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Constantin ANDRÉOU (1917 - 2007) Darling Mummy, 1997 Work in gilded brass Signed Height : 173 cm Width : 39 cm Depth : 21 cm Unique piece Provenance : Private collection of the artist Momie Darling is entirely representative of Andréou's work. First and foremost, it reflects his interest in the female figure. It exalts the poetry, lyricism and sensuality so characteristic of the artist's work. It also reflects the sculptor's interest in the play of light that gives rise to movement, thanks to the alternation of perfectly smooth surfaces with hollows and stretched brass wires. Mummy Darling seems encased in a corset of stretched brass wires and strips, emphasizing the attributes of her femininity. In an extreme stylization of form, Andréou superimposes spheres - her head, breasts, belly, buttocks - suggesting a body of triumphant femininity. With her pure, hieratic vertical structure, she becomes a totem, an idol, a divinity. Born in Brazil, he left for Greece in 1925, his parents' homeland. It was here that he began drawing and sculpting. Genuinely self-taught, he came into contact with ancient and classical sculpture and began carving marble. In 1942, he exhibited at the Panhellenic Salon in Greece. He moved to Paris in 1945, enriching his art through "contact with artists and their cultural environment". For a few months, he attended the École des Arts Décoratifs and the École des Beaux-Arts. He met Le Corbusier, with whom he worked occasionally. This collaboration gave Andréou a better understanding of the relationship between architecture and sculpture, and of the function of color in space. These two reflections were to be of great importance throughout his career as an artist. In his Parisian studio, he experimented and sought to develop a new artistic language, a new technique that he developed with soldered brass, which would remain the basis of his plastic expression. Brass sheets are cut, hammered and cold-formed before being welded together. They are then filed down to eliminate any grainy texture and create a perfectly smooth surface on which the light glides. His work, while moving away from figuration, nonetheless retains contact with reality, giving rise to sculptures whose dominant theme is the human form, particularly the female form, but also animals and birds. Over the course of his life, his work was guided by sensitivity, and he claimed that his art was poetic. He participated in numerous exhibitions in France, Greece, Brazil, the United States, Canada and Japan, among others, and six times at the Salon d'Automne, where he was appointed President for sculpture in 1982, as well as at the Antwerp Biennial (1953) and the Venice Biennial (1966).

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Constantin ANDRÉOU (1917 - 2007) Darling Mummy, 1997 Work in gilded brass Signed Height : 173 cm Width : 39 cm Depth : 21 cm Unique piece Provenance : Private collection of the artist Momie Darling is entirely representative of Andréou's work. First and foremost, it reflects his interest in the female figure. It exalts the poetry, lyricism and sensuality so characteristic of the artist's work. It also reflects the sculptor's interest in the play of light that gives rise to movement, thanks to the alternation of perfectly smooth surfaces with hollows and stretched brass wires. Mummy Darling seems encased in a corset of stretched brass wires and strips, emphasizing the attributes of her femininity. In an extreme stylization of form, Andréou superimposes spheres - her head, breasts, belly, buttocks - suggesting a body of triumphant femininity. With her pure, hieratic vertical structure, she becomes a totem, an idol, a divinity. Born in Brazil, he left for Greece in 1925, his parents' homeland. It was here that he began drawing and sculpting. Genuinely self-taught, he came into contact with ancient and classical sculpture and began carving marble. In 1942, he exhibited at the Panhellenic Salon in Greece. He moved to Paris in 1945, enriching his art through "contact with artists and their cultural environment". For a few months, he attended the École des Arts Décoratifs and the École des Beaux-Arts. He met Le Corbusier, with whom he worked occasionally. This collaboration gave Andréou a better understanding of the relationship between architecture and sculpture, and of the function of color in space. These two reflections were to be of great importance throughout his career as an artist. In his Parisian studio, he experimented and sought to develop a new artistic language, a new technique that he developed with soldered brass, which would remain the basis of his plastic expression. Brass sheets are cut, hammered and cold-formed before being welded together. They are then filed down to eliminate any grainy texture and create a perfectly smooth surface on which the light glides. His work, while moving away from figuration, nonetheless retains contact with reality, giving rise to sculptures whose dominant theme is the human form, particularly the female form, but also animals and birds. Over the course of his life, his work was guided by sensitivity, and he claimed that his art was poetic. He participated in numerous exhibitions in France, Greece, Brazil, the United States, Canada and Japan, among others, and six times at the Salon d'Automne, where he was appointed President for sculpture in 1982, as well as at the Antwerp Biennial (1953) and the Venice Biennial (1966).

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