EXHIBITION | AND DESCRIPTION OF PENTUR Ce eS AS be te “a fog i Ch ‘ * eee :: > ALEXANDER ARCHIPENKO EXHIBITIONS The large individual and retrospective exhibitions of Archipenko have been shown as follows: Hagen Museum, Westphalia 1910 Frankfort 1923 Berlin 1913 Mannheim Museum SESZS Geneva 1919 Prague Museum 1923 Zurich Museum 1919 New York 1924 London 1919 New York 1925 Venice 1920 Chicago 1925 Geneva 1921 New Orleans 1926 New York 1921 Kansas City 1926 Berlin 1921 Philadelphia 1926 Wiesbaden Museum 1921 Denver Museum 1927 Hanover 1921 Los Angeles Museum 1927 Leipzig Museum 1922 Seattle 1927 Dresden LO22 Tokyo, Japan 1927 Berlin, National Gallery 1922 The exhibition, after New York, will be sent to Europe where it will be shown in the principal capitals. THE GETTY CENTER rIOMAOY SHAN PAR GEIPENSEUIVA @ A NEW DEVELOPMENT IN PAINTING This invention is dedicated to T. Edison and A. Einstein By Alexander Archipenko HE press of different countries has printed various articles about my invention from time to time. [he communications, however, were more in the nature of reports and merely gave resumé outlines of the in- vention from an artistic viewpoint. In order to supplement this lack of detailed description, I have written this article, which is not intended as a manifesto or a theory, but rather as a simple description of the funda- mental ideas underlying ‘‘animated painting.’ Parallel with this descrip- tion I have pointed out the new form in which modern painting is created. WHAT IS ARCHIPENTURA? 1. Archipentura is neither a theory nor a dogma. It is an emotional creation, reflecting, by means of a new pictorial method, that phase of real life which cannot be rendered by means of static painting, as the latter is completely lacking in adequate means. 2. Archipentura is differentiated from ordinary painting in that it is dynamic, and not static. [hanks to this quality, it opens up entirely new vistas of artistic creation. 3. Archipentura does not exclude the means of painting forms, as is done in the various present concepts of ordinary painting. But its ad- vantage lies in the execution, on the picture, of actual movements at dif- ferent rates of speed and different rhythms and shifting of scene, as well as multiple transformations of lines, forms, colors, objects. 4. Archipenutra is the concrete union of painting with time and space. 5. Archipentura is the most perfect form of modern art, for it has solved the problem of dynamism, which up to the present time, has re- mained unrealized by means of static painting. 6. Archipentura is the art of painting on the canvas the true action and not merely an immovable image—a snapshot like that of the kodak— of a moment given by movements. 7. Archipentura has nothing in common with mechanical or photo- graphic reproduction of the cinematograph, or with the various kinds of electrical screen projections. “This is a new means of painting done direct by the artist, in perfect subordination to his will or his creative emotions. HISTORY OF THIS INVENTION Since 1912, in Paris, I have endeavored to record the actual move- ments in a work of art, and with this object in view, I have executed the animated painting entitled ‘‘Medrano.”’ ‘These attempts, however, did not result in attaining the desired end. I again occupied myself with the same idea in 1922 in Berlin, under the influence of the Einstein theory of relativity. But it was not until 1924, in New York—in the atmosphere of one of the most up-to-date 3 cities in the world—that I succeeded, after numerous technical experi- ments, in accomplishing the pursuit of my object. I discovered a new pic- torial method for the execution of pictures, and a special apparatus for their demonstration. I am opposed to all theories in art, because to me art is the emotional manifestation of genius and not merely a brain process. It is evident that it is hard to determine in questions of art, where emotion ends and where calculation begins. However, we may perceive where emotional vibration is found and where brain calculation is found. As far as Archipentura is concerned, I hold myself aloof from the idea that it is cerebral, although for the purpose of painting action, it may be necessary to calculate with almost mathematical exactitude the time and the speed of the object. In spite of this fact, Archipentura remains an emotional creation. LIFE AND PAINTING It does not call for a philosopher to admit the idea that life is merely a form of energy, and that the only concrete form of energy is movement. Consequently, movement is life. Opinions on art are probably as numerous as the individuals who give them. But there is a point on which these opinions all agree: namely, that art reflects life. Taking these recognized concepts as a basis, I prove that Archi- pentura appears as a superior form of art, containing within it life itself, since it paints energy. ‘I’here are three fundamental concepts of the reflec- tion of life in art. One supposes that life in the art of painting consists in fixing that which the eye sees. “The other declares that fixing the emo- tions on the canvas expresses life. “The third theory holds that life in art consists in the fixation of the painter’s logical conclusions. I point out the new concept—which does not exclude the preceding ones, but adds to painting concrete energy. And since energy is life itself, Archipentura may, with justification, be termed “‘living painting.”’ INTERPRETATION Up to the present, natural movement (action) in painting remained an unsolved problem, since adequate means for executing the same were not available in static painting, which limits itself solely to the “‘interpreta- tion’’ of movements. In order to determine more exactly the value of Archipentura, I shall endeavor to point out the difference between the “‘interpretation”’ cf move- ment by means of static painting and the execution of actual movements by means of Archipentura. ‘The interpretation is recognized as the domi- nant element in art. The manner of interpreting is the main factor, since it is a question of expressing and determining the individuality and the spirit. I completely share this manner of regarding it, and also agree with the philosophic conception which proves that creation rests precisely in the process of interpretation. However, I declare that movement in Archi- pentura is not only the object, as in static painting, but the means of interpreting things of a more complicated order. ‘The naturalism of the movement in Archipentura does not appear as a negative element from the 4 viewpoint of art, if the actual movement may be utilized as a new means of interpretation. Static painting must, in order to interpret movements, resort to sym- bols and conventions. It did not advance further than the fixation of a single ““‘moment’’ in the series of moments that constitute a movement; and all the other ‘‘moments’”’ situated hitherto and beyond the particular fixed movement are left to the imagination and to the fantasy of the spectator. Archipentura gives the entire spectacle of the actual movements and utilizes it as a means of interpretation of such manifestations of life as are intimately connected with the passage of time and changes of space. in such manner that the movement in Archipentura appears as an element, as much of interpretation as of creation in general, and not only as an object, as is the case in static painting. And it is in this exactly that the superi- ority of Archipentura consists. MOVEMENT ‘There are three characteristic kinds of movements. The first expresses the sense, or idea. The second contains rhythm. ‘The third kind includes abstract movements in which neither sense, idea nor rhythm comes into question. All these movements, when they are expressed, represented in a clear manner, provoke emotions or associations of ideas or sensations much more powerful than any representation that is immovable can give. Movement produces more impression than immobility, and finds it- self in more direct contact with our psychology than ambiance. At times, in observing movement, we feel mechanically inclined to repeat it. Move- ment is a language, and a more subtle language. It sometimes happens that entire races have their own particular movements, unknown to other races. By the movement we recognize the finest shades of character, educa- tion, sense, desires, intelligence and even individuality itself, as much in man as in the animal. We perceive innumerable shades of movements in different materials—light and heavy, of variable elasticity, according to the character of their displacement; in liquids, varying according to their con- sistency, their quantity and their displacements; in machines, in. plants and in all nature. In back of all these movements there is hidden an in- finitely rich material which may be utilized in Archipentura, just as the artist employs an innumerable quantity of shades of color. Archipentura is capable of painting all movements. TIME Since Archipentura paints movement, and since movement does not exist outside of time, the duration and the speed of action intervene in- evitably as elements of creation in Archipentura. “The long duration and slow movement would certainly not be characteristic of volcanic tempera- ment, just as fatigue and melancholy are not consistent with rapid tempo and great speed of movement. The amount of time and the dimension of velocity permit us to take account into the character and into the sense of a given movement. In Archipentura the measure of time and velocity are established according to the object, and their proportions represented on the canvas give us an idea of the object. Archipentura possesses the means of representing on the canvas concrete variations of the duration and vel- ocity and is, owing to this fact, connected with time and space. Up to the 5 ~ Woman. Decorative Panel in three different metals, Société Anonyme, New York The Past. Silver, 1926. | ; present, music only has utilized time as an element of creation. Archi- pentura is a new form of art which utilizes time and space for creation. » Archipentura thus “‘paints time.” SPACE There exist many gestures of which we define the sense by the measure of space occupied by a movement. ‘The sense of movement is represented, even in space occupied by lines or abstract forms in movement. If, for example, one draws a series of straight parallel lines, commencing with very short lines, progressively increasing their length, tracing each line in the same amount of time, the difference between the spaces occupied by these lines creates, during the execution of the drawing, the impression of revolving energy. If on the other hand the length of the lines should be progressively diminished, an impression of diminishing energy is created. These impressions are born, thanks to the comparisons and to the rela- tions which are established between the spaces occupied by each line, gradu- ally, in a given time, and equal for each line. But this example with abstract lines is far from exhausting the different expression which may be realized by Archipentura. ‘This sphere of things has never been accessible to ordinary painting, by reason of the purely static character of the latter, while Archipentura can utilize space as an element of creation. It is evident that Archipentura does not exclude either the principles and con- ceptions of immovable space utilized in static painting, as, for example, the rhythm of composition, that is to say, the equivalence of distance between spots of colors, lines and forms, as well as the space of perspectives. It is a truth as old as the world that one recognizes things by com- parison. But comparison is possible only by the simultaneous presence of several things. Archipentura offers the possibility of executing and repre- senting, in even the same point of space, different objects, movements, transformations and displacements. “Thanks to these manifestations or ap- pearances, comparison is made possible. And by these comparisons, one may produce such effects, and call forth such emotions, as would be en- tirely impossible in static painting. Apart from dancing, Archipentura appears as the new form of art reproducing changes of space. It is not my intention to discover the fourth dimension, or to philoso- phize or to analyze art and artistic creation. I am simply pointing out the ideas connected with my invention, which, according to the opinion of persons well able to judge of its value, is the form of art best cor- responding to our epoch. On my invention the theory of Einstein has had the greatest influence, not from its scientific side, but by the ideas given out by Einstein, which are indisputably in accord with creation in general. And this opinion is based on the fact that I see in creation, as well as in the theory of relativity, the expression and the reunion of such psycho- logical states as may be rediscovered in processes of comparison, supposi- tion, association and in the idea of infinity. Only these changes and move- ments, calling forth a series of psychological processes of this nature, may be at the same time emotional. Archipentura has no direct relations with the Einstein theory, but it is capable of expressing things of a higher order, things which, from cer- tain aspects, undoubtedly are attached to the theories of Einstein. 8 “—te ty — FROM THE PRESS — Apples and Madonnas, By C. J. Bulliet, Chicago 1927 Rodin introduced into sculpture a surface tingle of flesh that marble through the ages had not possessed—a heresy—Archipenko has gone farther, he has made his forms live with an internal fire. The striking im- pressions of vitality. Cubist he has been called and is so designated in the already formal histories of the modern art movement. Cubist, however, he is not—any more than is Picasso, inventor of Cubism. No painter, with the exception of Renoir, has so conveyed the feeling of female flesh, warm and magnetic. And Archipenko has done what Renoir did not choose to do. Renoir’s nudes are alive but passive. Archi- penko’s painted nudes throb—every nerve quivers—feverishly they flame upward, like the saints of El Greco. Enthusiastic admirers of Archipenko would place him among the mythical dozen who grasp the Einstein theory—perhaps at the head of the list, since Archipenko is credited by them with applying the Einstein theory to statuary—a tremendous feat, seeing how vague and tenuously abstract is the theory. The mystery of this sculptor goes far deeper than marble and chisel. So expert is his technique that he has forced into popular apprecia- tion a series of tapering nude female figures, elongated beyond nature, but so exquisitely rounded and so marvelously beautiful as pure form, that even the most ignorant in art are hypnotized into forgetting comparison with bodies of flesh and blood. Archipenko at 40 is already a leader among contemporary sculptors and undoubtedly certain of a niche through the ages. Alfred Kuhn “Die neuere Plastic” Berlin 1921 Archipenko is of vital importance for the modern art. He combines in himself the vigorous instincts and innermost gentleness of the Russian with the sophistication of the Parisian. His sensibility and profound knowledge of beauty ranks him among the great representatives of the French culture. Archipenko masters his handicraft with the greatest skill and unerring taste. Ardengo Soffici, Florence 1920 Alexander Archipenko is the only one of the so-called Avantguard- istes whose art has a legitimate reason for being studied and loved. Brooklyn Eagle, 1924 Critically there is little more to be said about Archipenko’s sculpture than that it is beautiful. In itself it is the strongest plea in favor of the cause. All previous prejudices must vanish before the simple, direct appeal of these gracious symmetrical shapes. Il Nuovo Giornale, Venezia 1920 Archipenko is not only the phenomenon of the 12th Venetian Ex- position, he is a phenomenon himself, the most prominent and the most discussed of all living artists. Archipenko Monograph in Ukranish, by Prof. Nicola Golubez, Lwov 1922 No Ukranian and but few of the contemporary European sculptors have created so large a popularity in the two hemispheres as Archipenko. There is not a single educated country who has not noted in its literature or who has not spoken of this exceptional artist, either in the form of a complete monograph or in its press. First was Germany, then France, England, Spain, Italy, America and others. All these countries have had the opportunity of becoming acquainted with the creations of Archipenko and many pronounce his name with the same interest as connoisseurs pro- nounce the name of the creator of the relative theory, Einstein. In any case, Archipenko is an exceptionally talented artist and he is a dominant figure in the plastics of the age. He has given us a few master- pieces created in unusually attractive combinations and in various sub- stances. Action—Paris 1920 Archipenko is the inventor of a style but it is not useless for one to seek also in him the pure lines of Buddhist art, the sad rhythm of the Christian compositions, the striking humility of the negro art, and finally the geometrical evolution of his contemporaries whose great traditions he continues. Archipenko Monograph in English, French, Spanish and Ukranish by Prof. Dr. Hans Hildebrandt, University of Stuttgart, Berlin 1923 Archipenko is the sole creator of the new idea of combining sculpture and painting as one art, an idea which dates back to the year just before the outbreak of the war. It finds expression in several plastics in 1912 which represent a cross between man and machine and are the first repro- ductions of a constructivism which is now being developed by Russian, Hungarian and German artists in a purely abstract form. New International Encyclopaedia, New York 1925 Volume II Modernism has numerous representatives, chief among them is Archi- penko. Rul, Berlin 1922 Archipenko is one of the most serious sculptors of our age. His talent and seriousness convince even the most conservative persons—his creations are so profound. It is not necessary to be a connoisseur in art to understand his work. It.is not a question of amazing the public because we see a true desire of the artist to find a new path and discover plastic secrets. It is compre- hensible that in a short time, Archipenko has been generally recognized in all Europe. His works are in first class private collection as well as in important museums, even in the far east—Japan. Archipenko is “‘hors concours’ with his beautiful plastic. He has many imitators. Iwan Goll, Archipenko Album, Paris 1921 Archipenko was the first Expressionistic Sculptor, if not the first expressionistic artist. Anyhow, the young generation in Germany has derived much from him. But soon he abandoned. Expressionism and came to Cubism and then to himself. For a Genius, all methods are only step- ping stones. , 10 In the plastic art Archipenko has the same signification as Picasso, in the art of Painting. Both ventured into the dangerous paths of new ele- ments and new forms, and both conquered them and became leaders of a great century. Archipenko’s figures are timeless in the highest sense of the word, they are miracles of our age. Rusky Golos, New York by Nadegina, 1928 It is indeed a great satisfaction for me to write on the creations of Archipenko because I have before me his sculpture and paintings. I feel in these the elements of a great revelation which is inevitably in the foundation of each veritable artistic creation and because in the colossal realization of Archipenko, we see new aesthetical possibilities in form of sculpture which seemed exhausted after Michaelangelo. Chicago Evening Post 1925 Keenly intellectual like Picasso is Archipenko, and like him has a mathematical mind in which abstractions resolve themselves into concrete forms hopeless of comprehension by anyone to whom the spiritual essence of mathematics is nonexistent. Max Osborn, History of Art, Berlin 1920 In modern painting and sculpture, the perceptible and realistic prin- ciples are abandoned and a new idea leads into the construction of the spiritual. “The founder of this movement was the Russian Alexander Archipenko. With all the consistency of his great artistic personality, he is striving to show in the substantial body nothing but its constructive law and its function. Archipenko Monograph in French Valori Plastici, Rome 1922 The efforts of the contemporary sculptors have been crowned with success in that which concerns the renewal of the technique of art. Archi- penko is amongst those who have done the most towards its development. Rocky Mountain News, Denver 1927 If Archipenko’s forms appear new to us, it is because their aesthetic conception has been inspired by new forms of life; by vital factors of a new civilization. Archipenko has had the courage and. the strength to be of his period from the very beginning. ‘Therefore his work is also of the future. In looking over the tremendous output of Archipenko’s work and its unbelievable variety of forms, we come to the conclusion that he is one of the most problematic, most vital, most creative spirits of our period. Karl Woerman, Geschichte der Kunst; Leipzig 1922 The leader of the real Modernists and Radicals is the Russian Alex- ander Archipenko, a Parisian says ‘An infatigable juggler, Archipenko plays with earth and forms like a Prometheus, and how near is the day when Europe will be proud of Archipenko.”’ Los Angeles Times 1927 There is in Archipenko’s work something essentially of this age, swift rhythmic movement and clarity are the immediately noticeable features. 11 White Torso. Marble, 1916. One exemplary in the National Galerie, Berlin. Another exemplary in the Art Club, Chicago. L920; Melancholy. Spoloky 1922 Berlin Archipenko did not play the role of a primitive or naif man. He has added to all the material of his soul, all the things which have been created by humanity, the imposing things in art. He has studied and grasped all the styles. Shadowland 1923 Alexander Archipenko is looked upon by earnest critics as the dom- inant spirit of the day in the field of plastics. His experiments with metals are bold attempts to conquer new materials for his art. Introduction for catalogue by Dr. Christian Brinton, New York 1924 Twenty-eight continental museums have honored his art by pur- chase, and there have been held since the war alone, sixteen separate ex- hibitions of his sculpture and painting in as many different European cities. The reasons for this spontaneous reaction to the art of Archipenko are not far to seek. They reside chiefly in his aspiring modernism. If the mercurial Marinetti is the literary fugelman of the modern spirit, and the protean Picasso its representative painter, Archipenko occupies a similar position in the province of sculpture. Each in his way is a convinced, and convincing protestant. John Schikowski, Deutsche Zeitung, Berlin 1921 Archipenko blazed a new trail for the European sculpture. Springers Kunstgeschiehte, Berlin 1920 Archipenko’s influence has proven to be extremely strong and cap- tivating for the younger sculptors. Brooklyn Eagle 1926 Archipenko’s fine craftsmanship is again evidenced in his ability to give surface interest, beauty of texture, and color to his carefully studied and balanced forms. Introduction for a Catalogue, by Yvan Goll, New York 1921 To-day Archipenko surpasses, by his mastery of an altogether per- sonal form, all the hopes of which modern art was formerly theught cap- able, and furnishes us not only in his plastic art but in his more classic designs with works of art which will remain as high testimonials to our epoch. He has his followers in every country, and the entire young gen- eration is inspired by him. His courage in utilizing several metals at the same time has resulted in another innovation of which the consequences are still further reaching. Presse et Revolution, Moscow 1927 One of the first revolutionists in the French sculpture, who shook the foundation of the habitual conception in art, was, without doubt, Archi- penko. In the artistic researches of Archipenko, it is necessary to first see his energetic protestation against the comprehension of plastic which pre- vailed at the beginning of this century. In this case, Archipenko’s influence in the development of the Euro- pean sculpture during the period of 1914-1920, was, in many cases, analogous to that of Picasso in painting during this same period. 14 AYN Oy 1 25. 26. GON BEV EOKG AUS Archipentura, Prelude Seven S@UL PT URIs W. Mengelberg in the IX Symphony of Beethoven Wilhelm Furtwaengler Thornton Wilder Courtesy of Mr. Bont, N.Y. The Dream Two Souls One exemplary in collection Tokyo, Japan Melancholy A Melancholy B Onward Diana Courtesy of Mr. and Mrs. M. Gutman, N.Y. Young Girl ihe Past — Mask The Graceful Movement (Concave) One exemplary in collection D., New York Fragment One exemplary in collection F., Geneva Angelica-Head (Variation 6) Tanagra Motive (Concave) One exemplary in collection F., Berlin Statuette (Concave) One exemplary tn collection E., Tokyo, Japan Woman Dressing Her Hair (Concave) One exemplary in collection I., Tokyo, Japan Sitting Torso One exemplary tn collection N., Tokyo, Japan Glorification of Beauty (Concave) Courtesy of Mr. and Mrs. H. Caesar The Last Moment of the City of Pompeii Spring Torso Courtesy of Mr. and Mrs. S. Hartman, N.Y. Woman Turning One exemplary in collection R., Bremen White Torso One exemplary in National Galleries, Berlin Bronze, 1926 Bronze, 1926 Plaster, 1928 Bronze, 1925 Bronze, 1925 Bronze, 1925 Bronze, 1925 Bronze Le.) Bronze, 1925 Bronze, 1926 Silver, 1926 Silvered Bronze, 1923 Bronze, 1909 Bronze, 1925 Bronze, 1914 Bronze, 1914 Bronze, 1914 Bronze, 1909 Silvered Bronze, 1925 Bronze, 1925 Gilted Bronze, 1925 Bronze, 1925 Silvered Bronze, 1916 Exhibited exemplary: Courtesy of Mr. and Mrs. P. Reinhardt, N. Y. Flat Torso Courtesy of Mr. R. Loewy, N.Y. Woman Standing One exemplary in Museum of Rotterdam 15 Gilted Bronze, 1915 Bronze, 1921 IRD 23 2. SINE ahs a2. 5% See 35, 36A. 3 6B. CVG Seen bik 40. mile AZ. need = da ae a0; ae 438. 40 50. Se as jo: Kneeling One exemplary in collection W., New Orleans Rape Black Torso One exemplary in Museum of Mannheim, Germany Man One exemplary in collection S., Berlin Woman Sitting One exemplary tn collection W., Frankfort Promenade Tete a l’Egyptienne Woman Bending One exemplary in Museum of Vienna One exemplary in Museum of Ossaka, Japan Silhouette, Woman Vase Gilted Bronze, 1925 Bronze, 1925 Bronze, 1909 Bronze, 1922 Bronze, 1923 Bronze, 1925 Bronze, 1925 Bronze, 1921 Bronze, 1913 Bronze, 1916 Courtesy of Miss K. Dreier, Pres. of Société Anonyme, N.Y. Vase Folded Arms Courtesy of Mr. J. B. Neuman, N.Y. Head Courtesy of Mr. and Mrs. M. Gutman, N.Y. The Pearl Feminine Solitude One exemplary in Museum of Mannheim, Germany One exemplary in Museum of Frankfort, Germany Gray Torso Courtesy of Mr. Howe, Philadelphia Repose One exemplary in Staedtisches Museum, Essen Group Lying Torso Statuette in different styles Classique Torso She Is Sleeping Empire Black Figure One exemplary in private collection, Frankfort Symmetric Torso Courtesy of Mr. L. De Motte, N.Y. CERAMIC Caryatid She Walks Salome 16 Bronze, 1916 Bronze, 1922 Marble, 1920 Marble, 1926 Marble, 1921 Marble, 1922 Marble, 1909 Original Plaster, 1922 Original Plaster, 1923 Original Plaster, 1926 Original Plaster, 1925 Original Plaster, 1925 Original Plaster, 1925 Cement, 1921 Marble, 1922 Ceramic, 1927 Ceramic, 1927 Ceramic, 1926 Ceramic, Ceramic, Ceramic, Ceramic, Ceramic, Ceramic, Ceramic and Mosaic, Ceramic and Mosaic, Head Promenade The White Head Near the Lake The Head (Melancholy ) Two Sisters She Is Sitting Model Wounded Mother and Child Woman Seated On the Terrace Young Girl Portrait of Mrs. Martin Portrait of Mrs. Dahlberg She Goes Draped Torso 54. Leaning 55. Group Two Women bo. Head oy weose Lorso: . 58. Woman's Head 59. Girl Sitting 60. She Goes 61. She Listens SCULPTO-PAINTING 62. Small Red Vase of Flowers on Table 62.0 Bather 64. Woman (Different Metals) Courtesy of Miss K. Dreier, President of Société Anonyme, N.Y. PAINTING 65. Bather 1926 83. 66. English Woman 1927 84. 67. Abundance 1926 Boe 68. Sadness 1926 86. 69. Melancholy 1927 87. 7-2 l:orso 1926 Mipe-Caryatid 1926 88. 72. Towards Another 89. (lst Variation) 1926 90. 73. “Towards Another 91. (2nd Variation) 1927 97 74. Dreamer 1926 on Woe; he Pearl 1925 an 76. Two Women 1926 95. 77. Still Life 1925 oe 78. Lady with Fan 1923 79. Draped in White LOoT: 97. 80. Draped in Blue BS er 81. After the Bath 1925 98. 82. She Reads 1928 99, DRAWING 100 to 117 17 Lo 27 1926 1928 1928 1928 1928 1928 1928 BY09 LOLS 1923 1928 LO2/ 1928 Lely, 1926 1927 1928 LOzy, 1927 1928 1928 1928 1928 1928 1928 1928 1928 Glorification of Beauty. Silvered Bronze, 1925. One exemplary in the collection D. New York. oa) Bronze, 1926. Young Girl. LITERATURE ON THE WORKS OG ALEXANDER ARCHIPENKO ARCHIPENKO MONOGRAPH—in French, German, Ukranian, and English by Professor Dr. Hans Hildebrandt—Berlin, 1923. ARCHIPENKO MONOGRAPH—in German—by Dr. Erich Wiese, 1923. ARCHIPENKO MONOGRAPH—in Spanish—Editora Internacional —Buenos Aires. ARCHIPENKO MONOGRAPH—by Roland Schacht—Sturm Edition, Berlin. ARCHIPENKO MONOGRAPH—in French—Broglio Edition, Rome, 1922. ARCHIPENKO MONOGRAPH—by Nicholas Golubetz, Lwow, 1922. ARCHIPENKO ALBUM—by Theodor Daubler, Iwan Goll, Blaise Cendrars —Edition G. Kiepenheuer, Potsdam, 1921. ALEXANDER ARCHIPENKO—Sturm Bilderbuecher—Berlin, 1915. Numerous books on the History of Art and Encyclopedias. 20 AO, RtOQ/_/ yi 16 WEST 61st STREET NEW YORK CITY Phone: COLUMBUS 4813 SCULPTURE PAINTING DRAWING CERAMIC MOSAIC Ercole Db Art