French Sculpture Census

photo credit : The Phillips Collection, Washington, D.C.
artist © : Fair Use (Section 107, Copyright Act, 1976)

ARCHIPENKO, Alexander
Kiev, Ukraine 1887 - New York, United States 1964

Femme debout
Standing Woman

1920
oil paint on gessoed papier-mâché on wood

relief
19 1/4 x 12 1/4 x 1 1/8
signed

Acc. No. : 0029
Credit Line : Gift from the estate of Katherine S. Dreier, 1953

Washington, D.C., District of Columbia, The Phillips Collection

www.phillipscollection.org

Provenance

  • 1953, Gift from the estate of Katherine S. Dreier

Bibliography

  • Museums' website, 10 June 2015
  • 1985 Phillips
    The Phillips Collection. A Summary Catalogue, Prepared by the staff of the Research Office at The Phillips Collection, Washington, D.C., The Phillips Collection, 1985, p. 7 no. 29

Comment



Museums' website, 10 June 2015:
Alexander Archipenko’s Standing Woman is a prime example of his sculpto-paintings. Invented in 1912, sculpto-painting involves techniques and principles similar to those used in the cubist collages and constructions of Braque and Picasso. Starting with a wood support, Archipenko added to it a combination of materials, including papier-mâché, plaster, glass, metal, and, occasionally, mirrors. The relief was then painted and hung on a wall. Standing Woman is typical of the sculpto-paintings executed between 1916 and 1920 when Archipenko simplified his compositions and reduced the variety of materials employed.
Archipenko’s goal was to blur the lines between the two-dimensional picture plane of the canvas and the three-dimensionality of his materials; the painting's illusionism and flatness is contradicted by an outward projection into real space, while sculpture's three-dimensionality is reduced to its most minimal expression, demanding to be experienced frontally rather than from multiple vantage points. He further enhances the complexity of this piece by juxtaposing bold, flat panels of complimentary colors, enriching the work’s vibrancy. The resulting tension between a recognizable subject and the work's abstract formal qualities make the viewing process particularly dynamic.