Joseph Csky: A Pioneer of Modern Sculpture, Volume 230 (Google eBook)

Front Cover
American Philosophical Society, Jan 1, 1998 - Art - 237 pages
0 Reviews
Joseph Csaky (1888 1971, a neglected pioneers of early Modernism, was a native of Hungary who became a dedicated member of the Parisian avant-garde. He lived & worked in the famous "La Ruche" enclave of Montparnasse, took part in the 1912 Section d'Or Exhibition considered by many to mark the high point of the Cubist movement & was an intimate friend of such innovative giants as Picasso & Braque. One of the first artists to apply Cubist principles to sculpture, he produced a substantial body of work comparable in quality to that of Brancusi & Archipenko; yet he spent the last thirty years of his life in obscurity & was virtually destitute at his death. Dr. Balas's ground breaking study, the first full-length monograph on Csaky to appear in English, includes a detailed discussion of his career, over one hundred illustrations of his major sculpture, & a translation of the artist's autobiography that provides a wealth of new information about the early Parisian avant-garde. Readers will discover in Csaky an artist of rare skill & invention who remained faithful to his ideals & used them to create an art of great beauty & expression.
  

What people are saying - Write a review

We haven't found any reviews in the usual places.

Contents

IV
1
V
7
VI
15
VII
41
VIII
46
IX
50
X
68
XI
81
XV
106
XVI
112
XVII
117
XVIII
140
XIX
142
XX
151
XXI
160
XXII
217

XII
85
XIII
95
XIV
100
XXIV
227
XXVI
229

Common terms and phrases

Popular passages

Page 41 - ... generations of craftsmen. In anything at all, perfection is finally attained not when there is no longer anything to add, but when there is no longer anything to take away, when a body has been stripped down to its nakedness. It results from this that perfection of invention touches hands with absence of invention, as if that line which the human eye will follow with effortless delight were a line that had not been invented but simply discovered, had in the beginning been hidden by nature and...
Page 17 - Every material has its own individual qualities. It is only when the sculptor works direct, when there is an active relationship with his material, that the material can take its part in the shaping of an idea. Stone, for example, is hard and concentrated and should not be falsified to look like soft flesh it should not be forced beyond its constructive build to a point of weakness. It should keep its hard tense stoniness.
Page 40 - ... draughts and blueprints, invariably culminate in the production of a thing whose sole and guiding principle is the ultimate principle of simplicity? It is as if there were a natural law which ordained that to achieve this end, to refine the curve of a piece of furniture, or a ship's keel, or the fuselage of an...
Page 82 - Concretion signif1es the natural process of condensation, hardening, coagulating, thickening, growing together. Concretion designates the solidification of a mass. Concretion designates curdling, the curdling of the earth and the heavenly bodies. Concretion designates solidification, the mass of the stone, the plant, the animal, the man. Concretion is something that has grown. I wanted my work to find its humble, anonymous place in the woods, the mountains, in nature...
Page 14 - The sculpture I admire is the work of master craftsmen. Every inch of the surface is won at the point of the chisel - every stroke of the hammer is a physical and mental effort.
Page 19 - A sculpture must have its own life. Rather than give the impression of a smaller object carved out of a bigger block, it should make the observer feel that what he is seeing contains within itself its own organic energy thrusting outwards if a work of sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modelled, of having grown organically, created by pressure...
Page 40 - Have you looked at a modern airplane? Have you followed from year to year the evolution of its lines,'' Have you ever thought, not only about the airplane but about whatever man builds, that all of man's industrial efforts, all his computations and calculations, all the nights spent over working drawings and blue prints, invariably culminate in the production of a thing whose soul and guiding principle is the ultimate principle of simplicity?
Page 176 - I have something to show you," she said, smiling. And then little Mary came in, in her little brown Holland overall, as if it was the most natural thing in the world. She was the most lovely child I ever saw.
Page 9 - The years 1907-1909 have been called Picasso's "Negro Period". This name is regrettable because it suggests an imitation of African sculpture, whereas in reality there was merely an affinity between the aims of negro sculpture and those of Picasso and Braque at one stage in their personal evolution.
Page 14 - Albert E. Elsen. Origins of Modern Sculpture: Pioneers and Premises (New York: George Braziller.

About the author (1998)

Edith Balas has been Professor of Art History at Carnegie Mellon University for over thirty years. Her main areas of interest are modern art (1890-1960), painting and sculpture, and the art of the Italian Renaissance. In addition to over two dozen articles in American and European journals, her publications include Brancusi and Romanian Folk Tradition (1987, 2006), Michelangelo's Medici Chapel: A New Interpretation (1995), Joseph Csaky: A Pioneer of Modern Sculpture (1998), The Holocaust in the Painting of Valentin Lustig (2001), The Mother Goddess in the Italian Renaissance (2002), The Early Work of Henry Koerner (2003), Michelangelo's Double Self-Portraits (2004), and Brancusi's World (2008). Dr. Balas has curated a number of exhibitions in Pittsburgh in addition to Budapest, Paris and New York.