Jacques Lipchitz in Monaco, Firenze and Prato
Drawings for sculpture
Jacques Lipchitz (Druskieniki, Lithuania, 1891-Capri, 1973) was, with Amedeo Modigliani and Juan Gris, one of the stars of the new figurative language developed in Paris in the early decades of the twentieth century, a period that in fact he spent in France and then live with the outbreak of World War II, between New York and Italy. Sharing the concerns and contemporary research of Picasso and Braque, the Lithuanian artist laid the foundation of Cubist sculpture vocabulary, of which he was one of the most innovative performers of the twentieth century, preparing many of his works with graphics studios, conceived as instruments of His vision plastic. As with other great sculptors, from Canova to Moore, the production draughtsmanship artist feeds fact inexorably potential that this mode of expression plays in exploring themes and forms that can then be variously translated into three-dimensional constructions, documenting the intimate genesis the creative process. A donation of two works on paper - over sixty drawings, etchings and a notebook of sketches - was recently assigned by the Foundation Jacques Lipchitz & Yulla of New York to the Prints and Drawings of the Uffizi in Florence and to the Staatliche Graphische Sammlung of Monaco of Bavaria. After a first site of exhibition, held by the Staatliche Graphische Sammlung at the Pinakothek der Moderne in Monaco from October 2 to December 7, 2014, the show moved to Florence, at the Prints and Drawings of the Uffizi, which will be open from March 3 May 3, 2015. If the donation in Monaco has enriched the prestigious collection of an artist not yet present in the large group of graphic designers and illustrators of modern classicism and international figures active in the war to date, to the legacy and Drawings prints Uffizi meets at least three characteristics of the historical collection, known worldwide for oldest authors. All three of those prerogatives are present together since its formation, that is, around 1665 when Leopoldo de 'Medici, brother of Grand Duke Ferdinando II and future cardinal, had entrusted to Filippo Baldinucci commissioned to sort, classify and enhance its collection of drawings: they correspond to the unsettled aspiration to represent in the collection also contemporary artists; priority the need to document the figures and relevant aspects of the art not only Italian; particular interest to the graphics of the sculptors. The donation to the Museum of Praetorian Palace of Prato, however, adds to the works on paper a group of sculptures. The Praetorian Palace Museum, preserves in fact a surprising collection of works by the artist, consists of a bronze, twenty plaster sculptures and forty drawings, also donated from 2011 to the City of Meadow Foundation & Jacques Lipchitz and Yulla They Mott. For this reason it was decided to merge the three Institutes in an ideal dialogue exhibition, showing in Florence drawings and prints of the donations to the Uffizi and the Graphische Sammlung of Monaco, along with two sculptures owned by Praetorian Palace: Pegasus (Birth of the Muses) Hagar 1944 and 1949. At the same time, in Prato, in the hall on the ground floor of the Museum, are visible the entire collection of drawings and sculptures in plaster, Model for Lesson of a Disaster, 1961-1970, and Return of the Prodigal Son, 1931. On the third floor of the same building, between the works of the permanent collection, and presents the rich selection of sculptures of the Master. The visible works in Florence and Prato illustrate a chronological period between 1910-1912 and about the beginnings of the '70s, corresponding to the entire activity of the sculptor, took place in a historical period strongly marked by two world wars and by new openings of the Years sixty.