Beth Carter Art

Naum Knop (Ukrainian-Argentinean, 1917-1993) Modernist Brutalist bronze figural sculpture with heavy verdigris green finish. Melted forms in the shape of an abstract pretzel like twist. Affixed to white stone plinth. Artist signature, "NK" side of base. Good condition, shows rich green patina and aged oxidation. Measures approximately 17.5 in. x 19.5 in. x 6.5 in. Naum Knop, Argentine sculptor, was born in 1917 in Buenos Aires, into a Jewish family of Russian origin from Ukraine. His childhood was spent in the neighborhood of La Paternal where his father had a carpentry workshop, a space in which he made contact for the first time with the technique of wood carving. After finishing elementary school, he worked with the teacher Luis Fernández and soon after he dedicated himself to furniture design. Around 1935, he entered the Manuel Belgrano School of Fine Arts . Between 1941 and 1942 he attended the course for graduates taught by Alberto Lagos and Alfredo Bigatti at the National School of Fine Arts and continued his training between 1942-1945 at the Ernesto de la Cárcova High School with Soto Avedaño, Carlos de la Cárcova and José Fioravanti. At this time he put his works in dialogue with other young artists such as Libero Badii and Aurelio Macchi . Around 1947 he made his study trip abroad. He goes to California, United States, where he enters the Art Institute of Los Angeles. At the same time visit museums and galleries. In January 1948 he organized his first exhibition abroad, held at the Hall of Arts in Beverly Hills in Los Angeles. During this period he toured Chicago and then New York. That year he traveled to Europe; his itinerary includes France, Italy, Switzerland and England. As a result, he came into contact with the work of Henry Moore, Hans Jean Arp, Jacques Lipchitz, Constantin Brancusi, Umberto Boccioni, Henry Laurens, Ossip Zadkine. Artists who have an impact on the young Knop and whom he honors in his subsequent production. He returned to Argentina in 1949 and installed his workshop where he worked on ornamental carving and on pieces in which he oscillated between a synthetic figuration and abstraction. In 1956 he began his successful participation in salons , obtaining numerous awards at the national and municipal level. In 1959 he participated in the shipment to the 5th São Paulo Biennial and since then, to the success achieved at the local level, the multiple exhibitions carried out in the international field have been added. The exhibitions in Tel Aviv , Jerusalem and Rome (1966) stand out; Dusseldorf (1977); Los Angeles and Palm Spring (1981); New York (1986), San Pablo and Los Angeles(1989). During this period, his work matured, while he began to experiment with the direct wax technique, obtaining textured surfaces similar to welds that gave it a strong abstract expressionist feature. In parallel to his personal production and to the small models, the artist receives private and public commissions for which he works on large-scale sculptures and murals. Around 1967, the architect Mario R. Álvarez summons him to participate in a closed competition for the creation of a work to be located in the General San Martín Cultural Center . Libero Badii and Enio Iommi participate with the artist ; the bronze Reclining Figure Knop is chosen. Among the large-scale monuments it is worth remembering the piece Los tres soles temporarily located in Recoleta in 1984 and later installed in Maryland, United States; as well as Seated Figure (Reminiscence of Michelangelo) located in the shield of a private building in 1970. To these are added the numerous murals in which he experiments with various materials and techniques such as casting in bronze, openwork and reliefs in wood and work in cement. He was included in the The 1962 International Prize for Sculpture the jury included Argan, Romero Brest and James Johnson Sweeney the former director of the Solomon R. Guggenheim Museum in New York. The participants included Louise Nevelson and John Chamberlain for the United States; Lygia Clark for Brazil; Pietro Consagra, Lucio Fontana, Nino Franchina, and Gió Pomodoro for Italy; Pablo Serrano for Spain; and Eduardo Paolozzi, William Turnbull, and Kenneth Armitage for England. Gyula Kosice, Noemí Gerstein, Julio Gero, Naum Knop, Aldo Paparella, Enrique Romano, Eduardo Sabelli, and Luis Alberto...

Formed by two exquisitely defined figures, one the archetype of male perfection, and the other reflecting an image of the ideal female form, these two figures mirror each other, and ...

Jean Arp Château des Oiseaux Bronze Signed "Arp" Edition 5/5 Provenance: Sidney Janis Gallery, New York Conceived in 1963, cast in bronze in an edition of 5 between 1967 and 1969. J...

EDITION Monogrammed : FXL Dated : 2003 Numbered EA 2/4B Stamped with foundry mark : bocquel fd. PROVENANCE Marie Lalanne former collection, daughter of the artist. LITERATURE W....

"Ballerina gold/blue" is a unique bronze scultpure (2023) of Bulgarian mid career artist Günay Aliev. In this sculpture the artist depicts a nude ballerina standing on her tows with...

Even though Helle Rask Crawford often refers to classic myths in her sculptures, sh is not a classical sculptor in the neoclassical sense. Rather, Helle Crawford could be defined as ...

Unknown Artist (Italy, early 17th century) Seated Faun Bronze on a marble base (later), 32 cm in height Provenance: Private collection This bronze depicts a faun, a mythological figure from ancient Rome often associated with nature and fertility, embodying both human and animal attributes. The faun is portrayed here in a dynamic posture, seated on a marble base, which, though added later, enhances the sculptural dimension of the piece. His muscular and tense body seems to capture a moment of jubilation or exuberant pleasure, as evidenced by his upturned face and open mouth in an ecstatic smile. This expressive gesture, along with the casual positioning of his raised arm behind his head, evokes the freedom and hedonism traditionally associated with these mythological creatures. The quality of the bronze craftsmanship is remarkable, particularly in the muscular details and the expressiveness of the face, signs of technical mastery typical of late Renaissance and early Baroque Italian sculpture. The faun's legs are muscular but also marked by hooves, emphasizing his hybrid nature, half-human and half-animal. This hybridity reflects an iconographic tradition in which fauns are often associated with debauchery and wild living, removed from human society. Seventeenth-century Italy, particularly Rome and Florence, was a hub of prolific artistic production, with artists such as Gian Lorenzo Bernini and Alessandro Algardi...

"Femme de luxe" (Bronze) by Erte Type: Sculpture Media: Patina on Bronze Dimensions: 13 3/4" High Year Produced: 1986 Edition Size: 500 Numbered, 35 AP Edition Number: 13/500 In Exce...

"Femme de luxe" (Bronze) by Erte Type: Sculpture Media: Patina on Bronze Dimensions: 18 1/2 x 12 1/2 x 7" Year Produced: 1990 Edition Size: 500 Numbered, 12 AP, 2 HC Edition Number: ...

Antonio III is a tall, elegant bronze sculpture of a human figure. Nando Kallweit is a German sculptor working in bronze and oak. Kallweit carves the original piece from a piece ...

Even though Helle Rask Crawford often refers to classic myths in her sculptures, sh is not a classical sculptor in the neoclassical sense. Rather, Helle Crawford could be defined as ...

Warrior is a bronze sculpture by French contemporary artist Martine Demal, dimensions are 132 × 31 × 18 cm (52 × 12.2 × 7.1 in). The sculpture is signed and numbered, it is part of ...