Pol Bury, ‘D’Aprés Antonello De Messine (Série Des Ramolissements Virtuels)’, 2001, Print, Photographic print on paper, transformed on graphic pad, mounted on canvas, DIGARD AUCTION
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Pol Bury

D’Aprés Antonello De Messine (Série Des Ramolissements Virtuels), 2001

Photographic print on paper, transformed on graphic pad, mounted on canvas
10 2/5 × 7 1/2 in
26.5 × 19 cm
Bidding closed
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DA
DIGARD AUCTION

signed on lower right side
Unique
10.4 × 7.4 in - 26,5 x 19 cm

Medium
Pol Bury
Belgian, 1922–2005
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Best known for his kinetic sculptures, Belgian artist Pol Bury began his career as a Surrealist painter heavily influenced by the work of René Magritte and Yves Tanguy. After turning to geometric abstraction and associating briefly with the CoBrA group, an avant-garde movement that espoused the complete freedom of color and form, Bury discovered Alexander Calder’s work and began making mobiles of painted shapes and sculptures in which movement was emphasized. The movements he assigned to these sometimes-monumental works were often slow and almost imperceptible to the naked eye. “Speed limits space; slowness increases it,” he once said. Over the course of his career, Bury created a number of fountains that incorporated water into their kinetic workings, including his well known L’Octagon (1985) in San Francisco.

Pol Bury, ‘D’Aprés Antonello De Messine (Série Des Ramolissements Virtuels)’, 2001, Print, Photographic print on paper, transformed on graphic pad, mounted on canvas, DIGARD AUCTION
Save
Save
View
View in room
Share
Share
DA
DIGARD AUCTION

signed on lower right side
Unique
10.4 × 7.4 in - 26,5 x 19 cm

Medium
Pol Bury
Belgian, 1922–2005
Follow

Best known for his kinetic sculptures, Belgian artist Pol Bury began his career as a Surrealist painter heavily influenced by the work of René Magritte and Yves Tanguy. After turning to geometric abstraction and associating briefly with the CoBrA group, an avant-garde movement that espoused the complete freedom of color and form, Bury discovered Alexander Calder’s work and began making mobiles of painted shapes and sculptures in which movement was emphasized. The movements he assigned to these sometimes-monumental works were often slow and almost imperceptible to the naked eye. “Speed limits space; slowness increases it,” he once said. Over the course of his career, Bury created a number of fountains that incorporated water into their kinetic workings, including his well known L’Octagon (1985) in San Francisco.

Pol Bury

D’Aprés Antonello De Messine (Série Des Ramolissements Virtuels), 2001

Photographic print on paper, transformed on graphic pad, mounted on canvas
10 2/5 × 7 1/2 in
26.5 × 19 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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