العودة

جورج ريكي & nbsp(1907-2002)

الفنان بيو الاستفسار
 
<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>
<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div> <div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div> <div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div> <div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div> <div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div> <div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div> <div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>
ثمانية أسطر II - رسم لأربعة وعشرين سطراً196357 3/4 × 54 × 54 بوصة.(146.69 × 137.16 × 137.16 سم) فولاذ مقاوم للصدأ
الاصل
البيع: سوثبيز نوفمبر 1983
السيد بولييه، المقتناة من أعلاه
مجموعة خاصة
معرض
كالامازو، ميشيغان، معهد كالامازو للفنون، جورج ريكي: النحت الحركي / أولفيرت ويلكي: رسومات ولوحات، 5-25 فبراير، 1964
بوسطن، ماساتشوستس، معهد الفن المعاصر، جورج ريكي: المنحوتات الحركية، 14 مارس - 26 أبريل 1964 (مدرج باسم ثمانية خطوط)
تتبّع خطاً من ألكسندر كالدر إلى الإنجازات الحركية لجورج ريكي، ومن الواضح أن كلاهما مهندس جمال. إن إبداعاتهم هي مفاخر للاختراع والفن الذي يشرفنا في تجربتنا معهم. تجسّد منحوتة ريكي الحالية "ثمانية خطوط II - رسم لأربعة وعشرين خطاً" نوايا الفنان في سد الفجوة بين الدقة الهندسية والتعبير الفني، حيث تقدم عرضاً ساحراً للحركة والتوازن. يبلغ قياس أذرع هذه المنحوتة 57 بوصة في 54 بوصة في 54 بوصة، وتتحرك أذرع هذه المنحوتة ضمن معايير كروية بشكل مدروس وغير متوقع في الوقت نفسه، مستجيبة لأدنى حركة للهواء. هذه الرقصة المعقدة للعناصر، المدفوعة بالقوى الطبيعية، تحوّل المنحوتة إلى تفاعل ديناميكي بين الدقة الميكانيكية والسيولة العضوية.





بعد جيل من كالدر، بلغ ريكي سن الرشد خلال الحرب العالمية الثانية والدمار الواسع النطاق. ومن المفارقات، ولكن دون اعتذار، أن ريكي صقل مهاراته في الدقة والأنظمة الميكانيكية المعقدة بسبب خبرته العسكرية كفني تصميم ركز على صيانة وتعليم أبراج مدافع الطائرات. هذه المهارات، بالطبع، ستفيده فيما بعد في تصميم منحوتاته الحركية. ومن هذا المنطلق، ترمز الهندسة الدقيقة والحركة العضوية المتأصلة في منحوتة ريكي الحركية إلى جسر بين الدمار والتجديد، وهي بمثابة شهادة على المرونة والروح الابتكارية لروح ما بعد الحرب.





بأذرعها المتشعبة الممتدة في اتجاهات متعددة، تجسد منحوتة "ثمانية خطوط 2 - رسم لأربعة وعشرين خطاً" جوهر التصميم الدقيق والبراعة الهندسية لريكي. تصميم مليء بالتعقيدات، حيث يتحرك كل ذراع، مصنوع من الفولاذ الأنيق المقاوم للصدأ، برشاقة ليعكس الضوء ويخلق تجربة بصرية دائمة التغير. هذا الاهتمام بالتفاصيل يسلط الضوء على مهارة ريكي في صنع الوصلات التي تسمح بالحركة السلسة مع الحفاظ على السلامة الهيكلية.
العودة
الاستفسار