形态的诗与哲
Mysticisme et poésie des Formes
罗伯特·库蒂里耶 Robert COUTURIER2024.09.21 - 2024.11.16
上海市衡山路199号永平里105栋
Bldg 105, 199 Hengshan Rd. Shanghai
杜梦堂（上海）荣幸呈现「形态的诗与哲」，展出20世纪法国雕塑界两位举足轻重的人物——艾蒂安-马丁（Étienne-Martin）和罗伯特·库蒂里耶（Robert Couturier）的作品。这是两位艺术家的作品在国内的首个展览。此次精选的二十件雕塑作品跨越了他们职业生涯的中期至晚期，展现了两位艺术家如何将形态美学的探索与哲学思考相结合，通过各自独特而多元的创作实践成为现代雕塑发展的重要组成。
DUMONTEIL Shanghai is honored to present “Mysticisme et poésie des Formes (Mysticism and Poetry of Forms)", a duo exhibition featuring works by Étienne-Martin and Robert Couturier, two pivotal figures in 20th-century sculpture. This marks the first time that both artists' works are being exhibited in China. Spanning the middle to the latter stages of their careers, the twenty sculptures on display demonstrate how these artists combined their exploration of morphological aesthetics with philosophical reflections, becoming essential contributors to the development of modern sculpture.
Robert COUTURIER | 罗伯特·库蒂里耶
Back of a Blond | 金发女子的背影Bronze, Taube Foundry, signed Ed. 1/6 ; 32.8 x 14.5 x 9 cm
Étienne-Martin | 艾蒂安-马丁
Bronze, signed ' Étienne-Martin', Godard Foundry铜雕，署名 Étienne-Martin，Godard 铸造厂Ed. 8/9 ; 65 x 60 x 152 cm
尽管艾蒂安-马丁（Étienne-Martin, 1913-1995）和罗伯特·库蒂里耶（Robert Couturier, 1905-2008）的艺术生涯与抽象表现主义，波普艺术、新现实主义和极简主义等运动同时代，但他们依然保持各自的独立性，在时代的巨浪中坚定地追寻着自身的方向。此次展出的作品题材多样、风格迥异，主要创作于两人艺术生涯的重要发展期（20世纪40至60年代）以及他们创作生涯的晚期，以此还原两位艺术家作为“创作者”被自身光环所掩盖的丰富多样性。Although the careers of Étienne-Martin (1913-1995) and Robert Couturier (1905-2008) coincided with movements like Abstract Expressionism, Pop Art, Neorealism, and Minimalism, both artists maintained their independence, resolutely pursuing their own directions amidst these waves of change. The works in this exhibition, created during the major development phases of their careers (1940s to 1960s) and the latter part of their creative life, aim to restore the richness and diversity of these artists as “creators”, a quality often overshadowed by their own reputations.
Robert COUTURIER | 罗伯特·库蒂里耶Bronze, Susse Foundry, signed Étienne-Martin | 艾蒂安-马丁
Original edition, Bronze, Susse FoundryEd. 1/8 ; 43.5 x 29.5 x 39 cm作为二十世纪最重要的法国雕塑家之一，艾蒂安-马丁的作品以抽象、表现主义和实验为特点。“我的雕塑不是用来居住的，而是让想象力驻足的。”这句自述与艾蒂安-马丁最广为人知的《Demeure（居所）》系列产生了深刻共鸣。该系列既是他对儿时故居的诗意重构，也是其阐述记忆与时空关联的具象载体。Étienne-Martin, one of the most important French sculptors of the 20th century, was known for his abstraction, expressionism, and experimentation. “My sculptures are not meant to be inhabited but to allow the imagination to reside, ” he said, a self-description that resonates deeply with his most recognized series, “Demeure” (Dwelling). This series poetically reconstructs his childhood home and serves as a figurative means to explore the connection between memory, space, and time.
Étienne-Martin | 艾蒂安-马丁
Metal (Demeure-Mirror) | 奖章Ed. 7/8 ; 67 x 70 x 35 cm
建筑结构常被艾蒂安-马丁用于展现思想的内部景观。在双面圆盘雕塑《Demeure-Mirror》（又称《奖章》，1959）中，他将墙作为隔离的象征。“如果我们能窥见墙的另一侧，就能获得更广阔的世界，进而超越主观与矛盾。而伟大的冒险正是走到这堵墙的背后，既不否定它，也不绕开它，但却不时穿过它 ”。这种探索与穿越的精神，贯穿了他的创作理念。此次还展出了艺术家围绕大型公共雕塑《Demeure X》（1968，现位于巴黎Parc de Bercy公园）所做的一系列研究型作品其中的两件，印证了艺术家在创作过程中对形式和结构的多维探索。
Étienne-Martin often employed architectural structures to visualize thoughts and ideas. In “Demeure-Mirror” (also known as “Medal”, 1959), a double-sided disc sculpture, he uses the wall as a symbol of isolation. “If we can glimpse the other side of the wall, we gain access to a wider world and thus transcend subjectivity and contradiction. Behind this wall, great adventures unfold—not by denying it or going around it, but by crossing it from time to time. ” This spirit of exploration is central to his creative philosophy. The exhibition also features two works related to his large-scale public sculpture “Demeure X” (1968, now in Parc de Bercy, Paris), showcasing his multidimensional exploration of form and structure.
Ed. 4/8 ; 28 x 50 x 20 cm除了复杂的精神追求，艾蒂安-马丁在造型与表达上的原创性也是他受到许多艺术家敬仰的主要原因。抒情抽象派创始人乔治·马修（Georges Mathieu）就曾写道（1989）：“艾蒂安-马丁或许是法国现存最伟大的雕塑家，他的作品体现了杰作通常具有的两个特点：永恒性和普遍性。它们既不属于史前时期，也不属于任何文明，尽管它们与人类的关联是根本性的。” 我们能从这些作品中感受到这种关联：气势如虹的《喙》，高耸矗立的《手》，如双腿般站立的《胡桃夹子》，如脊骨般延伸的《小天窗》等。从生命的奥义到世界的起源，这些作品的形态似乎源于创造本身，具有极强的宇宙性。
In addition to his complex spiritual quest, Étienne-Martin’s originality in form and expression is what has inspired many artists. Georges Mathieu, the founder of Lyrical Abstraction, wrote in 1989: “The work of Étienne-Martin, perhaps the greatest surviving French sculptor, embodies two characteristics often associated with masterpieces: timelessness and universality.” His forms, such as the imposing “Beak”, the towering “Hand”, “Nutcracker” that stands like strong legs, and “Little Skylight” that extends like a spine, seem to originate from creation itself, with a cosmic character that reflects the mystery of life and the origins of the world.Robert COUTURIER | 罗伯特·库蒂里耶
Bronze, TEP Foundry, signed EA II/IV ; 73 x 22 x 10 cm
Étienne-Martin | 艾蒂安-马丁
Ed. 1/8 ; 60 x 35 x 30 cm
相较于艾蒂安-马丁，罗伯特·库蒂里耶的抽象语言则更多是基于对形态的诗意捕捉和转变，实现材料在满与空之间的博弈。
作为战后法国雕塑界最具影响力的艺术家之一，库蒂里耶在20世纪50年代的创作常被拿来与贾科梅蒂（Alberto Giacometti）和里希耶（Germaine Richier）的作品相比较。战争的创伤让此时的人物形象趋于纤长，瘦骨嶙峋，形容枯槁，这在三人的作品中皆有体现。但比起贾科梅蒂和里希耶作品中的阴郁与悲怆，库蒂里耶的作品虽然也具有悲剧色彩，却往往还带着一丝幽默。同时，库蒂里耶的创作注重平衡与节奏感，他时常借助人物形象的姿态与手持物件，让雕塑空间的间隙发挥至关重要的作用。例如，在《手持水壶的女子（达那伊得斯）》中，倾泻而下的水柱成为了支撑女子屈膝前倾姿态的重要支点，赋予整个作品流畅的动感。
In contrast, Robert Couturier’s work focuses on the play between fullness and emptiness of materials through the poetic transformation of forms. While sharing a contemporaneous period with figures like Giacometti and Germaine Richier, his work carries a distinct approach. While their works are often defined by gloom and pathos, Couturier’s sculptures, though tragic, frequently possess a touch of humor. His works also focus on balance and rhythm, with the spaces between figures and objects playing an integral role. For instance, in “Woman Holding a Jug (Danaïdes)”, the flow of water becomes a fulcrum that supports the woman's bent-knee, forward-leaning posture, creating a sense of fluidity and movement.
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Robert COUTURIER | 罗伯特·库蒂里耶Woman Standing with a Jug or Danaïde
手持水壶的女子 （达那伊得斯）
Bronze, Susse Foundry, signed 库蒂里耶曾坦言，“我最大的喜悦是通过寻找最简约的材料和手段来尽可能地唤起人性。” 很显然，他偏爱极简主义的表现手法。在其创作生涯的中后期，库蒂里耶开创了以暗示为主导的瓣状（lamelliform）雕塑，以纤薄的曲面打破雕塑的体量，用近乎剪影的轮廓描绘人体形态。女性形象在这一时期尤为突出，《金发女子的背影》、《围裹的身躯》和《多米诺》等作品都仅通过微妙的凹凸变化就实现了对身体的细腻表达。艺术家以清醒、克制的姿态将本质置于暗示之中，让观者随着作品的轮廓和起伏自由解读。可以说，库蒂里耶的雕塑最终是在观者的目光中完成的。
Couturier once remarked, “My greatest joy is to evoke as much humanity as possible through the simplest materials and means.” This minimalist approach is evident in his later works, particularly in his suggestion-driven lamelliform sculptures, which depict the human form through delicate, curved surfaces and silhouetted outlines. Female figures, such as “Back of a Blonde”, “Draped Torso”, and “Domino”, dominate this period, delicately expressed through subtle variations of concavity and convexity. His minimalist gesture invites viewers to interpret freely, allowing the contours and undulations of the works to be fully realized in their gaze.
Robert COUTURIER
罗伯特·库蒂里耶
Bronze, Susse Foundry, signed Ed. 4/8 ; 38.8 x 7 x 9.5 cm
Robert COUTURIER
罗伯特·库蒂里耶
Bronze, Susse Foundry, signed
通过此次展览，我们得以一窥艾蒂安-马丁和罗伯特·库蒂里耶如何在他们的创作中，将雕塑的形态转化为充满诗意和哲学意蕴的艺术表达，以及他们对现代雕塑发展的重要贡献。自画廊创立以来，杜梦堂长期致力于重新发掘二十世纪重要的艺术遗产，尤其是在画廊享有盛誉的雕塑领域。杜梦堂作为艾蒂安-马丁艺术遗产的全球代理，开展了此次与罗伯特·库蒂里耶艺术遗产的密切合作，让我们得以在过去与现在的持续对话中重温前人的创造精神，以及雕塑这种艺术形式的持久力量。
This exhibition reveals how Étienne-Martin and Robert Couturier transformed sculpture into a poetic and philosophical form of artistic expression, highlighting their significant contributions to modern sculpture. Since its founding, Dumonteil has been dedicated to rediscovering the artistic heritage of the twentieth century, particularly in French sculpture, for which it is renowned. As the global representative of the Étienne-Martin Estate and through a close collaboration with the Robert Couturier estate, Dumonteil revisits the creative spirit of these masters. This ongoing dialogue between past and present highlights the enduring power of sculpture, allowing us to engage with the timeless essence of this art form.
罗伯特·库蒂里耶
Hand with a Pear
捧着梨子的手
Bronze, Susse Foundry, signed Ed. 4/6 ; 9.2 x 15.1 x 20.5 cm
Étienne-Martin | 艾蒂安-马丁
Ed. 2/8 ; 38 x 20 x 17 cm
此次艾蒂安·马丁与罗伯特·库蒂里耶的双人展「形态的诗与哲」开幕酒会定于9月21日(周六)下午5时至晚间8时举办。欢迎大家关注此次展览。
The opening reception of
Étienne-Martin and Robert Couturier
's duo exhibition “Mysticisme et poésie des Formes (Mysticism and Poetry of Forms)” at DUMONTEIL Shanghai is scheduled for Saturday, September 21 from 5 pm to 8 pm. You are more than welcome to visit this exhibition.
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ÉTIENNE-MARTIN, Image ©Centre Pompidou
艾蒂安-马丁（Étienne-Martin, 1913-1995)）是二十世纪最重要的法国雕塑家之一。他的作品融合了雕塑与建筑的范式，以抽象、表现主义和实验为特点。除了木材、青铜和石膏，他还使用织物和绳索作为雕塑材料，他创作的《Le Manteau》（1962年）是现代艺术史上第一件织物雕塑。
他是1966年第33届威尼斯双年展上雕塑大奖得主。他于1970年6月17日被选为法兰西学术院-美术院(Académie des Beaux-arts)终身院士。他参与了1972年的第五届文献展，此后一直被著名的机构所赞誉。蓬皮杜艺术中心曾在1984年展出过艺术家《Demeure》系列的所有作品，并在2010年为他举办的一次大型回顾展览，随后于2011年在瓦讷的Cohue博物馆举办了一次展览，最重要的回顾展是2012年在里昂美术博物馆举办的大型展览 “L’Atelier d’Etienne Martin”。
他的作品被纳入众多知名博物馆和基金会的收藏，如蓬皮杜中心、巴黎市立现代艺术博物馆、古根海姆博物馆、芝加哥艺术学院、比利时皇家美术博物馆、斯泰德利克博物馆、贾纳达基金会等其他机构。
ENGLISH VERSION →
Étienne-Martin (1913–1995) was one of the most important French sculptors of the 20th century. His work blended the genre of sculpture and architecture, characterized by abstraction, expressionism, and experimentation. In addition to wood, bronze, and plaster, he used fabric and rope as materials, with “Le Manteau” (1962) being the first fabric sculpture in modern art history.
He won the Grand Prize for Sculpture at the 1966 Venice Biennale. He was elected to the Académie des Beaux-Arts in 1970 and later participated in the fifth Documenta in 1972. His work has been honored by prestigious institutions, notably a complete presentation of the "Demeure" series (1984) and a retrospective (2010) at the Centre Georges Pompidou, and “L’Atelier d’Etienne Martin” at Musée des Beaux-Arts de Lyon (2012) and Musée de la Cohue in Vannes (2011).
His work is held in major collections such as the Centre Pompidou, the Musée d'Art Moderne de la Ville de Paris, the Guggenheim Museum, the Art Institute of Chicago, and the Royal Museum of Fine Arts of Belgium, Stedelijk Museum, Fondation Pierre Gianadda, among others.
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Robert COUTURIER, Image ©J.F Bonhomme罗伯特·库蒂里耶（Robert Couturier, 1905-2008）是法国杰出的雕塑家，对现代雕塑做出了重要贡献。他的作品抽象而富有情感，以生动的表现力脱颖而出。他的早期创作深受导师阿里斯蒂德·马约尔（Aristide Maillol）的影响，两人于1928年相识。库蒂里耶很快在艺术界崭露头角，获得了布鲁门撒尔奖，各种展览和公共委托创作机会继踵而至。
在1950年代，他开创了强调空隙作用的雕塑作品，晚年则将现成品融入雕塑，在材料和主题上不断创新。他的贡献为他赢得了诸多荣誉，包括巴黎双年展雕塑大奖。他的作品也曾在威尼斯双年展（1950年）和圣保罗双年展（1951年）等重要艺术活动中展出。库蒂里耶留下了 500 多件雕塑作品，并在罗丹博物馆（1970 年）和Monnaie de Paris（1975 年）举办了回顾展。2005 年，在他 100 岁生日之际，Dina Vierny基金会--马约尔博物馆为他举办了回顾展。他的作品被蓬皮杜艺术中心、巴黎现代艺术博物馆和东京当代雕塑中心等主要机构收藏。Robert Couturier (1905–2008) was a distinguished French sculptor who made notable contributions to modern sculpture, recognized for his abstract, emotive works. Influenced by his mentor Aristide Maillol, whom he met in 1928, Couturier quickly gained prominence, winning the Blumenthal Prize and participating in exhibitions in 1930s Paris.
His significant commissions include “Le Jardinier” for the Esplanade of the Trocadéro (1936) and decorations for the 1937 World's Fair. In the 1950s, Couturier pioneered the use of emptiness in sculpture. Later, he incorporated found objects into his works, showcasing evolving themes. His contributions earned him major accolades, including the Grand Prize for Sculpture at the Paris Biennale.
Couturier's legacy includes over 500 sculptures, with retrospectives at the Rodin Museum (1970) and the Monnaie de Paris (1975). In 2005, for his 100th birthday, the Dina Vierny Foundation – Maillol Museum in Paris held a retrospective. His works are in major collections, including the Centre Pompidou, Musée d'Art Moderne de Paris, and the Contemporary Sculpture Center in Tokyo.
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ÉTIENNE-MARTIN工作室, Image ©Alberto Ricci欢迎通过底部
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