Lot Essay
1913 and 1914 have been hailed as the apex of Archipenko's early period, critical both in the development of the artist's oeuvre and in the evolution of early Modern sculpture. Describing Archipenko's achievement during this period, Katherine Michaelsen and Nehama Guralnik have written:
In retrospect, the years 1913 and 1914 stand out as the creative high point of Archipenko's early period. His most successful and important sculptures, among them some unqualified masterpieces...were created in these two years. Incorporated into these works are all of the significant sculptural innovations that earned Archipenko a position among the handful of pioneers of modern sculpture... He initiated the opening-up of sculpture, not just by piercing a hole into it, but by presenting an alternative to the traditional notion of the monolith that merely displaces space... In the fertile artistic environment of Paris, under the aegis of cubism, Archipenko was always among the first to perceive a new possibility in sculpture and initiate its development. (K.J. Michaelson and N. Guralnik, op. cit., pp. 45-46)
At the spring 1914 Salon des Indpendants, Archipenko exhibited four of his finest works, Carrousel Pierrot and Mdrano II of 1913, Boxing of 1914, and the original plaster version of the present work, painted black. Although his contributions to the Salon drew fire from conservative members of the press, Apollinaire was quick to defend the sculptor's merits; so ardent was Apollinaire's support that he actually chose to resign from his job at the newspaper L'Intransigeant rather than back down in the face of his editors' disapproval. In his column of 2 March 1914, he specifically praised the plaster version of the present work:
It represents a very great effort to go beyond the conventional in sculpture. Those of my colleagues who are so certain they possess the ultimate truth in aesthetics have, of course, the right not to mention such a surprising work, executed with such ease and grace. As for me, I am happy to say how delighted I was at the sight of such a delicate work. The other polychrome statuette in the middle of Room 9 is no less interesting, and I really pity anyone who remains indifferent to the charm and elegance of Archipenko's gondolier, a slender black statue exhibited in Room 11. (Quoted in ibid., p. 29)
In retrospect, the years 1913 and 1914 stand out as the creative high point of Archipenko's early period. His most successful and important sculptures, among them some unqualified masterpieces...were created in these two years. Incorporated into these works are all of the significant sculptural innovations that earned Archipenko a position among the handful of pioneers of modern sculpture... He initiated the opening-up of sculpture, not just by piercing a hole into it, but by presenting an alternative to the traditional notion of the monolith that merely displaces space... In the fertile artistic environment of Paris, under the aegis of cubism, Archipenko was always among the first to perceive a new possibility in sculpture and initiate its development. (K.J. Michaelson and N. Guralnik, op. cit., pp. 45-46)
At the spring 1914 Salon des Indpendants, Archipenko exhibited four of his finest works, Carrousel Pierrot and Mdrano II of 1913, Boxing of 1914, and the original plaster version of the present work, painted black. Although his contributions to the Salon drew fire from conservative members of the press, Apollinaire was quick to defend the sculptor's merits; so ardent was Apollinaire's support that he actually chose to resign from his job at the newspaper L'Intransigeant rather than back down in the face of his editors' disapproval. In his column of 2 March 1914, he specifically praised the plaster version of the present work:
It represents a very great effort to go beyond the conventional in sculpture. Those of my colleagues who are so certain they possess the ultimate truth in aesthetics have, of course, the right not to mention such a surprising work, executed with such ease and grace. As for me, I am happy to say how delighted I was at the sight of such a delicate work. The other polychrome statuette in the middle of Room 9 is no less interesting, and I really pity anyone who remains indifferent to the charm and elegance of Archipenko's gondolier, a slender black statue exhibited in Room 11. (Quoted in ibid., p. 29)