Word: archipenko
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...speak of Alexander Archipenko is, for many, to speak of a ghost-an artist whose glories are in the past and who only haunts the present. Yet no ghost could be more lively. This week an Archipenko retrospective will open at Manhattan's Perls Galleries, and another show will head for a tour of Canada. Archipenko has always been an innovator; at 74, he still...
...Archipenko's father was a mildly successful inventor in the Russian city of Kiev, and invention has held a fascination for Archipenko all his life. While the father thought of an invention as a mechanical problem, the son saw it also as an esthetic one, an assemblage of forms. By the time he moved to Paris at the age of 21, young Archipenko was not only a trained engineer but an accomplished sculptor as well...
...when the cubist paintings of Picasso and Braque began to appear in Paris, Archipenko fell under their spell. He was perhaps the first (historians disagree) to bring cubism to sculpture. Today his work of that great period (see color} seems as vital as it was when it was done in the years before the first World War. But if these show Archipenko at his most memorable, they do not fully reveal...
...main hall opposite the broad winding stairway held Rodin's mighty and miserable Adam, an 8-ft.-high study in human splendor and spiritual loss. Opposite him, Maillol's Chained Liberty strainingly strode. Scattered about the palatial apartments were figures by Archipenko, Zadkine, Zorach, José de Creeft, Koren Der Harootian, Nathaniel Kaz, Viani, and Reg Butler. The study contained a miniature judges' bench in rosewood, serving as a pedestal for eleven Judges and Advocates by Daumier. In the garden Antoine Bourdelle's huge, agonized bronze Warrior hacked and thrust...
...ultra modernists were scarcely better. Dominating their wing were a jittering mobile of wire and red fins by Alexander Calder, hung incongruously under the museum's vaulted ceiling, and Alexander Archipenko's Figure, an enormous 14-ft. object of aluminum-painted iron which resembled an upended torpedo. The pleasantest of the pure abstractions was David Smith's lively Flight, which whisked round corners, took unexpected dips with the carefully tracked abandon of a rollercoaster...