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Abstract bronze cello player statue attributed to Yves Lohé, France 1970s

About the Item

Small cast bronze abstract statue. It depicts a female cello player sitting on a round stool. It is designed in the style of Yves Lohé. No signature or markings visible. - Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.[1] Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.[2] Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings. Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is impossible. Artwork which takes liberties, e.g. altering color or form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contain partial abstraction. Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which alters the forms of the real-life entities depicted. Yves Lohe Born in 1947 – France From an early age Yves Lohe’s character of a dreamer and a loner heart led him to grow up being close to nature. As a young man he found refuge in poetry and even wrote plays for the theatre. He had a dream that one day he would be a great writer! He followed the typical education studying law which he interrupted to diverge into teaching. Soon he realized that only sculpting would help him rediscover the emotions of his childhood. In 1972 he gained work experience with Abel Bataillard, the famous Maitre Ferronnier of Pigalle. In 1947, he resigned from teaching and devoted himself to sculpting with iron – the material of which he made his first work. He began in the exhibitions of Paris titled “Independent French Artists”. Under the title of “iron hands” he made around 80 sculptures of hands, hand stokes, and fists which represented the cries of his lust for life. Later came his “thin” figures, expression of the body, the study of forms and attitudes that were his principal sources of inspiration, covering various themes such as dance, music, and everyday folk in the street. Little by little, the forms of the sculpture became softer. Lohe made monumental sculptures for the towns and villages in the North and East of France. He also made three works on the theme of “bicycle” and its different aspects – race, leisure and cross country. In 1979, Lohe built a bronze workshop and left his iron sculpture behind him. He presented his works through national and international exhibitions which gave him exposure on the most promising podiums of Switzerland, Belgium Japan, Taiwan Australia, USA, Arab Emirates, etc. In 1991 his meeting with Werner Manesse, Maitre Verrier, gave him the opportunity to realize another dream: working with glass from its transparency to its color. Werner taught him the alphabet of glass, a vocabulary which would allow him to add the magic touch of light to the form and material, and therefore, to create his own poetry. Yves Lohe created his own glass workshop. He quickly became acquainted with this new material and developed his own way of working with glass and bronze – a style which gives uniqueness to each piece of work. What is special about Lohe is the integrity of his work; his continual reflection on the harmony of color and movement. Each sculpture not only captures the eye but also awakens feelings in each observer. Yves Lohe does not give you a speech on his art. He is not the type to upset the balance. For him the most important thing is the opinion of the observer. From this is born a complicit relationship between the Artiste and the observer of his work.

Attributed to:

Yves Lohé 1 (Artist)

Dimensions:

Height: 9.06 in (23 cm)Width: 3.94 in (10 cm)Depth: 6.3 in (16 cm)

Style:

Mid-Century Modern (Of the Period)

Materials and Techniques:

Bronze,Cast

Place of Origin:

France

Period:

Mid-20th Century