Oscar Domínguez (1906-1958)
VAT rate of 5% is payable on hammer price plus buy… 顯示更多 THE PROPERTY OF A PRIVATE COLLECTOR
Oscar Domínguez (1906-1958)

Femme couchée

細節
Oscar Domínguez (1906-1958)
Femme couchée
mahogany wood
Length: 19 5/8 in. (50 cm.)
Height: 9 7/8 in. (25 cm.)
Executed circa 1942; this work is unique
來源
Galerie André-François Petit, Paris.
Acquired from the above by the present owner in 1966.
出版
E. Westerdahl, Oscar Domínguez, Madrid, 1971, p. 54 (illustrated).
F. Castro, Oscar Domínguez y el Surrealismo, Madrid, 1978, no. 98 (illustrated p. 132).
展覽
Knokke-le-Zoute, André de Rache, Schatten van het Surrealisme, Trésors du Surréalisme, 1968, no. 43 (illustrated p. 41).
Las Palmas de Gran Canaria, Centro Atlantico de Arte Moderno, Oscar Domínguez, Antológica 1926-1957, January - March 1996, no. 76 (illustrated p. 160); this exhibition later travelled to Santa Cruz de Tenerife, Centro de Arte "La Granja", April - May 1996, and Madrid, Museo Nacional Centro de Arte Reina Sofía, June - September 1996.
注意事項
VAT rate of 5% is payable on hammer price plus buyer's premium.
拍場告示
Please note that the present work was also exhibited at:
Leverkusen, Stadtisches Museum Schloss Morsbroich, Oscar Dominguez, 1967, no. 7.
Please also note that this work has been requested for the forthcoming Oscar Domínguez exhibition to be held at the Musée Cantini in Marseille from 25 June to 2 October 2005.

拍品專文

The sculptural form of Femme couchée, at once both rounded and angular, strongly recalls the reclining figure of Femme sur un divan (lot 81). Executed at around the same time, and strikingly similar in pose, both works seem to share the same preoccupations with volume and form; in fact the present work may well represent an attempt to resolve in three dimensions the questions posed by the 1942 oil, so similar are they in lyrical movement. Domínguez was one of the first members of the Surrealist movement to create Surrealist objects; from 1934 his constructed objects betray a sensitivity to working in three dimensions, as well as the potential for the interplay of sculptural forms that the present work displays. The sculptures produced in the 1940s often have detachable parts; the present work comprises three separate moving parts.