- Alexander Archipenko
- Geometric Figure with Space and Concave
- Inscribed Archipenko, dated Paris 1920, numbered 2/8, inscribed Concave et l'Espace and with the artist's runes
- Height: 25 1/2 in.
- 64.7 cm
Iwan Goll, "Archipenko," in Action, Paris, 1921, illustration of another cast p. 58
Hans Hildebrandt, Alexander Archipenko, Berlin, 1923, no. 13, illustration of the plaster cast (titled Sitzende Frau)
Maurice Raynal, A. Archipenko, Rome, 1923, no. 26, illustration of another cast (titled Femme assise)
Alexander Archipenko, Fifty Creative Years, 1908-1958, New York, 1960, no. 178, illustration of the terracotta (titled Geometric Figure Seated)
Katherine Jánszky Michaelsen, Archipenko, A Study of the Early Works, 1908-1920, New York & London, 1977, no. S106, illustration of the plaster cast (titled Seated Woman)
Anette Barth, Alexander Archipenkos plastisches Oeuvre, vol. I, Frankfurt am Main, 1997, no. 106, illustrations of the plaster casts pp. 219-21 (titled Geometric Figure Seated)
According to the Archipenko Foundation, the artist made casts of this sculpture at three separate times during his life. The earliest known plaster cast, referred to as Seated Woman, is in the collection of the Tel Aviv Museum of Art. A second version, which the artist himself referred to as Geometric Figure Seated, was created around 1954 in metalized terracotta. The bronze edition, cast from a third version called Geometric Figure with Space and Concave now in the Saarland Museum in Saarbrücken, Germany, was completed under the supervision of the Archipenko estate by the Sheidow Foundry in 1968.
In the literature on the artist, the present sculpture is commonly referred to as Seated Woman, after Archipenko's first plaster cast. In her book on the artist's early works, Katherine Jánszky Michaelsen has written the following: "Seated Woman employs similar forms, but in a more elaborate and complicated combination. Unlike the predictable symmetrical views of Standing Woman, this work offers an unexpected view from every side. The pyramidal base, placed atop a square slab, adds a rotating movement to the piece and invites viewing from all sides. This circular movement is increased by the oblique form, representing the hips. More so than in the previous work, which retains a certain organic fluidity, in Seated Woman the human anatomy is used as a vehicle, as a form that is universally recognized" (Katherine Jánszky Michaelsen, Archipenko, A Study of the Early Works, 1908-1920, New York and London, 1977, pp. 83-84).