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拍品專文
Bourgeon d’éclair embodies the lyrical beauty and purity of expression of Arp’s own unique sculptural language. After devoting himself principally to relief sculpture in his Dada and Surrealist years, Arp found himself increasingly drawn to the expanded volumes of sculpture in the round during the 1930s. It was from there that he would transform the flat, biomorphic shapes of his early reliefs into fully fledged, standing sculptural creations. These organic forms served as the wellspring of his art for the remainder of his career. The evocative shapes of Arp’s sculptures hint at figurative meanings yet ultimately remain elusive. His formal vocabulary was inspired by the central concepts that rule the ebb and flow of all life on earth: growth, transience, evolution, entropy and metamorphosis.
Arp was fascinated by the complex relationship between man, nature and the material world, but remained adamant that this style evoked natural forms without imitation. “We do not want to copy nature. We do not want to reproduce, we want to produce,” he wrote. “We want to produce like a plant that produces a fruit... We want to produce directly and not through tricks... These paintings, these sculptures—these objects—should remain anonymous in nature’s enormous studio, like clouds, mountains, seas, animals, people” (quoted in Jean Arp: From the Collections of Mme. Marguerite Arp and Arthur and Madeleine Lejwa, exh. cat., The Metropolitan Museum of Art, New York, 1972, n.p.).
The title of this work, Bourgeon d’éclair, suggests the promise of regrowth and blooming. The form appears as a bud about to flower, pointing outwards, its presence marking the arrival of new life. The bud was among Arp’s favorite sculptural motifs, having first made an appearance in Arp’s oeuvre in Couronne de bourgeons I of 1936 (Peggy Guggenheim Collection, Venice). “Often a detail of one of my sculptures, an outline, a contrast seduces me and becomes the seed of a new sculpture,” Arp explained. “I accentuate an outline, a contrast and that results in the birth of new forms...” (quoted in ibid., n.p.).
Arp was fascinated by the complex relationship between man, nature and the material world, but remained adamant that this style evoked natural forms without imitation. “We do not want to copy nature. We do not want to reproduce, we want to produce,” he wrote. “We want to produce like a plant that produces a fruit... We want to produce directly and not through tricks... These paintings, these sculptures—these objects—should remain anonymous in nature’s enormous studio, like clouds, mountains, seas, animals, people” (quoted in Jean Arp: From the Collections of Mme. Marguerite Arp and Arthur and Madeleine Lejwa, exh. cat., The Metropolitan Museum of Art, New York, 1972, n.p.).
The title of this work, Bourgeon d’éclair, suggests the promise of regrowth and blooming. The form appears as a bud about to flower, pointing outwards, its presence marking the arrival of new life. The bud was among Arp’s favorite sculptural motifs, having first made an appearance in Arp’s oeuvre in Couronne de bourgeons I of 1936 (Peggy Guggenheim Collection, Venice). “Often a detail of one of my sculptures, an outline, a contrast seduces me and becomes the seed of a new sculpture,” Arp explained. “I accentuate an outline, a contrast and that results in the birth of new forms...” (quoted in ibid., n.p.).