506

Jesus Rafael Soto (Venezuelan, 1923-2005), "Tiratura 45", 1966, painted wood sculpture, inscribed "Edizioni Sergio Tosi/Jesus Soto 1966/Tiratura 45" at bottom of base, h. 27", w. 7", d. 7". The sculptures by Jesus Rafael Soto offered here and in the lot en suite represent interesting mixtures of kinetic and op art. Though they do not actually move, create sound or motion either intrinsically or extrinsically as mobiles or sound sculptures do, they are optical tours de force of movement that continuously shift between 3D and 2D perceptions of space, blurring the boundaries between foreground/background and the usual assignation of them in terms of positive and negative space. Take for example "Tiratura 45". As the name implies (which is an edition or print in Italian, and a cognate of the verb tirar-to pull/throw in Spanish), the sculpture is a visual play from the base to its apex. To look at the work frontally, the lower portion of the sculpture appears distinctly 3D, in which three blue, black and white wood strips are spatially in front of the large black wood block with painted white lines. As the viewer's eye moves upward, the works merge, literally collapes, into the same 2D pictorial plane, even though the three strips appear taller. When viewed from the side, however, the white lines appear 3D as musical strings and the three wood strips are parallel in height to the black wood block. Similar effects of optical movement are experienced in the following "Untitled" lot with the diagonal placement of the steel rod and its cantilever support. In a 2001 interview with art collector and LatinArt.com founding president, Dr. Hector Ziperovich, Soto characterizes the effect of his work as the creation of "ambiguous space." "We cannot define space. It is different for each person who sees it and tries to represent it." Soto became fascinated with illusion and movement as a young man while employed as a sign painter for a cinema in Ciudad Bolivar. His early forays in moving forms led to a scholarship at Cristobal Rojas School of Fine and Applied Arts in Caracas, where he met fellow kinetic artists, Alejandro Otero and Carlos Crus-Diez. Following his graduation, Soto was appointed Director of the School of Fine Arts in Maracaibo in 1949. In 1950, Soto won a government scholarship to study in Paris, where he was exposed to the kinetic and op art circle of artists at the Denise Renee Gallery. Since then, Soto's work has been exhibited worldwide, including a 1969 Retrospective at the Musee d'art Moderne de la Ville de Paris, and can be found in major public collections such as the MOMA, New York and the Tate in London.


  • Condition: In generally good condition. Small scattered surface nicks and scuffs, primarily to edges. Areas of slight anomaly to paint surface: some faint mottling at back upper edge; glossy areas at back right edge and bottom front where elements were joined - likely the hand of the artist. Horizontal elements have not been glued down. Please see additional images.

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March 12, 2016 10:00 AM CST
New Orleans, LA, US

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$2,000 $4,999 $200
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$10,000 $14,999 $500
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