讓·阿爾普

皮耶·勒布，巴黎
夏洛特·樂娃
售出：紐約蘇富比，1985年11月14日，拍品編號308
艾米及湯瑪斯·科恩，拉奇蒙特，紐約
米切爾-英尼斯及納什畫廊，紐約
2009年10月購自上述畫廊

米榭·瑟福爾，《阿爾普》，阿姆斯特丹，1961年，品號19，載大理石版本圖，頁碼不詳

赫伯特·里德，《讓·阿爾普的藝術》，倫敦，1968年，品號114，207頁，100頁載大理石版本圖

愛德華·特里爾、瑪格麗特·阿爾普·哈根巴赫及弗朗索瓦·阿爾普，《讓·阿爾普雕塑作品：最後十年》，紐約，1968年，品號180，6頁載另一鑄造版本圖

《讓·阿爾普雕塑、浮雕、紙本作品及掛氈》（展覽圖錄），西班牙當代藝術博物館，馬德里，13頁載另一鑄造版本圖

塞爾日·福什羅，《阿爾普》，紐約，1988年，83頁載石膏模圖

阿里·哈爾托赫及凱·菲舍爾，《讓·阿爾普雕塑作品賞析》，波恩，2012年，品號180，137及315頁載另一鑄造版本圖

Writing about his life in 1958, Arp began his essay entitled Looking with the following: "To open my eyes, to see, to look, to contemplate the world, to watch clouds and trees, to behold cities and buildings, to look works of art in the eye, to look men in the eye, to see, to look – ever since my childhood this has been my greatest joy" (J. Arp in Arp, New York, 1958, p. 12). In his observation of the physical world around him as well as his influence of and in various artistic movements in the early-to-mid twentieth century, Arp developed a sophisticated vocabulary across media and disciplines. 

Created in 1958, during the artist's seventy-first year, Torse gerbe, speaks to Arp's mastery of biomorphic form and his incorporation of human figural elements into his sculpted works in his last decade. In the present work a torso rises up and delicately twists and bends towards its proper left-hand side, creating an exaggerated bending in its back and allowing for the shape of buttocks, hips, shoulder blades and head to emerge from the curving, sinuous bronze. An example of Arp's most accomplished work, Torse gerbe brings natural form – human, animal and plant – into dazzling movement in the world, exemplifying the artist's concept of "looking" into the present day.