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Collection Marianne et Pierre Nahon

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巴黎

George Segal
1924 - 2000
GOTTLIEBS' WISHING WELL
plaster sculpture and pinball machine
Executed in 1963.
163 x 60 x 136 cm; 64 3/16 x 23 5/8 x 53 1/2 in. (pinball machine); 150 x 77 x 67 cm; 59 1/16 x 30 5/16 x 26 3/8 in. (sculpture)
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來源

Private Collection, Brussels
Acquired from the above by the present owners in 1987

展覽

Paris, Galerie Beaubourg, Invasion Blanche, 13 October - 6 December 1990

出版

Pierre Nahon, L'Histoire de la Galerie Beaubourg III 1994-2009, Paris, 2009, pp. 173, 290, illustrated in colour
Marianne et Pierre Nahon, Dictionnaire amoureux illustré de l'Art moderne et contemporain, Gründ, 2018, p. 302

相關資料

"George Segal's reality is a tragedy in which men and objects are represented alone and lifeless, while a sort of inner will seem to doom them in that same state forever."

This sentence by Allan Kaprow, inventor of the happening, perfectly captures the physical and psychological attitude of Segal's "living paintings", which have been compared to mummies or to the bodies of Pompeii inhabitants petrified in the Vesuvius ashes. Forever fixated in the most trivial postures, Segal's sculptures relate to us in spite of the distance conveyed by their plaster media. Their humanity undoubtedly comes from the fact that they were molded on real models.

We have known Ileana Sonnabend, the priestess of contemporary art, quite well: first in Paris, rue Mazarine, and in New York after 1968. Her husband Michael posed for George Segal. Together they made the only work created in France on the occasion of an exhibition held in Paris in 1963. We kept Gottlieb's wishing well in our living room rue du Temple. It was a sculpture by Segal of course, but also Michael, forever with us.

Collection Marianne et Pierre Nahon

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巴黎