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拍品專文
Conceived in 1928, Femme couchée à la guitare is a one of a series of reclining figures in which Jacques Lipchitz pierced a solid form, integrating voids and empty space into his sculpture. Lipchitz considered Femme couchée à la guitare one of the most important pieces that he made in 1928 and he would continue to experiment with the horizontal form in a series of embracing couples and reclining figures in the following decade. With a sense of clarity and visual harmony, Femme couchée à la guitare consists of a series of abstract patterns and curving anthropomorphic lines, demonstrating the artist’s ability at imbuing his cubist vocabulary with a sense of human vitality. Lipchitz summarizes his Femme couchée à la guitare within a clear, continuous, decorative outline. Limbs, body, and head flow together: interior spaces match the shape of the outside contour. There is a rhythmic alternation of angles and curves, with the culminating contrast in the staccato relief of the guitar against the body’s legato forms.
Henry R. Hope counted Nu Femme couchée à la guitare, "whose harmonious counterpoint of solids and voids sparkle in polished black basalt," as one of Lipchitz's "finest sculptures" (in The Sculpture of Jacques Lipchitz, exh. cat., New York, 1954, p. 14). The basalt version, 27 5⁄8 inches (70.2 cm.) in length, was intended for garden of Madame de Moudrot in Le Pradet, southern France. However, Lipchitz's patroness found it too small, and the sculptor created a second, larger version in white stone, measuring 39 3⁄8 inches (100 cm.), which he mounted on a rough stone base. The basalt version was sold by the New York dealer Curt Valentin to Mrs. John D. Rockefeller III, which was later donated to The Museum of Modern Art, New York. The white stone version is currently in the collection of the Kunsthaus Zürich. The bronze version of Femme couchée à la guitare is two inches larger than the basalt sculpture, and there are casts in the Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Washington, D.C., and the Tate Gallery, London.
Henry R. Hope counted Nu Femme couchée à la guitare, "whose harmonious counterpoint of solids and voids sparkle in polished black basalt," as one of Lipchitz's "finest sculptures" (in The Sculpture of Jacques Lipchitz, exh. cat., New York, 1954, p. 14). The basalt version, 27 5⁄8 inches (70.2 cm.) in length, was intended for garden of Madame de Moudrot in Le Pradet, southern France. However, Lipchitz's patroness found it too small, and the sculptor created a second, larger version in white stone, measuring 39 3⁄8 inches (100 cm.), which he mounted on a rough stone base. The basalt version was sold by the New York dealer Curt Valentin to Mrs. John D. Rockefeller III, which was later donated to The Museum of Modern Art, New York. The white stone version is currently in the collection of the Kunsthaus Zürich. The bronze version of Femme couchée à la guitare is two inches larger than the basalt sculpture, and there are casts in the Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Washington, D.C., and the Tate Gallery, London.