Archipenko scholar Katherine Jánszky Michaelsen argues, “because he was a sculptor thinking in plastic terms, he shaded the flat paper shapes to suggest the volume of sculpture. Archipenko used the lessons learned from making two-dimensional collages in his three-dimensional sculpture. The result was a departure from the unified, continuous massing of traditional sculpture to a disjunctive assembly of separate parts. The first conclusive example of this important development is Archipenko’s Geometric Statuette" (Katherina Jánszky Michaelsen & Nehama Guralnik, Alexander Archipenko: A Centennial Tribute (exhibition catalogue), National Gallery of Art, Washington, D.C. & The Tel Aviv Museum, Tel Aviv, 1987, p. 24).
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