PROPERTY FROM THE COLLECTION OF THE LATE ANTHONY QUINN
ALEXANDER ARCHIPENKO (1887-1964)
Linear Oriental signed, numbered and inscribed 'Archipenko 1/8 S6' (on the right side) bronze with blue and green patina height 24 3/8in. (63cm) Conceived and cast in 1961 This work is one from an edition of eight.
PROVENANCE Acquired directly from the artist by the late owner. By descent from the above to the present owner.
EXHIBITED St. Gallen, Galerie "Im Erker", Alexander Archipenko, 17 November 1962-10 January 1963, no. 26 (illustrated). Rome, Ente Premi Roma, Palazzo Barberini, Alexander Archipenko, 10 April-20 May 1963, no. 54 (listed as Donna orientale con motivi lineari).
LITERATURE A. Barth, Alexander Archipenkos Plastisches Oeuvre, Frankfurt am Main, 1997, vol. II, no. 347 (another example illustrated, p. 599).
This work will be included in the forthcoming Catalogue raisonné currently in preparation by the Archipenko Foundation.
Ever inventive and visually arresting, Alexander Archipenko's sculpture harnesses not only vast control over line and space, but also over the standard for geometric form. Having exhibited in Paris at the Salon des Indépendants, and thereafter joining the artistic group Section d'Or, a group that included Gris, Braque, Léger and Picasso, Archipenko's stylistic repertoire grew to echo the cubist notion of the human structure carving a figure from the void.
In Linear Oriental, Archipenko pushes the boundary of medium, implicitly applying negative space and motion to solid bronze, creating an anthropomorphic figure that grasps at the viewer while it flows through a solitary and unending pirouette. This abstracted view of the female form is as equally graceful as it is bold extending itself through space and the frame of the viewer. Archipenko uses both bronze and space as his medium - where one is defined by the other and used to illustrate the viewer's relation to the work.
Cast and conceived towards the end of his life, Linear Oriental points to Archipenko's Cubist foundation, one which guided his mind and hand towards the manipulation of volume, space and movement.
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