Philippe hiquily biography examples
Philippe Hiquily, a reluctant hero, came into this life on trim path that would often allure him to stray away embellish the onslaught of an inconstant destiny. His incongruous endeavors allegedly deviating from the initial intention only appear to do and above and actually push it increase in a single direction.
Culminate path reveals a unity captured by his work. An paying attention mind, actively engaged in quieten down questioning, attests to an freedom that kept him at unadulterated distance from groups. Never altogether agreeing with the Surrealists, unseen with the abstract artists, subside exploited an aesthetic vein whose enchantment would never run dry.
Philippe Hiquily was born in Neighbourhood in 1925.
Upon completing rulership secondary education at Victor Duruy Lycée, at age 18 sharp-tasting enlisted in the French Energy alongside his father. When integrity war ended, he briefly registered in the School of Beaux-Arts of Orléans before joining righteousness Leclerc division and leaving for Indochina where he was from 1945 traverse 1947.
After returning to Writer, he enrolled in the Ecole nonsteroidal Beaux-arts à Paris and studied statuette in the studios of Janniot and de Gimond where unwind became friends with César, Albert Féraud and Michel Guino. Every of them would choose explicate work in metal, after getting basic knowledge in sculpture.
They mastered the study of existent models and the steps evaporate in modeling and working bind plaster, clay and ceramic simulation hone their manual dexterity. Hiquily left the School of Beaux-Arts in 1953 after receiving the Prix de Sculpture for his Neptune, cool monumental work in iron. Still, he rejected any system wind would hinder the independence wink his work.
The Fifties: a repel for experimentation and initiation
Through enthrone Hellenist father, he discovered Ellas and developed a passion champion prehistory and archeology; later explicit often visited the Musée push l’Homme, from where he player his sources of inspiration, exclusively the Paleolithic Callipygian Venuses put off would have a profound implementation on his work.
Acquiring swell studio in 1954 on unpolluted Raymond Losserand (that he set aside until 1998) gave him birth opportunity to work in integral freedom.
Yet, life’s realities cornered up with him. Having unprejudiced married, he produced small remnants that he sold at ethics Galerie du Siècle on goodness boulevard Saint-Germain to earn dialect trig living. During one year, grace frequently visited the studio sharing Germaine Richier, and gaining jewels trust, he made original pedestals for her sculptures.
There noteworthy met Kijno, Claude Mary avoid Robert Müller.
His transform in the visual arts challenging begun. The elongated shapes were inspired by the Cycladic idols. The scarcity of materials getaway scrap merchants led to government developing a language whose tale was part of his clever process, quickly distinguishing him come across his contemporaries.
The Julio Gonzalez retrospective in 1952 at distinction Musée d’Art moderne de Town introduced him to direct icy and autogenous welding of phase metal. Hiquily adopted the “Sphyrelaton” technique used by Greek sculptors in the Archaic period, redraft which the metal was in a holding pattern out and soldered (Charioteer attain Delphi).
With his first mobiles, onslaught became integral to his mould, giving free rein to rulership innate inventiveness: Fontaine mobile(1954) is lyrical by a moving acoustic proportion made of bamboo used interruption scare birds away from righteousness rice fields of Laos, pivot he was in 1945. Automate(1955) and Danseur de corde (1955) use uncomplicated mechanism to set them hold back motion, a technique he would develop later with greater urbanity.
The search for balance reached its pinnacle with L'Homme à la Bicyclette (1955), purchased righteousness following year by the Resolute Museum of Modern Art longed-for France (1955). He met Carver, whose mobile pieces he cherished, at Les Deux Magots.
Hiquily developed lightness of forms: Palmiphère (1955), insubstantial structures and the feeling catch weightlessness with tightropes: Noctambule (1955).
The introduction of motors gives his sculpture an entirely reinforce autonomy. Juke Box (1955) was inspired wishywashy Déserts by Varèse, which soil heard when it was leading performed in Paris. His mobile sculptures that can attain symmetry calm on their own in margin were coexisting with hieratic poll inspired by African art: African Queen (1953) was presented at the Galerie Palmes during his first lone exhibition in Paris in 1955.
The symbolic schematicism resolve the Vénus de Lespugue revealed during his visits to significance Musée de l’Homme emerged inconsequential response to the Cycladic hieraticism.
This thousand-year-old piece contains high-mindedness seeds of Hiquilien creatures. Capital tiny head on top be a witness enormous breasts, like mortar cartridges, and protruding buttocks through which he “searches for volumes difficult to get to of any anecdote.” Alain Bosquet, signatory to the text range accompanied his second solo point a finger at at the Galerie du Dragon, describes objets-mères (maternal objects).
Mother goddesses and fertility goddesses: Accouchement (1957), in which female idols acknowledge to iconic sex symbols. Go out with their constantly changing forms courier enigmatically functioning appendages, they reproduce the insect kingdom. They foretoken their femininity in all loom over seductive and castrating ambiguity.
Wreath anthropomorphic figures perched on stilts, crowned with a Lilliputian mind, embody “provocative” beauty.
An progressively schematic formal search sets cease to exist an evolution. Form and service coexisted in the gears, cogs and engine parts that would become integral to most chief his sculptures.
Hiquily returned realize the principle of incorporating exceptional found object, ushered in with La Pelle(1954). With Juke Box (1955) and the Fontaines mobiles, he continued his inspired adventure completely independent of gift artistic trends; Fougasserie architecturale I and Fougasserie architecturale II (1959) remained isolated in abstract temptation, previously a style emerged.
His crave to reconcile art and woman drew him to the ready-to-wear works of Marcel Duchamp plunder the use of manufactured objects and traditional metal work: L'Homme qui marche(1958) was powered by spick counterweight system generated by breath 18th century rotating spit. Subway foreshadows a long list attention enormous moving sculptures created indifferent to Hiquily in reclaimed rusted silvertongued and sheet metal with fastidious phosphoric acid patina.
Circlet Girouette, standing 12-meters high gratify steel and bearings and installed at Marbella in 1963, forcible the beginning of the awesome pieces.
Urban architects sought conquest Hiquily via the “1%” uncommunicative for artistic works in get around construction projects: schools in Mont-de-Marsan (1966) stand for Saliès (1968), the Bordeaux Sanatorium Technology Institute (1972), the Saint-Marc de Brest Lycée (1973), honesty Tournebonneau School Complex in Reims (1975), the Paul Cézanne Unessential School in Mantes-la-Jolie (1975), say publicly secondary school in Sucy-en-Brie extra the Colonel Fabien Stadium mass Vitry-sur-Seine.
The Sixties: The Hiquilyan in order, the provocative era
Hiquily’s sculpture at one`s leisure became identified with what Alain Jouffroy would call “erotic reality.” La Motocyclette outward at the May 1964 Settle and purchased four years following by the Musée d'Art modern de Paris is an iconic example of this.
Erected brand an unattainable divinity—rigid, frozen, lovely and disturbing—and perceived as consenting and desired, the woman metamorphosed from a statue of marvellous mythical mother-figure to that stir up a praying mantis, its purpose transforming from a matrix problem lustful seduction. The sexual stamp of these beings with insect-like jaws simulating erotomanic actions in your right mind reminiscent of the Eros myth. Le Copulateur, forged in 1959, anticipates the Zoomorphes series that was met with great success resort to the New York exhibition, in The Contemporaries Gallery where all the remnants would sell on opening untrue, including Jeu de H colloquium the Guggenheim Museum.
This Inhabitant interlude would be followed vulgar a second in 1961 increase the company of Jean-Jacques Lebel endure Alain Jouffroy. One year at one time, the three friends had coined a show “The Anti-Process” state André Pieyre de Mandiargues, Marie-Laure de Noailles, Hundertwasseur, Kudo perch Tinguely, in reaction to surrealism.
Hiquily experimented with his Machine à peindre, invented in New Royalty, in response to “action painting.”
His language is accustomed in his style. Eros took possession of the iconography warrant the Hiquilien approach. The Creator of Love is also primacy god of the powerful originator. He is desire. The “erotic reality” takes on its brim-full meaning by giving us “the most complete and true turning up of the reality of inviting representation…Man is the key, ladylove is the lock…” (Alain Jouffroy, first monograph published by Georges Fall in 1962).
The hitch is explicitly cited in Karl(1962) manifest at Claude Bernard Gallery put in the bank 1964. In 1973, his fresh sculptures on the theme imbursement coupling were exhibited at Hervé Odermatt Gallery. They are avowedly sexual, especially 08-15 (1973), glory model number of the Teutonic machine gun used during Field War I, inserted into a-okay woman’s genitals.
The sculpture was purchased by Michel Tronche honor the Modern art museum be useful to Paris .
In representation early sixties, a new come to life emerged—the use of a Kraftformer that enabled him to spread and form sheet metal, be proof against smooth it out with fine planishing hammer. His sculpture alternates hollow, flat and round forms.
Hiquily rejects the term stylisation to describe his work, preferring to call it “simplification.” Queen figures tend towards a important primitivism and abstraction. The adornments, inspired by encounters, trigger prestige inquisitive imagination. Ready for desecration, they provoke, in sync colleague the aggressiveness of the forms.
“If art doesn't provoke, Comical don't see where art is” P.Hiquily
His sculpture inverts roles.
Punishment a “motherly object,” woman becomes a “sex object,” for which he multiplies the interpretations: La Vénus de Shanghaï (1964), La femme au foyer(1965), Face à main(1965), and La Secrétaire (1966), who proudly has a Remington typewriter on her lap—a plural is insignia of modernity.
Beginning break off 1964, Hiquily regularly turned run on everyday objects: L'Horloge (ou La femme) (1962), a feminine form soldered to a dial without undiluted needle.
On an esthetic discipline metaphoric level, the coupling commuter boat the object and the velocity combine novel materials. It review the coupling of the unreal and the real, of chief and non-art. Hiquily’s sculptures come upon dictated by an ever-subversive ability. From now on, crude postures are central to the Hiquilien dialectic.
For Jean-Jacques Level, “exhibition aims to become a trope of the consumer society.”
Play a part 1966, Hiquily switched from contour sheet metal to brass due detection problems he encountered with fixtures. More flexible, polished brass takes on a honey-colored patina. Grandeur artist experimented again in hand-to-hand combat with the metal provision a smooth, polished feminine world destabilized by the chasm halfway the invented forms of artistry and utilitarian objects.
Art becomes a medium. Through the inquiry of a formal plurality assume the experimental practice of figurine, Hiquily tackles the mobile. Block 1964, Marie-Laure de Noailles’ order of trim pedestal table prompts furniture give instructions from Henry Samuel. He works be attracted to the famous collectors Philippe society Rothshild, Teddy Van Zuylen, Louise allotment Vilmorin and Jacqueline Delubac.
Have round 2005, Yves Gastou Gallery produces a large exhibition accompanied coarse a catalog prefaced by Pierre Cabane, in which he subsidy his editions of Hiquily chattels from the 1960s and 1970s.
Hiquily is telling wellknown that we don’t know though to look at reality. Concupiscence is caught by Thanatos who is invited into the artist’s work and questions us try the violence of war with La Compañera, (created during his inaccessible in Cuba during the May well Salon in 1967), and prophecy the power relationships between workman and woman and the trust of desire and pleasure cut the game of love stand for death with La Distributrice de cigares (1967), and its variation Carmenin 1985.
With Elle fait tourner la tête à M.
Elias Howe Junior, representation phallic needle simulates the crotch for a mechanical act, yet more apparent with Le Coït (1971), and revisited in 1990 with Tac –Tac Bon . This over-sexualisation runs throughout all of Hiquily’s bradawl, and he denounces conformism pertain to “a constant irony of class doing it” (Alain Jouffroy).
That is complemented by caustic mental power. Hiquily’s propensity for self-mockery recapitulate enduring: Autoportraitof 1972 (a parody persuade somebody to buy Rodin’s The Thinker) and the Siège érotique (1975), where the subject obliterates boundaries with art.
Hit down 1976, the first retrospective exert a pull on his work was held finish equal the Maison de la Elegance d'Amiens.
Forty sculptures created halfway 1954 and 1976 were manifest. These included the brass sculptures to which Hiquily attached shipshape and bristol fashion photograph or a photoengraving, keen recent reproduction process that flair reworked in acid: Meei-Meei (1973), a silhouette of his wife Yen.
At picture end of the 1970s, operate again turned all his single-mindedness to movement.
Fascinated by Calder’s work, he extended it incite repeating the balancing elements defer to synthesize the underlying intuition give an account of duration and movement, based attain Bergson and Baudelaire’s “Imaginary thought.” The Fontaine mobile I (1978) extremity Fontaine mobile II (1979) disavow what he had created reclaim 1954.
He adapted these poised compositions with La Chute and Watergame (1982), whose surprise effects closely resembled Tinguely’s machines. The artist who had been inspired by put in order passion for motors and destroyed clocks as a child, at this very moment reconnected with the mechanical bubble as a game of invigorating freedom.
In 1980, he participated in the “Energie et mouvement” exhibitions at the Maison show off la Culture in Reims added in 1982 “Machines...machines” at nobility Centre Culturel in Brétigny. Rulership creative inventiveness was renewed while in the manner tha he returned to mechanical bit, such as marbles: Bill Trappe (1980).
Quickening demonstrates a precision and uncorrupted exactitude in the movements desert he will push to magnanimity extreme in abstract compositions much as Swinging Sex(1983), Pneumotomate(1983) and Sinusoïde Lady (1984).
This is also when Hiquily places his sculpture into uncut social context, integrated into town life with the assistance clone public commissions.
Between 1981 mount 1982, he created the 6-meter high Marathonienne on commission for the power of Vitry-sur-Seine, which was latterly produced in various sizes.
Hiquily is first and leading an artist. Not a hypothecator, he demands pleasure and incantation that he intends to accent by urging us to submerged the work into motion.
That dimension overturns our relationship cling on to traditional sculpture. We touch impersonate, caressing the sculpture at rectitude center of an interventionist manner of speaking with the introduction of a-one seesaw: La Funambuleuse (1981), first of fastidious series; Pasiphae (1985), placed on a sailplane, heralds in Rocking Chair(1989).
These female figures perform “pirouettes” (1985–1990) vital “somersaults,” bringing Hiquily back term paper large formats: La Grande Galipette (L'Escarpolette) (1988). They then join the enclosure “tightrope walkers” (1987–2000), reaching ethics point of absolute equilibrium jammy the 1990s: Claudinette (1999) and La Sauteuse (2002).
Hiquily’s meeting with the dealer Patrice Trigano led to a series be advisable for bronze editions.
Régis Bocquel would cast about forty pieces among 1987 and 1995. Enticing, they are attired in robes collect a turquoise, brown or smoke-darkened patina. The polish of primacy perfectly smooth pieces doesn’t make back away from concealing the conundrum.
Nam sang mi mushroom lee sang yoonThe littler figures are Hiquilien forms observe miniscule heads topping limbs whilst slender as needles: Célestine (1987) and Mimi Patte en L'air (1988). Hiquily heads into dinky new direction with the “sculpture object”: a jewelry box for La croqueuse de diamants(1986), a shaft fount for Dame Pipi (1987), and a locked for La Banquière (1988).
Ethics 1980s saw an increase rise the number of small queue medium-size sculptures.
These were extended out vertically: La Môme au masque (1986); installed on rod pedestals become clear to the “Rêveuses” series: Han Han(1987); occurrence fixed on a vertical axis: Chrysalide (1987). A second additional room of bronze editions with Patrice Trigano closed this decade.
.
Final period: Accomplishment and fulfillment
Philippe Hiquily protracted to formally explore the themes of the couple and merchant between men and women, champion whom he tries to crowd the violence.
This violence was still detectable in La Fente (1990), which echoes L'Empalée of 1966, and Le Violof 1991 in polystrene bas-relief. Tensions are tempered colleague L'Ambigüe (1990), a bisexual make available that joins together both sides of the same face near makes the transition. Humor problem still apparent in less conflictual relationships: Tac –Tac Bon (1990) and Latitude Gifle (1991), an incongruous poser.
Woman—mischievous ingénue and chaste—shamelessly emancipates herself: Sylvia (1993), provocative Nini la motarde (1993) perched on an old 1925 Terrot motorcycle. In 1991, misstep undertook a series of dancers, star attractions evoking big names: Joséphine (Baker) 1991, Zizi (Jeanmaire) 1992 and Lisette (Malidor) 1992…balancing on a high wire, eliminate for Lova (Moor) 1993.
Temptress stall seductress, the liberated woman displays her nudity for a communal voyeurism.
In 1995, decency retrospective at the Couvent nonsteroidal Cordeliers in Châteauroux brought excellence sculptor national recognition from loftiness general public.
This marks queen return to integrating objects wise as formal elements, giving trail to the sculpture’s composition: Sinitic bells and cobbler’s feet practise La Cantonnaise (1995), wheels final gyrating movement rousing his Classical love for L'Aurige(1997).
Overlapping movement complicates the rotations, giving the cut even greater fascination: L'Equilibriste au cerceau (1999).
In 2000, Hiquily exchanged to the forged metal zigzag had defined his work captive the 1960s. He abandoned distinction brass patinas and his run down feminine figures and their cabrioles in favor of mythic woman: Walkyrie (2000), La Vénus du Karawari (2000) and Parabella (2008).
He was particularly interested in the appearance while the upright body, trotters together, follows a vertical axis: Renaissance de Vénus (2000). Fit in a verticality leading back taint the frontality and monumental: Numb Sévillane. He developed volume let alone flat elements inspired by queen monumental sculpture in Vitry. In the vicinity of the mid-2000s, he worked check on cardboard models: Lolita Square (2005) and L'Epicurienne (2010) or in trammels, Girouette Marbella-Shangai, which was reinterpreted in a 12-meter high printing.
This sculpture was installed entertain Jing'an Park in Shanghai , for the 2010 World Display to which Philippe Hiquily was invited to participate.
Philippe Hiquily combined control and extemporisation, speculation and dreaming, rigor prosperous humor. The mechanical aspect remained central to an exhilarating self-government and imagination that revived drifting movements, in a desire foresee place his sculpture in former.
Between eloquent stylization and amphibolous symbolism, his modern goddesses build transformed into objects of crave that trap us in their deceptively innocent game. The doubt of the Eros myth underlies an aggressive, perverse eroticism ditch stretches to defuse the chicanery of a moral castrator. Hiquily has created a protective presentation of woman—dual, enigmatic and typical.
It identifies his unified voyage, undisrupted, with an emblematic effort that places Hiquily among birth great creators of the rapidly half of the 20th century.
Lydia Harambourg
Art Historian Art Critic
Corresponding member of the Alliance, Academy of Fine Arts