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Email to FriendSigné Jean Arp, Sculpture, Figure of a Bird  |
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| Artiste: | Arp, Jean (1887 - 1966) |
|---|---|
| Titre: | Figure of a Bird |
| Moyen: | Sculpture |
| Taille d'image: | HEIGHT: 8 11/16 in (22.1 cm) x WIDTH: 5 3/4 in (14.6 cm) |
| Signé: | Inscribed 'ARP' on the bird's head. |
| Edition: | Inscribed 74/100 on the bird's head. |
| Condition: | This work is in excellent condition. |
| Prix: Article# 3274 | Vendu |
| Description historique: | |
|---|---|
This exquisite sculpture conveys an abstract bird, caught in mid flight. Resting upon a clear Perspex base, this sculpture relays the illusion that the bird is floating in air. The brilliant bronze sheen of this bird captures the light, drawing the viewer in. The bird's wings and tail appear disproportionately small to its large head and beak, as if it is being weighed down towards the ground despite its suspended state. The viewer can almost imagine this bird's wings as a hand, reaching out towards the viewer, further drawing the viewer in to this intriguing work. This original bronze sculpture on Perspex base is inscribed 'ARP | 74/100' on the head of the bird. | |
| Style: | Surrealism, Surrealist 20th Century Modern Master |
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La biographie de Jean Arp
Jean Arp (1887 - 1966)
Arp, Jean or Hans, French artist, active in several fields but principally famous as one of the greatest of abstract sculptors. In 1915, in collaboration with his future wife Sophie Taeuber, he experimented with collages and cut-paper reliefs, as in Square arranged according to the laws of chance (1916-17, New York, MOMA). He was involved in 1916 in the formation of the original Dada group in Zurich, and turned in the following year from geometric abstract painting to a more formal language which he used in drawings, woodcuts and wooden relief constructions painted in bright colours, such as Navel, shirt and head (1926, Basel, Kunstmuseum). In 1920 he settled in Paris, where he was associated both with Surrealism and with the Abstraction-Creation group. He began to make sculptures in 1930, extending the possibilities of Brancusi's reductive simplifications to create sensual forms, ambiguously evoking human anatomy, stones and fruit, which for him distilled the organic essence of life (Pagoda fruit, 1934, London, Tate). Sir David Piper, The Random House Dictionary of Art and Artists, Random House, NY, 1984.
