Picasso’s Guitare (autumn 1912), with related drawings and constructions, radically changed the history of modern sculpture. As André Salmon claims in his book La Jeune Sculpture française, this object, hung on the wall of Picasso’s studio, was “no longer a painting, nor a sculpture, but simply a guitar!” By means of visual and plastic equivalences, Picasso created an objet sculpté with open mass and intersected plans. However in 1912 young artists based in Paris and involved in renewing the language of sculpture did not yet deal with objects, but were interested in the human figure and its representation. Picasso’s role could seem then to have been less crucial for the process of renovation of sculpture at that time. Otherwise, if we focus the attention on his drawings, several affinities between them and sculptures created by Archipenko, Baranoff-Rossiné or Epstein in 1913–14 appears. Through a compared analysis of drawings and sculptures, this study highlight the impact of Picasso’s ideas on the making of a new language of sculpture before World War I.
biographie de l’auteur
Chargée de cours en histoire de l’art contemporain à l’Università degli Studi di Firenze, 2015 Post-doctoral Fellow au Center for Italian Modern Art de New York, en 2013 j’ai soutenu ma thèse sur l’œuvre parisienne d’Alexander Archipenko (1909-1914), dans le cadre d’une co-tutelle entre l’Università di Firenze et l’université de Paris Ouest Nanterre La Défense. Mes intérêts de recherche et publications portent sur le développement de la sculpture au xxe siècle, et plus précisément, sur la représentation de la figure humaine, le rendu du mouvement, et les relations entre sculpture, danse et peinture dans les années 1910 ; ainsi que sur la présence des sculpteurs internationaux en Toscane dans la seconde moitié du xxe siècle.
Ilaria Cicali is Adjunct Professor of the History of Contemporary Art at the Università degli Studi di Firenze and a former postdoctoral fellow at the Center for Italian Modern Art in New York. She defended her doctoral dissertation in 2013 on Alexander Archipenko’ s Parisian work (1909–14) within a joint programme between the Università degli Studi di Firenze and the Université de Paris Ouest Nanterre La Défense. Her publications include articles on the development of modern sculpture during the twentieth-century, and more particularly on changes in the representation of the human figure around 1910, on research about movement, analysed in relationship with contemporary painting and dance, and on the presence of international sculptors in Tuscany after the Second World War.