Pablo Curatella Manès  (Argentine, 1891-1963) 


Hier finden Sie Werke von Pablo Curatella Manès, die gerade in internationalen Galerien zum Kauf angeboten werden oder auf Auktionen versteigert wurden, Auktionsresultate sowie eine ausführliche Biografie und weitere Informationen.
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Pablo Curatella Manès, Le guitariste


Pablo Curatella Manès
Le guitariste
circa 1921

Galerie Jacques De Vos
Verkaufsresultate (45)  Alles anzeigen
Pablo Curatella Manès, Reclining figure


Pablo Curatella Manès
Reclining figure, 1944
bronze w/ black patina


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Pablo Curatella Manès, Mi padre


Pablo Curatella Manès
Mi padre


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Pablo Curatella Manès, Las tres gracias


Pablo Curatella Manès
Las tres gracias
patinated bronze


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1891   Born in La Plata.
1963   Died in Buenos Aires.
  Pablo Manès studied at the school of fine arts in Buenos Aires. He was awarded a bursary to study in Europe and after visiting Italy settled in Paris in 1914. There he studied under Bourdelle, and under the name Curatella-Manès, exhibited a Bronze at the Salon of the national fine arts society. He became close friends with Juan Gris. In 1924 he exhibited Guitarist at the Salon des Indépendants. In 1925 he took part in the Exposition Universelle des Arts Décoratifs, where he received a medal. Having executed a Bust of M. Alvéa, President of the Republic of Argentina, in 1926 he was appointed secretary to the Argentinian Embassy in Paris and continued in this post until 1948 while also pursuing his career as a sculptor. After World War II he took part in some important international exhibitions including, in 1952 the Venice Biennale and in 1953 the São Paulo Biennale. In 1947 he was awarded first prize for sculpture at the Buenos Aires national exhibition.
  Manès’s Guitarist of 1924 and Nymph Leaning on her Elbows of the same period, reveal a strict Cubist approach, no doubt under the influence of his friend Juan Gris, however this became more relaxed around 1925, for example with his piece The Acrobats. His sculpture developed in parallel with the work of Lipchitz and later, as in the case of Lipchitz himself, volume exploded freely into space in the form of lianas and other tropical vegetation with The Saint of 1932 and the Fall of Icarus of 1933. This freedom of expression found by liberating volume into space brought the artist to the boundaries of abstraction although he continued to maintain contact with the pretext of reality in works such as Rugby and The Dance.
  Bio info courtesy of Feingarten Galleries.