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Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939. He was a conscientious objector during the Second World War, being exempted from military service conditional upon setting up a small blacksmith business repairing farm implements. After winning the 'Unknown Political Prisoner' competition in 1953 he became one of the best known sculptors during the 1950s and 1960s, and also taught at the Slade School of Art.

Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939. He was a conscientious objector during the Second World War, being exempted from military service conditional upon setting up a small blacksmith business repairing farm implements. After winning the 'Unknown Political Prisoner' competition in 1953 he became one of the best known sculptors during the 1950s and 1960s, and also taught at the Slade School of Art.

"Family Group"
Iron
1948
Reg Butler
UK

#sculpture #mcm #regbutler #sculptor #uk #britishmodern #modernism #vintagemodern #modernistsculpture #iron #ironsculpture #familygroup #artist #art

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Julio González was born in Barcelona on September 21, 1876. With his older brother Joan he worked in his father’s metalsmith shop; during the evenings they took classes at the Escuela de Bellas Artes. González exhibited metalwork at the Exposición de bellas artes e industrias artísticas in Barcelona in 1892, 1896, and 1898, and at the World’s Columbian Exposition in Chicago in 1893. In 1897 he began to frequent Els Quatre Gats, a café in Barcelona, where he met Pablo Picasso.

In 1900 González moved to Paris; there he began to associate with Pablo Gargallo, Juan Gris, Manolo Hugué, Max Jacob, and Jaime Sabartés. His first embossed metalwork was produced in 1900. He exhibited with the Société Nationale des Beaux-Arts in 1903, 1909, and frequently during the early 1920s. González participated in the Salon des Indépendants in 1907 and occasionally thereafter. He first exhibited paintings at the Salon d’Automne in 1909, and showed both sculpture and paintings there regularly in the 1910s and 1920s. In 1918 González worked at the Renault factory at Boulogne-Billancourt, where he learned the techniques of autogenous welding he used later in iron sculptures. In 1920 he became reacquainted with Picasso.

González’s first solo exhibition, which included paintings, sculptures, drawings, jewelry, and objets d’art, was held in 1922 at the Galerie Povolovsky in Paris. The following year he was given a solo show of works in similarly varied media at the Galerie du Caméléon in Paris. In 1923 González participated in the first Salon du Montparnasse, Paris, with Raoul Dufy, Paco Durrio, Friesz, and others. In 1924 he was included in the exhibition Les Amis du Montparnasse at the Salon des Tuileries and the Salon d’Automne in Paris. He made his first iron sculptures in 1927. From 1928 to 1931 González provided technical assistance to Picasso in executing sculptures in iron.

Julio González was born in Barcelona on September 21, 1876. With his older brother Joan he worked in his father’s metalsmith shop; during the evenings they took classes at the Escuela de Bellas Artes. González exhibited metalwork at the Exposición de bellas artes e industrias artísticas in Barcelona in 1892, 1896, and 1898, and at the World’s Columbian Exposition in Chicago in 1893. In 1897 he began to frequent Els Quatre Gats, a café in Barcelona, where he met Pablo Picasso. In 1900 González moved to Paris; there he began to associate with Pablo Gargallo, Juan Gris, Manolo Hugué, Max Jacob, and Jaime Sabartés. His first embossed metalwork was produced in 1900. He exhibited with the Société Nationale des Beaux-Arts in 1903, 1909, and frequently during the early 1920s. González participated in the Salon des Indépendants in 1907 and occasionally thereafter. He first exhibited paintings at the Salon d’Automne in 1909, and showed both sculpture and paintings there regularly in the 1910s and 1920s. In 1918 González worked at the Renault factory at Boulogne-Billancourt, where he learned the techniques of autogenous welding he used later in iron sculptures. In 1920 he became reacquainted with Picasso. González’s first solo exhibition, which included paintings, sculptures, drawings, jewelry, and objets d’art, was held in 1922 at the Galerie Povolovsky in Paris. The following year he was given a solo show of works in similarly varied media at the Galerie du Caméléon in Paris. In 1923 González participated in the first Salon du Montparnasse, Paris, with Raoul Dufy, Paco Durrio, Friesz, and others. In 1924 he was included in the exhibition Les Amis du Montparnasse at the Salon des Tuileries and the Salon d’Automne in Paris. He made his first iron sculptures in 1927. From 1928 to 1931 González provided technical assistance to Picasso in executing sculptures in iron.

In 1930 he was given a solo sculpture exhibition at the Galerie de France in Paris, and the following year showed at the Salon des Surindépendants for the first time. In 1937 he contributed to the Spanish Pavilion of the World’s Fair in Paris and Cubism and Abstract Art at the Museum of Modern Art in New York. Gonzáles died in Arcueil, near Paris, on March 27, 1942.

In 1930 he was given a solo sculpture exhibition at the Galerie de France in Paris, and the following year showed at the Salon des Surindépendants for the first time. In 1937 he contributed to the Spanish Pavilion of the World’s Fair in Paris and Cubism and Abstract Art at the Museum of Modern Art in New York. Gonzáles died in Arcueil, near Paris, on March 27, 1942.

Monsieur Cactus (Cactus Man I)
bronze
1939 (cast 1953–54)
Julio González (1876-1942)
b. Spain d. France

#cactusman #monsieurcactus #bronze #sculpture #abstract #figurative #modernism #modernistsculpture #cubism #cubistsculpture #surrealism #surrealistart #juliogonzalez #c1939 #art #cubistsculpture

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A pair of huge vintage 1950s 60s cast bronze modernist brutalist Male and Female table-top sculptures on white marble bases. Striking and likely a one of a kind pair! Each measures 20.5" tall by 3" by 3" at the bases, and they weigh about 10 pounds each prior to packing. Due to their size and fragile nature they will require additional packing materials as well as double-boxing which is reflected in my shipping charge. Unmarked as far as I can see, but of such high artistic value and craftsmanship, I can't help thinking that there may be more to their story out there somewhere, so please contact me if you have any ideas as to their origin/maker/etc. Usually sculptures of this quality were sold in galleries and came with paperwork regarding their creator etc, but this information is often lost over the course of time. In any case, they are incredibly beautiful and stand on their own merits! Excellent vintage condition.

A pair of huge vintage 1950s 60s cast bronze modernist brutalist Male and Female table-top sculptures on white marble bases. Striking and likely a one of a kind pair! Each measures 20.5" tall by 3" by 3" at the bases, and they weigh about 10 pounds each prior to packing. Due to their size and fragile nature they will require additional packing materials as well as double-boxing which is reflected in my shipping charge. Unmarked as far as I can see, but of such high artistic value and craftsmanship, I can't help thinking that there may be more to their story out there somewhere, so please contact me if you have any ideas as to their origin/maker/etc. Usually sculptures of this quality were sold in galleries and came with paperwork regarding their creator etc, but this information is often lost over the course of time. In any case, they are incredibly beautiful and stand on their own merits! Excellent vintage condition.

Pair of vintage 1950s 60s cast bronze on marble modernist brutalist Male & Female sculptures - each measures 20.5" tall!

Available...

www.rubylane.com/item/1879775...

#sculpture #art #modernart #modernistsculpture #brutalistsculpture #bronze #marble #male #female #pair #vintageart #c1960 #ooak

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Luis Ortiz Monasterio was born in Mexico City on August 23, 1906. Sculptor and teacher. He studied at the Escuela Nacional de Bellas Artes (1921–24) under Ignacio Asúnsolo. He visited California between 1924 and 1926, where he encountered contemporary trends. On returning to Mexico in 1931 he was appointed to teach ‘talla directa’, sculpting directly in stone, at the Escuela Nacional de Artes Plásticas, continuing until 1962. His creative ability and originality are best seen in his more personal creations. In the 1930s he produced sensual stone sculptures such as La Victoria, 1935; by 1943 he was incorporating colour into his designs. He produced a number of polychromed terracotta sculptures, including Maternidad. He also executed some important public monuments, including the fountain of Nezahualcoyotl (1956) in Chapultepec, Mexico City; the sculptures (1962) in the Unidad Habitacional Independencia, Mexico City; and a sculpture (1963) in the National Medical Centre, Mexico City, in which he dealt with historical themes. Ortiz Monasterio maintained a constant interest in using diverse materials and in pursuing new forms of expression; he expressed nationalist sentiments through his use of Pre-Columbian sources. In the 1960s he preferred polychromed concrete and bronze in his personal work and adopted an almost abstract geometric approach. He died in Mexico City on February 16, 1990.

Luis Ortiz Monasterio was born in Mexico City on August 23, 1906. Sculptor and teacher. He studied at the Escuela Nacional de Bellas Artes (1921–24) under Ignacio Asúnsolo. He visited California between 1924 and 1926, where he encountered contemporary trends. On returning to Mexico in 1931 he was appointed to teach ‘talla directa’, sculpting directly in stone, at the Escuela Nacional de Artes Plásticas, continuing until 1962. His creative ability and originality are best seen in his more personal creations. In the 1930s he produced sensual stone sculptures such as La Victoria, 1935; by 1943 he was incorporating colour into his designs. He produced a number of polychromed terracotta sculptures, including Maternidad. He also executed some important public monuments, including the fountain of Nezahualcoyotl (1956) in Chapultepec, Mexico City; the sculptures (1962) in the Unidad Habitacional Independencia, Mexico City; and a sculpture (1963) in the National Medical Centre, Mexico City, in which he dealt with historical themes. Ortiz Monasterio maintained a constant interest in using diverse materials and in pursuing new forms of expression; he expressed nationalist sentiments through his use of Pre-Columbian sources. In the 1960s he preferred polychromed concrete and bronze in his personal work and adopted an almost abstract geometric approach. He died in Mexico City on February 16, 1990.

Luis Ortíz Monasterio (1906-1990)
Árbol de la vida y la muerte
(Tree of Life and Death)
1961-1962
carved volcanic rock

#luisortizmonasterio #mexico #sculpture #modernism #midcenturymexico #handmade #modernistsculpture #mexicansculpture #treeoflifeanddeath #volcanicrock #circa1961 #cdmx

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'Big Bird' sculpture
painted metal
1937
Alexander Calder

#stabile #sculpture #bigbird #alexandercalder #oneofakind #circa1937 #modernism #modernistsculpture #biomorphism #biomorphicsculpture #americanart #20thcenturyart #metalsmith

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Oskar Schlemmer
Sculpture based on the Triadic Ballet
Bauhaus
circa 1930

#oskarschlemmer #bauhaus #circa1930 #sculpture #modernistsculpture #modernart #modernsculpture #triadicballet #germany #germanart #modernism #moderndesign #vintagemodern

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Great Black and Red Branch
ceramic sculpture
1951
Fernand Léger
French, 1881–1955

#art #sculpture #modernart #modernsculpture #abstract #fernandleger #france #greatblackandredbranch #ceramicsculpture #dated1951 #vintage1950s #vintagemodern #modernism #modernistsculpture #mcm #midcenturymodern

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#MoisseyKogan #MoissiKogan #MoissejKogan #ÉcoledeParis #SchoolofParis #modernistsculpture #torso #146today #happybirthday

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Craig Kauffman began exhibiting increasingly ex-perimental paintings in Los Angeles in the 1950s, evidencing a newly cool, clean-edged sensibility that would soon be called the L.A. Look. During the 1960s, Kauffman turned to acrylic plastic as the primary supporting surface for his work. Compared to a traditional, stretched canvas support, in Le Mur s’en va I the plastic support is translucent, curving over on itself like a sheet of paper, and suspended away from the wall (as well as quite close to the floor). Indeed, the work’s French title indicates the wall “leaving” or “departing.” This candy-colored painting serves as its own kind of spatial partition, simultaneously three-dimensional and ethereal.

Craig Kauffman began exhibiting increasingly ex-perimental paintings in Los Angeles in the 1950s, evidencing a newly cool, clean-edged sensibility that would soon be called the L.A. Look. During the 1960s, Kauffman turned to acrylic plastic as the primary supporting surface for his work. Compared to a traditional, stretched canvas support, in Le Mur s’en va I the plastic support is translucent, curving over on itself like a sheet of paper, and suspended away from the wall (as well as quite close to the floor). Indeed, the work’s French title indicates the wall “leaving” or “departing.” This candy-colored painting serves as its own kind of spatial partition, simultaneously three-dimensional and ethereal.

Le Mur s’en va (The wall goes away)
synthetic polymer on acrylic plastic
1969
Craig Kauffman
American, 1932–2010

#craigkauffman #lemursenva #sculpture #modernism #losangeles #painted #acrylic #plastic #americanart #20thcenturyart #modernistsculpture #thelalook #laart #vintage1960s

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Looking for the whereabouts of this specific terracotta cast of Sitzende/ Weibliche Figur (Seated Woman/Female Figure) by #MoisseyKogan. This image from the art journal, Deutsche Kunst und Dekoration, 1927/28.

#catalogueraisonné #modernistsculpture

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Nothing Without Nature – #EwaldMataré's Animal Sculptures - a new exhibition opening this week at Kunsthaus Dahlem, Berlin. Right: Grosse liegende Kuh, bronze, 1930 (Museum Abteiberg) #modernistsculpture For more details: kunsthaus-dahlem.de/ausstellung/...

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#MoisseyKogan, The Last Supper (Het Laatste Avondmaal), concrete relief, 21 x 35 x 10.5 cm, gift of the artist in 1934 to the Museum van Nieuwe Religieuse Kunst (now the Museum Catharijneconvent, Utrecht)

#modernistsculpture

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Really pleased to hear that #MoisseyKogan’s relief, The Last Supper (Het Laatste Avondmaal) is currently featured in an exhibition at Museum Catharijneconvent Utrecht 1/3

#concreterelief #architecturalsculpture #modernistsculpture #tussenhemelenoorlog

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