiel-niakrr. Ke- turried to United Stales, 1918. Took pre-medieal course, Columliia University, 1923; sUidii'd briefly ul Leonardo da Vinci .\rt .School and KasI Sid,. An School, New York. 1921. 1927-28 in Paris on
KI»i'AIII»«» l>AOI.«»7.ZI
Born in Kclinlnirgh, Scolland. l'»21. Sluilieil al Kdinlnirgli ("ol- lege of .Art and .^ladr .Scluxtl. London. 1947-50 worked in Paris. First one-ouin exhibition, .Mayor Gallery, London, 1947, Re- ceived Inlernational .'\rl Council Commission for Festival of Britain, 1951: British Critic's Prize, 1953. Exhibitions include Venice Biennale, 1952, 1954, I960. //. Documenia, Kasscl, 1959. Most recent oni'-man show in New York, Betty Parsons Callen', 1%2. Lives in London.
225
358. STANDING FIGURE. 1958. Bronze. H. 26". Signed on front, Eiluarilo Paolozzi, London. 58.
359. LARGE FROG. 1958. Bronze, H. 36". Page 156 Signed on base, Eduardo Paolozzi, London, 58.6.7.
Pnil.lP PAVIA
Born in Connecticut, 1912. Studied at Stone Carving School, Greenwich, Connecticut; Beaux- Arts School, New York, 1930; Art Students League, New York, 1931-33. Traveled extensively in Europe, 1933-37. A founder of The Club, New York, 1948. Was founder and editor of magazine It Is. Exhibits at Kootz Gallery, New York. Included in Pittsburgh International, 1961. Lives in New York City.
360. HORSETAIL. 1961. Bronze, H. 6'6"
ALICIA PEIVAl.BA
Page 190
Born in Buenos Aires, 1918. To Fiance on French government grant, 1948. Exhibitions include: Salon de Mai, Paris, 1952; Salon de la Jeune Sculpture, Paris, 1952-57; Park Middelheim. Antwerp, 1953, 1955; Pittsburgh International. 1958; //. Docu- menta, Kassel, 1959. One-man show in New York, Otto Gerson Gallery, 1960. Lives in Paris.
361. THE SPARKLER. 1957. Page 73
Bronze and stone, H. MV-i" , base 20". Signed at bottom. Penal ba 1/4. Foundry mark along bottom edge, cassef ref Paris.
ATSTOlfiK PEVSIVEK
Born in Orel, Russia, 1886. Brother of Naum Gabo. Studied at Kiev Art Academy, 1902-09; at St. Petersburg Art Academy, 1910. Visited Paris, 1911; settled in Paris, 1913. Friendship with Modigliani and Archipenko. 1914-17 Oslo. 1917 appointed pro- fessor at Moscow Art Academy where he taught with Gabo, Tatlin and Malevitch. Wrote with Gabo Realist Manifesto, state- ment of Constructivist theories, 1920. To Berlin, 1923. Late 1923 settled in Paris again. 1931 founding member of .ibstraction- Creation group. 1946 a founder of Realites Nouvelles group. Extensive exhibitions include Kunsthalle, Basel. 1934; The Mu- seum of Modern Art, New York, 1948 (with Gabo I ; retrospec- tive, Musee d'Art Moderne, Paris, 1957; //. Dociimenta, Kassel, 1959. Died in Paris, 1962.
362. CONSTRUCTION IN SPIRAL. 1943. Bronze, H. 21%". Page 95 Signed on back of base, Pevsner/No. 1/1943. Foundry mark on back of base, Susse.
PABI.O Pl«'ASSO
Born in Malaga, Spain. 1881. To Barcelona. 1895. Carved, modeled and constructed sculpture occasionally during early career. 1900-01 trips to Madrid and Paris. 1904 settled in Paris. 1907 met Braque with whom he developed cubism: executed cubist sculpture concurrently with paintings. Turned again to sculpture, 1929-34, working in many directions, notably metal constructions with technical assistance from Gonzalez. Set up sculpture studio at Boisgeloup, 1933; began working in a larger scale. Guernica, 1937. Lived in Royan. near Bordeaux. 1939-40. Since 40's has concerned himself often with sculpture, execut- ing human figures and animals in a variety of styles and media. Has lived in the south of France since 1946. Recent retrospec- tives: Paris, 1955; New York, 1959; London, 1960.
363. HEAD OF A JESTER. 1905. Bronze, H. 16%". Page 84 Signed near bottom, Picasso.
364. HEAD OF A MAN. c. 1905. Bronze, H. 6%". Signed on side at bottom. Picasso.
365. HEAD. 1905. Bronze, H. 14%", 5/9. Page 84 Signed. Picasso, bottom.
Foundry mark, Valsuani.
366. HEAD OF A WOMAN. 1906. Bronze, H. W-i". Signed on back of head, Picasso.
367. HEAD OF A WOMAN. 1908. Bronze, H. 7%", 5/6.
368. HEAD OF FERNANDE OLIVIER (CUBIST HEAD ) . 1909. Bronze. H. 16", 1/9. Pages 57, 85 Foundry mark, Valsuani.
369. HEAD OF A WOMAN. 1951. Bronze, H. 211/2". Page 86
370. LITTLE OWL. 1952. Painted bronze, H. 10%". Page 87 Foundry mark at bottom. Valsuani.
371. FAWN. 1955. Gilded bronze plaque, 10 x 10". Page 87 Signed on front, Picasso 2/5, dated 28.6.55.
ANTOINE POIS'tET
Born in Paris, 1928. Son of Swiss painter Marcel Poncet, grand- son of Maurice Denis. Worked in father's stained glass and mosaic workshop. 1942 worked with Richier, Ziirich; 1942-45 studied at ficole des Beaux-Arts, Lausanne. To Paris, 1947. 1952- 55 worked with Arp. From 1952 exhibited at Salon de la Jeune Sculpture, Salon de Mai, Salon des Realites Nouvelles, Paris. Participated in Venice Biennale, 1956. One-man show, Galerie Iris Clert, Paris, 1959. Lives in St. Germain-en-Laye, near Paris.
372. ARBRALU (FORMECLATl. 1961. Bronze. H. 17%", 1/5.
Page 109
226
ilKII.>'AKIt IIKIIKII
Born in Czernowitz, Russian Ukraine (then part of Austrian Em- pire), 1897. To Prague, 1930. Studied sculpture and graphics at Academy of Fine Arts, Prague. 1935 first sculpture exhibition. Manes Gallery, Prague. To France, 1939. To Cuba, 1941. To New York, 1943. Recent one-man exhibitions include: World House Galleries, New York, 1959; retrospective, Whitney Mu- seum of American Art, New York, 1961. Lives in New York City.
373. SMALL CELLO PLAYER. 19.55. Bronze, H. 15%", 6/6.
374. HEAD OF GOOD SAMARITAN. 1955. Page 175 Bronze, H. 10", 2/3. Signed on inside of base, Reder 2 II 1955.
ored backgrounds painted by Hartung and \'ieira da Silva. Ex- hibitions include .Sao Paulo Bienal, 1951 (sculpture prize) ; Venice Biennale, 1952, 1954; retrospective, .\Iusee d'Art Moderne, Paris, 1956; Brussels World's Fair, 1958. Illustrated Rimbaud's Les Illuminations; de Solier's Centre Terre ; Pliny's Natural History. Died in Montpellier, 1959.
380. FIGURE WITH UPRAISED ARM (MAN OF THE FOREST). 1945. Bronze, H. 16Vi". Page 116 Signed on back of base at top, G. Richier.
Foundry mark on back of base, Valsuani.
381. LEAF. 1948. Bronze, H. 54'/-". Pages 116, 117 Signed, G. Richier.
Foundry mark, Susse Fondeiir.
AIT»|ISTK IIKNOIH
Born in Limoges, 1841 ; family moved to Paris, 1845. Apprenticed to a porcelain painter, later studied with Gleyre at ficole des Beaux- Arts, Paris. Accepted in .Salon, 1867, after two rejections. Met Manet, 1867. 1874 active in organization of Impressionist group and exhibited in their first exhibition. 1880 broke away from the group. 1904 retrospective at Salon d'Automne. First sculpture, 1907. Later more ambitious work, executed by sculptor- assistant Guino, c. 1913-18. Experimented with colored terra cotta. Died in Cagnes, 1919.
37.5. SMALLSTANDING VENUS. 1913. Page 44
Bronze, with base, H. SS'/^". Signed on base of figure, Renoir.
376. PORTRAIT OF MME. RENOIR, c. 1915. Bronze, 11.23'//'.
377. HEAD OF A WOMAN, c. 1918. Bronze, H. 14" Signed on back of neck, Renoir.
Foundry mark on hair, Alexis Riidier.
378. PIPE PLAYER. 1918. Bronze relief, 24 x 17'-' Signed at bottom, Renoir.
Foundry mark al l)ollom, Vahiinni, ^/20.
Page 44
Page 44
332. LARGE WARRIOR. 1953. Bronze, H. IS'-;". Signed on back, G. Richier. Foundry mark on back, Valsuani.
383. MAN OF THE NIGHT. 1953-54. Bronze, H. 11" Foundry mark on back, Valsuani.
384. GRAIN. 1955. Bronze, H. 57". Signed on back of base, G. Richier. Foundry mark on back of base, Valsuani.
■.AIIItY illVEIIS
Born in New York, 1923. Studied al Julliard School of Music, New York; New York University; with Hans Hofniann, New York. First one-man exhibition, Jane Street Gallen, New York, 1949. Numerous shows of both painting and sculpture since then. One-man exhibitions of sculpture: Stable Gallery, New York, 1954; Martha Jackson Gallery, New York, 1960. Important group shows include; S.'io Paulo Bienal. 1957: Pittsburgh International. 19,58, 1961. Illustrated Second .lieniie. poems by Frank O'Hara, 1960. Lives in Southampton, New York.
385. HEAD. 19.58. Steel, II. 18-M
Page 201
,379. GIRL WITH TAMBOURINE NO. 1. 1918. Bronze rfliel, 23 X 17"i". Signetl at lower i'lonl. Rvnoir. Foundry mark on side. \ itlsuani. 1/20.
UV.tX^l.\fSV. IIK'IIIICII
liorn in (Iruns, France. 1904. 1922-25 attended fieole des Beaux- Arts, iMonlpcllier. 1925-29 in Paris, pui)il and ussisliinl of lioia- delle; exhibited at Salon d'Automne and Tuilerii's. 1934 first one-man exhibition, Gulerie Max Kaganovitch, Paris. 1936 re- ceived Blumenthal Prize for Sculpture. Switzerland and south of France, 1939-15. Settled in Paris. Executed sculpture with col-
iir«;4» iioiii's
Born in Cleveland, 1885. Studied at Cleveland School of .\rt; .National Academy of Design, New York; ■■Veadcmie de la Grande Chaumiere, Paris, with Bourilelle. .\etive first as a painter. Has exhibited in .\nnuals. \\ hilney .Museum of American .\rl. New York, since 1933. Ketrospeclive, Whitney Museum of .\nierican Art. 1960. lias taught at Hunter College. New York; Boston Mu- seum School of .\rl. Li\»'s in Ne\s ^ Hrk (!ily.
.336. SONG. 1934. liron/, . II. 60". Signed on bottom, Robus. Foundry mark. Roman lirouzc Works, Inc.. t/l.
Page 172
ArCUSTE HOI»l>
Born in Paris, 1840. Began studying, 1854 at La Petite ficole under Boisbaudran; later under Barye. Rejected from ficole des Beaux-Arts. Worked in studio of Carriere-Belleuse more than ten years, executing architectural ornament; then as sculptor's as- sistant. Brussels, 1871-76, where he executed architectural sculp- ture. Visited Italy to study Michelangelo and Germany to see Gothic cathedrals. Returned to Paris, exhibited in Salon, 1877. 1880 received first public commission; Gates of Hell, portal for Musee des Arts Decoratifs. Among his most important monu- ments; The Burghers of Calais, which met with widespread criticism ; Balzac, which was refused by the Societe des Gens de Lettres. Joint exhibition with Monet, 1889. Retrospective, Paris Exposition, 1900. Died in Meudon, 1917.
387. MAN WITH BROKEN NOSE, MASK. 1864. Page 17 Bronze, H. 12M:". Signed at bottom, A. Rodin.
Foundry mark on side, Alexis Rudier Fondeur, Paris.
388. HEAD OF ST. JOHN THE BAPTIST. 1879. Bronze, H. lOV-". Signed at front, A. Rodin.
Foundry mark at front, Alexis Rudier Fondeur, Paris.
389. HEAD OF SORROW. 1882. Bronze, H. 91/4". Signed at bottom. .4. Rodin.
Foundry mark on back, Georges Rudier.
390. CROUCHING WOMAN. 1882. Bronze. H. 12'1.". Page 22 Signed on side, A. Rodin.
Foundry mark, Alexis Rudier.
Pages 19, 20, 21
391. THE BURGHERS OF CALAIS. 1884-88. Bronze, 85 x 981/8 x 78". Signed top of base, A. Rodin. Foundry mark edge of base, Alexis Rudier.
392. IRIS, MESSENGER OF THE GODS. 1890-91. Page 23 Signed at front at bottom, Rodin.
Initials RBJF on bottom at back.
393. BUST OF BALZAC. 1893-95. Bronze, H. 18%". Page 25 Signed, A. Rodin.
Foundry mark on rear, .4lexis Rudier fondeur, Paris.
394. HEAD OF BALZAC. 1893-95. Bronze, H. 7%". Cast by A. Rudier, No. 2.
395. SPIRIT OF MELANCHOLY. 1898. Bronze, H. 5%". Signed at bottom of neck, A. Rodin.
Foundry mark on back of neck, Alexis Rudier.
396. HEAD OF BAUDELAIRE. 1898. Bronze, H. 8". Page 24
397. TORSO. 1909. Bronze, H. 321,1.", 2/10. Page 26 Signed in front, A. Rodin.
Marked on base, Musee Rodin 1959.
398. FEMME AU CRABBE. Bronze, H. 81/3". Signed on side, A. Rodin.
Foundry mark. Rudier, Paris.
399. STUDY OF NUDE. c. 1909. Bronze, H. 15", 7/12. Signed on base, A. Rodin No. 7.
Cast by the Musee Rodin in 1959.
JAMES ROSATI
Born in Washington, Pennsylvania, 1912. Studied violin. Turned to sculpture, worked with Frank Vittor, Pittsburgh. Worked on W.P.A. Federal Art Project. Has taught at Pratt Institute and Cooper LTnion, New York; Visiting Critic in Sculpture, Yale University, 1950, 1961, 1962. Received Brandeis University Creative Arts Award, 1960; Frank Logan Medal and Prize for Sculpture, Art Institute of Chicago, 1962. Group shows since 1951. One-man exhibitions: Peridot Gallery, New York, 1954; Otto Gerson Gallery, New York, 1959, 1962. Has lived in New York City since 1943.
400. HEAD. 1956. Marble, H. 23%". Monogrammed.
401. HAMADRYAD. 1957-58. Marble, H. 35". Page 181
402. HEAD. 1960. Bronze. H. 10".
MEDARDO ROSSO
Born in Turin, 1858. Worked as painter until 1880. Entered Acca- demia di Brera, Milan, 1881 ; dismissed, 1883. In Paris, 1884-85 ; worked in atelier of Dalou, met Rodin. 1884 exhibited in Milan, Paris and Rome. Returned to Paris, 1889, where he spent most of his active career. 1900 showed at Paris Exposition; 1904 ex- hibited with Rodin, Salon d'Automne, Paris. Works not exten- sively exhibited in Italy until 1910. Died in Milan, 1928. 1929 first retrospective, Salon d'Automne, Paris.
403. THE JANITOR. 1882. Bronze, H. 14'//'.
404. CARNE ALTRUI. 1883. Bronze, H. 14%". Page 30
405. THE DOORKEEPER. 1883. Wax, H. IS'/.".
406. THE GOLDEN AGE. 1886. Wax, H. 17".
407. SICK MAN IN HOSPITAL. 1889. Page 31 Plaster, H. 9".
408. THE BOOK MAKER. 1894. Bronze, H. 17%:". Page 31
409. CHILD IN POORHOUSE. 1893. Wax, H. 17%".
228
THEOnOKE nOSZAK
CAKLO SERGIO SIO.'V'OKI
Born in Poznan, Poland, 1907. Family moved to United States, settled in Chicago, 1909. .Studied at Chicago Art Institute; Na- tional Academy of Design, New York; Columbia University, New York. Received traveling fellowship from Art Institute of Chicago, 1928. Europe, 1929-31. 1932 settled in New York City, where he still lives. Taught at Art Institute of Chicago, 1927-29; Design Laboratory, W. P. A. Federal Art Project, New York, 1937- 39; Sarah Lawrence College, Bronxville, 1940 — . First one-man exhibition (lithographs), Allerton Galleries, Chicago, 1928. Re- cent major exhibitions: Retrospective, Whitney Museum of American Art, New York, 1956 (circulated to Walker Art Center, Minneapolis; Los Angeles County Museum; San Fran- cisco Museum of Art; .Seattle Art Museum) ; Venice Biennale, 1959 (special room) ; Neiv Images oj Man, The Museum of Mod- ern Art, New York, 1959.
410. INVOCATION I. 1947. Steel, H. 29%", unique.
411. NIGHT BLOOM. 1950. Steel, H. 14'/-", unique. Signed on front of base, Theodore Roszak.
Page 184
Born in Milan, 1906. To Paris, 1924. Studied at Academic Ran- son, Paris. Numerous exhibitions in Europe, including: Venice Biennale, 1950, 1952, 1956, 1958; one-man exhibitions in Milan, 1955; Galerie Rive Droite, Paris, 1956, 1957; Galerie Creuze- vault, Paris, 1958 ; Hanover Gallery, London, 1959. Lives in Paris.
414. TORSO. 1957. Marble. H. 28%".
DAVID SLIVK.4
Page 109
Born in Chicago, 1914. Lived in Chicago, Indiana, Florida. 1931 to San Francisco. Studied at Art Institute of Chicago; California School of Fine Arts, San Francisco, 1931-33. 1934-40 executed sculpture commissioned by government and private sources in San Francisco area. Taught at Sacramento Art Center, 1939; Brooklyn College, 1950; University of Mississippi, 1959; Univer- sity of Southern Illinois, 1961. Group exhibitions since 1952 in- clude shows at Tanager Gallery, New York; annual exhibitions at Stable Gallery, New York. One-man exhibition, Graham Gal- lery, New York, 1962. Has lived in New York City since 1945.
JULIUS SCII.>IIWT
Born in Stamford, Connecticut, 1923. Received BFA, 1952, MFS, 1955 from Cranbrook Academy of Art, Bloomfield Hills, Michi- gan; studied at Atelier Ossip Zadkine, 1953; Accademia di Belle Arti, Florence, 1954. Has taught extensively, most recently at Kansas City Art Institute, 19.54-59; Rhode Island School of De- sign, Providence. 1959-60; University of California, Berkeley, 1961-62. Group exhibition^ include: Annual Exhibition of Sculp- ture and Drawings, Whitney Museum of American Art, New York, 1960, 1961; Pittsburgh Inlernallonal, 1961. Most recent one-man cxhibilion, Otto Gerson Gallery, New York, 1961. Lives in Berkeley, (California.
412. UNTITLED. 1961. Iron, H. 72"
.lA.SO.X SEI.KY
Page 190
Born in Newark, 1919. Studied at Art Students League, New York, 1943-45; ficole des Beaux-Arts, Paris, 19.50. Awards in- iludi' l''ulbriglit Graiil fur si iilplurc in France, 1950. Taught at l,e Cenire d'Art, Port au Prince, Haiti, 194.6-49; Hofstra College, Hempstead, New Y'ork, 1953 to present. First one-man exhibition, 1946. Recent group exhibitions include The An oj Assemblage, The Museum of Modern Art, New York, 1961; Festival oj Two Iforlils. Spoleto, 1962. Lives in New York (^ity.
415. NIGHT. 1962. Bronze, H. 15" Signed at bottom, Slivka 62.
DAVID SMITH
Page 191
Born in Decatur, Indiana, 1906. Attended Ohio University, 1924; George Washington University, 1926. Worked as a riveter in automobile factory. South Bend, Indiana, 1925. 1926 to New York; studied painting at Art Students League with John Sloan, Jan Matulka. 1926-30. 1931 first free standing painted wood con- structions. 1933 first welded iron sculpture. Concentrated pri- marily on sculpture after return from trip to London, Paris, Greece, Crete, Russia, 1935. 1938 first one-man show. East River Gallery, New York. Worked on WP.\ Federal Art Project, 1938. 1940 moved to Bolton Landing, .New York, where he still lives and works. Received Guggenheim Fellowship, 1950. Recent ma- jor exhibitions: The Museum of Modern Art. New York. 1956; Venice Biennale, 19,58; Siio Paulo Bieiial. 1959: //. Dociimenla. Kassel, 1959; French and Co.. New York. 1960: Otio Gerson Gallery, New York. 1961.
416. DE.\T1I BY GAS. 19.39-40. Bronze plaque. 10 x 11' ,". Signature on metal plate at bottom, David Smith. Dated at bottom, 1939-40.
413. FOKM AI.ITV. 1960. Chrcnne plaled sleel, H. 51%
Page 195
417. .'^TEEl. DU \\\ ING. 1945. Steel, H. 23". .'Signed on base. Ihjvitl Smith 1945,
418. WOMAN IN SUBWAY. 1945. Bronze. H. 10".
Signed twice on base. David Smith 10(5.
Page 183
229
419. RINGTOOTHED WOMAN. 1945. Bronze, H. 11%". Signed on top of base, David Smith 1945.
420. SENTINEL II. 1956-57. Stainless steel, H. lOVi". Page 182 Signed top of base, David Smith SEN II 56-57.
421. ANIMAL WEIGHTS. 1957. Steel, L. 49".
422. AUBURN QUEEN. 1959. Bronze, H. TSV-t".
423. LITTLE ALBANY. 1959-60. Painted metal. H. 18".
424. BOLTON LANDING. 1959-61. Page 183 Signed in front, David Smith Bolton Landing,
June 19, 1961 (1959-1961).
WILLIAM Ti'll]\BlTLL
Born in Dundee, Scotland, 1922. Studied at Slade School. Lon- don, 1947-48. In Paris, 1948-50. First one-man show, Hanover Gallery, London, 1950. Exhibitions include Venice Biennale, 1952; Sao Paulo Bienal, 1957; one-man exhibitions in London at Institute of Contemporary Arts, 1957 and Molton Gallery, 1960. Since 1951 has taught at Central School of Arts and Crafts, London. Lives in London.
429. HEAD. 1957. Bronze and stone, H. 41%". Page 159
430. HAMMERHEAD. 1960. Rosewood and stone, H. 58". Page 158
llirHARD STABTKIEWICZ
Born in Philadelphia, 1922. 1929 to Detroit. Studied with Hans Hofmann, New York, 1948-49; at Atelier Fernand Leger, Paris, 1950; at Atelier Ossip Zadkine, 1950-51. First one-man exhibi- tion, Hansa Gallery, New York, 1953. Many group and one-man shows since then including: Venice Biennale, 1958; Sculpture U.S.A., The Museum of Modern Art. New York. 1958 ; 16 Amer- icans, The Museum of Modern Art, 1959; Pittsburgh Interna- tional, 1961; Sao Paulo Bienal, 1961; The Art oj Assemblage, The Museum of Modern Art, 1961. Lives in New York City.
425. FIGURE. 1955. Iron, H. 75".
SERCilO STOIIEL
Page 192
Born in Domegge-Cadore, Italy, 1926. Exhibited at Salon des Realites Nouvelles, Paris; Musee d'Art Moderne, Paris, 1960.
426. THE ATHLETE. 1959. Iron. H. 50'i", unique.
Page 122
HAKS rHi.>IAX:V
Born in Berlin, 1900. Studied at Institute of Technology, Berlin. First sculpture, 1925; first exhibition, Galerie Gurlitt, Berlin, 1930. Recent exhibitions include: German Art oj the Twentieth Century, The Museum of Modern Art, New York, 1955 ; Brussels World's Fair, 1958 ; //. Documenta, Kassel, 1959. Since 1959 has taught at Academy of Fine Arts, Berlin. Lives in Berlin.
431. STANDARD. 1940. Steel, H. 341^;"
FELIX VALLOTTON
Page 96
Born in Lausanne, 1865. Painter, graphic artist, sculptor, writer. To Paris, 1882; attended Academic Julian for three years. First exhibited at Salon, 1885. Repaired and copied old master paint- ings for a living. Contributed to Revue Blanche and met Bon- nard. Vuillard, Roussel. Concentrated mainly on woodcuts, 1891- 97. Naturalized French subject, 1900. Writings include novel La Vie Meutriere. Died in Paris, 1925.
432. YOUNG GIRL DRE.SSING. 1904. Bronze, H. 13" I including base).
Page 91
H.\KOL» TOVISH
MAX WEBEIt
Born in New York City, 1921. Studied at WPA Art School, New York, 1938-40; Columbia University, 1940-43; Atelier Ossip Zad- kine, Paris, 1946-50; Academic de la Grande Chaumiere, Paris, 1950-51 ; University of Minnesota, Minneapolis, 1947-49, 1951-54. Teaches at School of Fine and Applied Arts, Boston University. One-man exhibitions include: Walker Art Center, Minneapolis, 1953; SwetzofI Gallery, Boston, 1957, 1960.
427. THE HELMET. 1957. Silver on pewter, H. 9", unique. Signed on reverse of head at bottom, H. Tovish '57.
Born in Byelostok, Russia, 1881. Family emigrated to United States, 1891. Studied under Arthur Wesley Dow at Pratt Insti- tute, New York, 1900. 1905-08 in Europe, studied at Academie Julian, Paris, Taught at Art Students League, New York, 1920- 21 ; 1935-37. Recipient of many awards including Palmer medal, Art Institute of Chicago, 1928; Clark Medal, Corcoran Gallery of Art, 1941. Wrote Cubist Poems, 1914; Essays on Art, 1916; Primitives, 1927. Retrospective, Newark Museum, 1959; Memo- rial Exhibition, American Academy of Arts and Letters, New York. 1962. Died in 1961.
428. HEAD IN SPACE. 1960. Bronze plaque, 26 x 23%"
Page 197
433. SPIRAL RHYTHM. 1915. Bronze, H. 24", 1/3.
Page 175
230
ELHEnT WEIXRERt;
JACK ZA.IAC
Born in Hartford, Connecticut, 1928. Studied at Hartford Art School, 1946-48; Rhode Island School of Design, 1948-51 (B.F.Aj; Yale University, 1953-55. Taught at Cooper Union, New York. Prizes include: Prix de Rome, 1951, 1953; Guggen- heim Fellowship, 1960. Among recent exhihitions: Young Amer- ica, Whitney Museum of American Art, New York, 1957 ; Pitts- burgh International, 1958; Sculpture U.S.A., The Museum of Modern Art, New York, 1959; group exhihitions, Borgenicht Gallery, New York, 1957-62. Now lives in Rome.
Born in Youngstown, Ohio, 1929. Studied at Scripps College, Claremont, California, 1949-53. Awarded numerous fellowships and prizes, including Guggenheim Fellowship for study in South East Asia, 1959-60; American Academy of Arts and Letters Grant for etching, 1958. Exhibitions include Sao Paulo Bienal, 1955; Pittsburgh International, 1955; Aspects de la sculpture ameri- caine, Galerie Qaude Bernard, Paris, 1960. Most recent one-man show, BoUes Gallery, San Francisco. 1961. .\t present, lives in Rome.
434. THE BRIDE. 1956-57. Walnut, H. 65"
Page 198 441. EASTER GOAT WITH TWO .STAKES. 1960.
Bronze, H. 36%", edition of 6.
Page 200
FRITZ WOTRI BA
Born in Vienna, 1907. Self-taught. First sculpture, 1926. First one-man exhibition, Vienna, 1930. 1938-45 Switzerland. 1945 re- turned to Vienna to become director of sculpture school at Academy of Arts. Extensive exhibitions include: Venice Bien- nale, 1932, 1934, 1948, 1950, 1952; Sao Paulo Bienal, 1957; Pittsburgh International, 1958, 1961; //. Documenta, Kassel, 1959; New Images of Man, The Museum of Modern Art, New York, 19.59; Art Since 1950, Seattle World's Fair, 1962. Lives in Vienna.
LAURA ZIEULER
Born in Columbus, Ohio, 1927. Studied at Columbus Art School; Ohio State University, Columbus; Cranbrook Academy of Art, Bloomfield Hills, Michigan. 1949 received Fulbright grant; to Italy. 1954 returned to Italy. Has exhibited both in United States and Europe. Lives in Lucca, Italy.
442. RECLINING GIRL, 1956. Bronze, L. 17". Signed at bottom, L. Ziegler/Roma/1956.
Page 199
435. RECLINING FIGURE. Bronze, L. 23", 1/6.
436. HEAD. 1954. Bronze, H. 17". Signed on rear, /'/T'.
437. FIGURE WITH RAISED ARMS. 1956-57. Page 70 Bronze, H. 70%". Signed near rim of base, FW.
nsstt' ZARKIIV'E
Born in .'Smolensk, Russia, 1890. .Sent to Englanti at 16 to study English; attended sculpture classes instead. Worked as appren- tice in cornniercial sculpture studio; later studied at Regent Street Polytechnic. 1909 to l^aris, studied for six months at ficole des Beaux-Arts. First one-man I'xhibilion. Brussels, 1919. 1941- 45 in New York. Returned to Paris, taught at .'\endeniie de la (irande r;haumiere. Executed mnruinicril hi tho^c killed in ImhuIi- ing of Rotterdam, 1953-54. Ki^ceived Inleruatioiuil .Sculpture Prize, Venire Biennale. 19.50; retrospective, Maison de la Pensee Fran(;aise, Paris, 1958. Lives in Paris.
\VILI.IA.>I zoRArn
Born in Eurburg, Lithuania, 1887. FamiU- emigrated to Ohio, 1891. Studied at Cleveland School of Art. 1903-06; National Academy of Design and Art Students League, New York, 1907- 09. Studied in Paris, 1910-11. 1912 settled in New York. First exhibited. Salon d'Automne, Paris, 1911. Represented in Armory Show, New York. 1913. 1922 gave up painting to devote self en- tirely to sculpture. Many public momimenls including relief for Municipal Court Building. New York. 1958. Numerous one-man exhibitions since 1912. Lives in New York Cilv.
4-13. SETTING HEN. r. 19+6. Granite. 11. 14".
4W. EVE. 1951. Granite. II. 26". Signed at rear. Zoracb.
Page 170 Page 170
438. MOTHER AM) ( :illl,l). c. 1913. Marble. 11.23'-". Page 72
Sifiiied on base, /.atlkinr.
I.W. .STANDLNG FIGURE. ,'. 1925-28. Page 72
Bronze. 1 1. 25's" (including base) .
440. FEMALE TOUSO. Wood, II. 18' v'. Page 72
231
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Agostini, Peter
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Degas, Edga
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