Félix SCHIVO (1924-2006) MANDOLIN PLAYER Original... - Lot 275 - Crait + Müller

Lot 275
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Félix SCHIVO (1924-2006) MANDOLIN PLAYER Original... - Lot 275 - Crait + Müller
Félix SCHIVO (1924-2006) MANDOLIN PLAYER Original patinated plaster Signed (on the terrace) : Félix Schivo 65 x 42 x 26 cm Damage and missing parts Provenance: Artist's studio, by succession BIOGRAPHY: "Beyond the quantity of work done, it is certainly the polymorphic character of the work of Felix Schivo (1924-2006) that intrigues most. Large statues reinterpreted from the world of the engraver Jacques Callot (1592-1635) rub shoulders with busts in tight planes; small terracottas in bright colors, depicting people of justice, rub shoulders with engravings where a deep and mysterious black dominates; drawings of Pyrenean or Aveyron landscapes dialogue with large polychrome plaster casts of animals or Mime Marceau, and cracked ceramics. The artist explains this polymorphic character: "I have done nothing in art that was not the expression of a deep motivation, an emotion, a desire to keep a trace, everything being fleeting. Hence my alleged diversity and why the repetitive bores me. And his master of the National Superior School of Fine Arts, the sculptor Marcel Gimond (1894-1961), to drive the nail in: "There are as many aspects of an artist as there are minutes in his life". Thus, Felix Schivo does not balk at commissions and feels comfortable with the bronze statues, each very different, that he delivers to Bry-sur-Marne in 1977 (The Chrysalis) ; in Dugny in 1984 (The Cry); or in Senlis in 1989 (Monument to the painter Thomas Couture). He shows a very sure science for his busts, whether of relatives or artistic personalities (Hervé Bazin, Christian Dior): they earned him the praise of the sculptor Jean Carton (1912-1988). In addition, Felix Schivo, in his constant openness to the world, enjoyed close exchanges with other artists. He learned with his fellow student at the Beaux-Arts in Paris, the sculptor César, a southerner like himself, the techniques of ceramics in Fontcarrade. He collaborated several times with Jean Guillou (1930-2019), composer and organist of the Saint-Eustache church, for works mixing engraving and music. He frequents art craftsmen, lithographers, engravers, practitioners, who like to transmit their know-how to him. While he learns engraving and ceramics in parallel with his studies at the Beaux-Arts, he also learns from a certain "Mr. Paignant", a former patina artist at the Hébrard foundry, who gives him certain secret recipes. Thus, for his series of animal sculptures, he chisels and patinates (with acids) each bronze himself, knowing that these proofs were made in a single casting for the terrace and the subject, thanks to the technique of sand casting, by the founder of Milanese origin Umberto Figini. But as the writer Hervé Bazin (1911-1996) pointed out when commenting on the Félix Schivo exhibition at the Vendôme gallery in 1969, the impeccable technique of the sculptor and engraver always remains at the service of the emotions he wishes to transcribe." Eve Turbat
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