Samuel Lipchytz

SAMUEL LIPCHYTZ (Pabianitz, 1880- Auschwitz, 1943).
"Ballerina", Art Deco.
Bronze with inlay. Marble base.
Signed.
Measurements: 41 cm.

Ornamental sculpture in round bulk, made to mold in bronze, with the form of a beautiful woman of stylized anatomy although naturalistic, executing a dynamic dance step, raised on a single foot, with a raised leg, the inclined body and the face with glance to the front. It is a realistic work in its modeling but rigorous and geometric in its composition, perfectly reflecting the aesthetic basis of Art Deco. On the other hand, the figure is represented naked to avoid any temporal reference, seeking an ideal and absolute image of movement, without concessions to decorative or accessory.

Polish-French sculptor who worked in Paris in the early twentieth century. Like his contemporary Demétre Chiparus, he specialized in female figures and dancers. He exhibited at the Paris Salon between 1918 and 1935.

Art Deco developed from the 1920s onwards, although it enjoyed a long life thanks to the popularity of cinema, which spread its aesthetics until the 1940s, almost completely covering the interwar period. The Déco aesthetic is, in a sense, an amalgam of many diverse styles and movements of the early twentieth century and, unlike Art Nouveau, was influenced by the early avant-garde, mainly Constructivism, Cubism, Futurism and even Bauhaus rationalism. The progressive archaeological discoveries in Ancient Egypt also left their mark on certain hard lines and the solidity of Art Deco forms. Likewise, as a machine-age style, it used the innovations of the times for its forms: the aerodynamic lines of modern aviation, electric lighting, marine cladding, skyscrapers, etc. These influences are reflected in designs of fractional, symmetrical and clearly geometrical forms. Nevertheless, it is fundamentally classical art, although it approaches classicism from a new perspective, based on archaeology and elementary aesthetic principles. Thus, the forms of Art Deco are idealized, balanced and proportioned, but at the same time synthetic and essential, far from the direct inspiration in nature of the late nineteenth century. Thus, in this work the movement and tension of the scene are captured to perfection, elements that are subordinated to the overall composition, integrating the various parts into the whole to achieve a harmonious and beautiful result, of great visual power.