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Bather

Artist Jacques Lipchitz (American, born Lithuania, 1891 - 1973)
Date1917
MediumBronze
DimensionsOverall: 34 3/4 × 13 1/4 × 13 inches (88.27 × 33.66 × 33.02 cm)
Credit LineGift of the Friends of Art
Object numberF70-12
Signedtop of base: artist's fingerprint "1/7 J. Lipchitz" (in script)
On View
On view
Gallery Location
  • 129
Collections
Exhibition History

Jacques Lipchitz: A Retrospective, Art Gallery of Ontario, December 15, 1989-March 11, 1990; Winnipeg Art Gallery, May 13-August 12, 1990; The Nelson-Atkins Museum of Art, October 6-November 25, 1990; Jewish Museum/New York Historical Society, January 16-April 15, 1991, no. 24.

In the Sculptor’s Landscape: Celebrating Twenty-Five Years of the Franklin D. Murphy Sculpture Garden, Wight Art Gallery, University of California-Los Angeles, March 30-May 9, 1993, no. 39.

Jacques Lipchitz, Museo Nacional Centro de Arte Reina Sofia, Madrid, May 20-September 9, 1997; Instituto Valenciano de Arte Moderno, Valencia, September 25-November 30, 1997.

Le Corbusier and the Age of Purism, National Museum of Western Art, Tokyo, February 19-May 19, 2019.

Gallery Label
Jacques Lipchitz believed that the artist’s role is to focus on visual concepts, specifically the analysis of form and space. Here, he translated the organic curves of a woman’s body into an abstract arrangement of geometric planes and angles. At the same time, the sculpture suggests the physics of motion and presents the human body as a modern, mechanized creature.
Provenance

Consigned by the artist to Marlborough-Gerson Gallery, New York, October 22, 1963-May 2, 1968 [1];

 

Purchased from Marlborough-Gerson by an unknown private collector, East Hampton, New York, May 2, 1968-April 15, 1970;

 

Purchased from the private collector, through Marlborough-Gerson Gallery, by the Friends of Art, Kansas City, MO, April 15, 1970;

 

Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 1970.

 

NOTES:

 

[1] The provenance of this sculpture as it pertains to the Marlborough-Gerson Gallery is according to Marissa Moxley, Marlborough, in email correspondence with MacKenzie Mallon, Head, Provenance, May 5, 2025, Nelson-Atkins curatorial files. Marlborough sold the Nelson-Atkins cast as no. 1 of an edition of 7; however, Marlborough also sold another cast from the same edition, also as no. 1 of 7, in 1992. The gallery’s documentation records both casts as 1/7.  

Published References

“Cubist sculpture,” Kansas City Times (April 9, 1970).

“Friends of Art Buy a Lipchitz Bronze,” Kansas City Times (April 15, 1970): 28, (repro.).

Gazette des Beaux-Arts 77, no. 1225 (February 1971), 107, (repro.)

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 198, (repro.).

Alan G. Wilkinson, Jacques Lipchitz: A Life in Sculpture, exh. cat. (Toronto: Art Gallery of Ontario, 1989), 83, (repro.).

Horst de la Croix, Richard G. Tansey and Diane Kirkpatrick, Gardner’s Art through the Ages, 9th ed. (Fort Worth, TX: Harcourt Brace Jovanovich, 1991), 961-2, (repro.).

Cynthia Burlingham and Elizabeth Shepherd, eds., In the Sculptor’s Landscape: Celebrating Twenty-Five Years of the Franklin D. Murphy Sculpture Garden, exh. cat. (Los Angeles: University of California, 1993), (repro.).

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 218, (repro.).

Alan G. Wilkinson, The Sculpture of Jacques Lipchitz, vol 1: The Paris Years, 1910-1940 (London: Thames and Hudson, 1996), no. 64, p. 47, (repro.).

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 205, (repro.).

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 166, (repro.).

Copyright© Estate of Jacques Lipchitz, courtesy, Marlborough Gallery, New York
Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.


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