Architecture (1988) Sculpture by Alain Charbey

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Seller Alain Charbey

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This artwork appears in 1 collections
  • Original Artwork Sculpture,
  • Dimensions Dimensions are available on request
  • Fit for outdoor? No, This artwork can not be displayed outdoor
  • Categories Sculptures under $5,000
About this artwork: Classification, Techniques & Styles Technic Sculpture Sculpture is an artistic activity which consists[...]
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Alain Charbey was born in Paris in August 1938. He studied sculpture at the Ecoles des Beaux-Arts and in the workshops of the City of Paris. After achieving his scholarship by being admitted as a lodger at[...]

Alain Charbey was born in Paris in August 1938. He studied sculpture at the Ecoles des Beaux-Arts and in the workshops of the City of Paris. After achieving his scholarship by being admitted as a lodger at the Grand Prix de Rome in 1964 and 1965, he participated to different group projects among which the restoration of the Arc de Triomphe. Between 1971 and 1981 he received several public commissions from the cities of Bonneuil-sur-Marne and Champs-sur-Marne and realized diverse monuments including one for the Ciment Lafarge compagny. In parallel he carried out his own research on silicones in order to obtain new textures that would enhance the expression of volumes of his works (L'Homme arbre made in resin and color blue in 1978, Le Vent made in resin and nacre in 1983).

The Art of the portrait, in which Alain Charbey excels, holds a constant in his work, and is performed in the most classical and formal ways ( Femme 1967, Enfant 1978) as well as in more abstract ways leaving free course to the inventiveness of the artist who seems to seek the true soul of his models (Dispersion, plaster of 1974).

Disentangling himself from the obligations related to commissions and sales he integrates as from the Eighties a symbolic dimension to his work, creating a rupture in his traditional subjects. His work is less naturalist but remains quite as figurative and draws its inspiration from the evocation through symbols of a sacred mysticism. The artist, who has always given special attention to his materials, returns to the use of 'noble' material as wood and bronze (Jeux de Cartes, bronzes of 1988, L'oreille d'Orphée, wood in 1995).

His Work is now voluptuous and traditional. It is addressed to the pleasure of the senses which will find, if they are questioned, an emotional and intellectual resonance in their deep being.

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