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  1. Walking Woman. Taking its cues from Cubism, Walking Woman is a highly stylized abstract sculpture that deconstructs the figure by piercing holes in the head and body and reversing the roles between convex and concave forms. Archipenko's introduction of the void as a sculptural element is one of his most important innovations.

    • Ukrainian-American
    • May 30, 1887
    • Kyiv, Ukraine
    • February 25, 1964
  2. Alexander Archipenko. Walking Woman, 1912. Bronze. Gift of Charles Bayly, Jr. Fund, 1958.43. Dimensions. overall height: 30.5 in, 77.4700 cm; overall width: 9.75 in, 24.7650 cm; overall depth: 8.5 in, 21.5900 cm; base height: 3.875 in, 9.8425 cm; base width: 8.5 in, 21.5900 cm; base depth: 8.5 in, 21.5900 cm. Inscription.

  3. Aug 25, 2013 · Walking Woman has a visual balance of positive and negative space, providing a sense of aesthetic equilibrium for the viewer. Although the weight of the figure is evenly centred, the irregular composition of shape and line overlap and unite.

  4. In Alexander Archipenko. In his bronze sculpture Walking Woman (1912), for example, he pierced holes in the face and torso of the figure and substituted concavities for the convexities of the lower legs. The abstract shapes of his works have a monumentality and rhythmic movement that also reflect contemporary interest in the….

  5. Dec 6, 2023 · Alexander Archipenko, Walking Woman, 1912, bronze, 30 ½ x 9 ¾ x 8 ½ inches ( Denver Art Museum) (photo: mark6mauno, CC BY-NC 2.0) Archipenko also created several small freestanding bronze Cubist sculptures of women. In terms of medium, these were much more traditional than his Médrano II.

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  7. Femme Marchant (Woman Walking), 1912 Dancers (Der Tanz) , 1912, original plaster, 24 in. This first version of Dancers was illustrated on the front cover of The Sketch , 29 October 1913, London

  8. Aug 20, 2019 · Critical Commentary. This is a photograph of a sculpture by Alexander Archipenko, which historian Stephen Kern describes as reversing "the traditional notion that space was a frame around the mass, that culture begins where material touches space, and maintained "that sculpture may begin where space is encircled by the material."" (Kern 1983, 159).

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