Bronze Sculpture for Sale
Mémoire de la Liberté, 1991
Print : Screen Print · 66 x 88 x 0.5 cm 26 x 34.6 x 0.2 inch
Sold
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Shipped from: Switzerland
Delivery to: France Free delivery
Estimated delivery: One to two weeks
Free returns within 14 days, full refund
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Sold with certificate of Authenticity from the gallery
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 100 copies
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Screen Print on cardboard
Dimensions ( cm • inch )
66 x 88 x 0.5 cm 26 x 34.6 x 0.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2020 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
A pioneer of kinetic sculpture, Jean Tinguely worked in the Dada tradition, satirizing industrial society’s overproduction of material with his complex assemblages of metal and machinery. Of his most renowned kinetic sculpture, Homage to New York (1960), Tinguely said, “it’s a sculpture, it’s a picture, it’s an accompanist, it’s a poet, it’s decoration—this machine is a situation.” He fabricated the 27-by-30-foot contraption from recycled metal scraps and designed it to self-destruct at the culmination of a half-hour performance, explaining, “the destruction is necessary because this machine is a grandiose spectacle that must live intensely.” Tragicomically, a firefighter intervened when flames burst out, so it never played out as intended during the single performance held in MoMA’s sculpture garden; however, the idea that an intensive, creative life leads to self-destruction lives on in Tinguely’s legacy.
Presentation
Jean Tinguely, born in Fribourg on May 22, 1925, is a Swiss visual artist renowned for his innovative contribution to twentieth-century sculpture. An only child, he grew up in Basel in a French-speaking family, despite the city's German-speaking and Protestant environment. His interest in machines and mechanical engineering began in childhood, when he amused himself by creating waterwheeled machines in streams.
His artistic training began in 1941 with an apprenticeship as a decorator, which he completed in 1944 under the tutelage of Joos Hutter. Hutter encouraged him to attend the Basel School of Applied Arts, where Tinguely discovered modern art. These studies marked the beginning of his passion for articulated, moving works.
Tinguely made a name for himself with his sculpture-mobiles, colorful, noisy machines that engage and interact with the viewer. These works, full of humor and vitality, are also imbued with irony and poetry. They reveal a tragi-comic and enigmatic depth, creating a dynamic conversation between art and audience.
Classified as a neo-realist, Tinguely uses his machines to push back the boundaries of traditional sculpture, transforming mechanics into art. His creations, imbued with freedom and fantasy, continue to captivate and fascinate, attesting to his genius and unique vision in the world of contemporary art.
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