Jesús Rafael Soto (1923-2005)

Rivas Yares Gallery, Scottsdale

Scottsdale, Riva Yares Gallery, Vibrations and Squares, February 3-March 10, 2001, illustrated on the cover of exhibition catalogue

The hanging metal strips present scattered nicks, chips and losses with some accumulation of dust. They do not appear to have been repainted. There's some blue paint rubbing visible along the edge of the stripped backboard but very minimal overall. Overall, the work is in very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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After having worked in the early 1950s on a series of "progressions" and kinetic works mostly based on pure geometry inspired by early Malevich and the late Mondrian, Soto incorporated constructive elements to be placed in the foreground against an animated linear background to virtually create a never ending transformation or vibration of the work via the optical changes created by the accidental perspective and the movement of the spectator.

By the early 60s, Soto had incorporated pure planes of color to serve as an alternative background that enhanced the qualities of objects in the forefront. He also created more autonomous colored geometric forms that behaved as independent elements in the composition. There are a number of Soto's examples that combine an active three dimensional vibration in a dialogue with an inactive flat color surface. The conversation between the restful -permanent- and the restive and lively is the main theme of Gran Azul (Big Blue).