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MODERN ART COLLECTION Alexander Archipenko Reclining 1922 Bronze 17½ × 11 × 11¼ in. (44.5 × 27.9 × 28.6 cm) Bequest of Ruth P. Phillips 2005.23.5 Widely acknowledged as the first cubist sculptor, Alexander Archipenko held a lifelong fascination with the human figure in the round. Archipenko began studies at the School of Art in Kiev in 1902 but was forced to leave in 1905 after criticizing the academicism of his instructors. He lived briefly in Moscow before settling in 1909 in Paris, where he enrolled at the École des Beaux- Arts. Yet he left after just two weeks of formal studies, believing that he could teach himself through the direct study of sculpture in the Musée du Louvre. The decade following Archipenko’s arrival in Paris proved to be his most inventive. By 1910 Archipenko began exhibiting with the cubists at the Salon des Indépendants and the Salon d’Automne, earning international renown for his nearly abstract sculptures. He was represented in many international cubist exhibitions and also exhibited in the landmark Armory Show of 1913 in New York. Following his marriage in 1921 to Angelica Schmitz, a German sculptor, Archipenko moved to Berlin, where he opened an art school. They left Berlin for New York in 1923, and Archipenko became a United States citizen in 1929. As a young artist in Paris, Archipenko began to adapt cubist techniques to sculpture. Influenced by the cubist notion of integrating the figure with surrounding space, Archipenko interchanged solids and voids so that protruding elements seemed to recede and internal features to advance. Reclining is a beautiful example of his unique approach to the human form as a platform for analyzing volume, space, and geometric planes. Through his unique interpretation of the human form, Archipenko sought to challenge traditional concepts of sculpture. With their boldly simplified geometric forms, works such as Reclining helped redefine modern sculpture as an intellectual endeavor rather than simply a means for copying observed reality..

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Fall 201720172017
2017 2017 2017 2017 Fall Fall Fall Fall This content downloaded from 024.136.113.202 on December 13, 2017 10:53:41 AM All use subject to University of Chicago Press Terms and Conditions (http://www.journals.uchicago.edu/t-and-c). American Art SummerFall 2017 2017 • 31/3 • 31/2 University of Chicago Press $20 $20 $20 $20 USA USA USA USA 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T 1073-9300(201723)31:3;1-T reform reform reform reform cameras cameras cameras cameras “prints” “prints” “prints” “prints” and and and and memory memory memory memory playground playground playground playground of of of Kent’s of Kent’s Kent’s Kent’s guns, guns, guns, guns, abolitionism abolitionism abolitionism abolitionism art art art art and and and and the the the the Rockwell literary Rockwell Rockwell literary literary Rockwell issue literary issue issue issue Group, and Group, and Group, and Group, and in in in in this this this this Homer—dogs, Homer—dogs, Homer—dogs, Place Homer—dogs, Place Place Place In In In In nostalgia Park nostalgia nostalgia Park Park nostalgia Park Duncanson’s Duncanson’s Duncanson’s Duncanson’s Christenberry the Christenberry S. Christenberry the S. the S. Christenberry the S. Winslow Winslow Winslow Winslow with with with with Robert Robert Robert Robert Suvero, Suvero, Suvero, Suvero, William William William William di di di Technological di Technological Technological Technological Hunting Hunting Hunting Hunting Mark Mark Mark Mark Kinetics of Liberation in Mark di Suvero’s Play Sculpture Melissa Ragain Let’s begin with a typical comparison of a wood construction by Mark di Suvero with one of Tony Smith’s solitary cubes (fgs.
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19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
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Robert Morris, Minimalism, and the 1960S
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Early 20Th Century Continued
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UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
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ALEXANDER ARCHIPENKO: the PARISIAN YEARS, Will Be on View at the Museum of Modern
(^<f FOR RELEASE: The Museum of Modern Art Tuesday, July 21, 1970 '1 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart PRESS PREVIEW: Monday, July 20, 1970 11 a. m. - 4 p. m. ALEXANDER ARCHIPENKO: THE PARISIAN YEARS, will be on view at The Museum of Modern Art from July 21 through October 18, 1970. The exhibition, composed of 33 works, surveys the late artist's sculpture, reliefs, drawings and prints done between 1908 and 1921, the years in which he lived in Paris. William S. Lieberman, Director of the Museum's Department of Painting and Sculpture, notes, "As a sculptor, Archipenko explored spatial relationships and the movement of forms. He was also particularly interested in the uses of color in sculpture. No matter how abstract his analysis, his inspiration derived from nature. Throughout his life, he remained a solitary figure. Although an innovator, he always remained close to the Cubist tradition as it was established in France during the years of his sojourn there." In 1908, when he was 21, Archipenko left his native Russia for France, where he remained until 1921 when he moved to Berlin. Two years later he settled in the United States. He died in New York in 1964. "By 1913," comments Mr. Lieberman, "Archipenko had found the direction of his personal style, and in the same year he exhibited in the famous Armory Show in New York. The significance of his work during his heroic years in France can be clearly revealed only by comparison with the contemporaneous and Cubist sculpture of Ra3nnond Duchamp-Villon, Henri Laurens, Jacques Lipchitz, and Pablo Picasso." The illustrated checklist* that accompanies the exhibition contains an essay by the critic, Katharine Kuh, who comments that as early as 1912, Archipenko combined wood, glass, mirror, metal, canvas, and wire to manipulate light and exploit (more) *ARCHIPENK0: THE PARISIAN YEARS.
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New Cummer Exhibit Features Work of Modern Sculptor Alexander Archipenko
New Cummer exhibit features work of modern sculptor Alexander Archipenko By Charlie Patton Sat, Jan 30, 2016 @ 10:27 am | updated Sat, Jan 30, 2016 @ 10:43 am Back Photo: 1 of 2 Though he isn’t particularly well known in the United States, where he lived the last four decades of his life, many Europeans consider Alexander Archipenko a founding father of modern sculpture. “Archipenko is of the same importance for sculpture as Picasso is for painting,” the poet Yvan Coll said in 1921. “He began to explore the interplay between interlocking voids and solids and between convex and concave surfaces, forming a sculptural equivalent to Cubist paintings’ overlapping planes and, in the process, revolutionizing modern sculpture,” reads an entry in the Encyclopedia Britannica. Now museum visitors in Jacksonville can look at Archipenko’s work at the Cummer Museum Art & Gardens, where “Archipenko: A Modern Legacy” will be on view through April 17. Archipenko was born in the Ukraine in 1887 and moved to Paris in 1908. His early work was influenced by Cubism and in 1912 he joined the Section d’Or group, which included Pablo Picasso, Marcel Duchamp and Georges Braque. In 1913, he had four sculptures and five drawings in the controversial International Exhibition of Modern Art in New York, known as the Armory Show, which was the first large exhibition of modern art in America. Viewed today as America’s introduction to the future of art, at the time the show outraged many critics, including former President Theodore Roosevelt, who declared, “That’s not art.” While in Europe, Archipenko was influenced not only of the French modernists but also of the German expressionists and the Italian futurists.
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January 2002 CAA News
s CUNY's Graduate Center. From 1969 to gela's Last Paintings (Oxford University CONFERENCE 1971, he was a CAA Board member, and Press, 1975); Borromini's Sari Carlo aIle was appo:inted Benjamin Frankl~ Quattro Fontane: A Study in Multiple Form SESSION Professor of the History of Art at the and Architectural Symbolism (Garland, University of Pennsylvania in Philadel 1977); The Sexuality of Christ in Renais HONORS phia in 1975. He retired in 1991, after sance Art and in Modern Oblivion (Univer teaching a semester as the Meyer sity of Chicago Press, 1983; the second Schapiro Chair at Columbia University :in edition:in 1996 was revised and doubled LEO New York. :in size by a "Retrospect" that responds to Steinberg has published and lectured critics); Ei1counters with Rauschenberg STEINBERG widely on Renaissance, Baroque, and (University of Chicago Press, 1999); and, most recently, Leonardo's Incessant Last he CAA Distinguished Scholar's Supper (Zone, 2001). Other writings Session was inaugurated in 2001 include studies of Filippo Lippi, T to engage senior scholars in the Mantegna, Michelangelo, Pontormo, Annual Conference and celebrate their Guercino, Rembrandt, Steen, VeHtzquez, contributions to art history. But its aim is and Picasso. Nonprofit Organization greater: At a time of great methodologi In addition to a prolific writing u.s. Postage cal shifts in the field, this session will career, Steinberg'S academic life has also foster dialogue within and among the been a full one. In 1982, he delivered the Paid different generations of art historians. s A. W. Mellon Lectures in the Fine Arts at NewYork,N.Y.
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Dynamism, Creativeness, and Evolutionary Progress in the Work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillm
Dynamism, Creativeness, and Evolutionary Progress in the work of Alexander Archipenko DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert D. Calhoun Graduate Program in History of Art The Ohio State University 2016 Dissertation Committee: Kris Paulsen, Advisor Myroslava Mudrak, Co-Advisor Lisa Florman Copyrighted by Robert D. Calhoun 2016 Abstract Guy Habasque, writing for L’Oeil in 1961, recognized Alexander Archipenko (1887-1964) as the leading revolutionary and guide for sculptors of the twentieth-century. At the same time, he acknowledges that history has failed to do the artist justice, forgetting and neglecting him even before his death in 1964. What Habasque wrote fifty- five years ago is doubly true today when the holdings of Archipenko’s work in public museums have been largely relegated to storage, along with many other significant works of the twentieth century, under the increasing pressure to create gallery space for contemporary works of art. To find space in permanent displays, modernist works must compete for significance, the power of which has apparently been lost in the few discussions that exist surrounding Archipenko’s work. This project draws attention to the neglected importance of Archipenko’s work. What is significant about this work is that it forms part of a counter history of early-twentieth century art as an alternative to the materialist-formalist history, which has held the dominant, discursive position. Archipenko’s biocentric, philosophical position presents an aesthetic that represents science and technology as organic, evolutionary extensions of a universal dynamism.
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WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the Moderns: Gaudier and the Birth of Modern Sculpture
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Redefining the Art Experience : from Static to Temporal Art Forms
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1998 Redefining The Art Experience : From Static To Temporal Art Forms Justine McKnight Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation McKnight, J. (1998). Redefining The Art Experience : From Static To Temporal Art Forms. https://ro.ecu.edu.au/theses/1450 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1450 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
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