Saul Yurkievich (1931-2005) - Nature morte






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Saul Yurkievich’s signed original ink drawing Nature morte dates from 1956 and is listed as originating in France.
Description from the seller
Saul Yurkievich (1931–2005)
Still Life with Bottles and Glass – 1956
Artist: Saul Yurkievich (1931–2005)
School: Argentina, 20th century
Medium: Black ink on paper (to be confirmed)
Dimensions: 22 × 17 cm
Date: 1956, according to the inscription
Signature: Signed and dated “56” at the lower right.
Description of the work
An elegant line-drawn still life depicting two bottles and a stemmed glass, bearing a handwritten signature and the date 1956.
The composition stands out for its modernist aesthetic, characterized by a remarkable economy of means and a deliberate simplification of forms.
On the left, a bottle with vertical fluting has an architectural silhouette, while a second, more slender bottle occupies the right side of the composition. In the foreground, a stemmed glass overlaps the latter, creating a subtle play of transparency and depth.
The artist favors linear drawing, alternating bold outlines with light strokes. The objects are constructed from fluid, spontaneous lines, with no attempt at illusionism.
This approach evokes the graphic explorations of the 20th-century avant-garde, particularly those of late Cubism and modernist figurative art.
The understated background, simply crossed by a horizontal line suggesting the surface of a table, highlights the purity of the forms and the balance of the composition.
About the artist
Saul Yurkievich (1931–2005), born in Argentina and died in Paris, was a renowned poet, essayist, and literary critic, particularly known for his work on the Latin American avant-garde.
A close associate of Julio Cortázar, he took part in intellectual and artistic exchanges between Latin America and Europe.
Artistic interest
This still life is of particular interest because of its date, 1956, which places it in Saul Yurkievich’s early years.
Its pared-down graphic vocabulary, stylized forms, and play of overlapping elements reflect an aesthetic sensibility close to the modernist explorations of the mid-20th century.
An elegant and timeless composition, especially appealing to collectors of modernist drawings, Cubist-inspired still lifes, and 20th-century works on paper.
Saul Yurkievich (1931–2005)
Still Life with Bottles and Glass – 1956
Artist: Saul Yurkievich (1931–2005)
School: Argentina, 20th century
Medium: Black ink on paper (to be confirmed)
Dimensions: 22 × 17 cm
Date: 1956, according to the inscription
Signature: Signed and dated “56” at the lower right.
Description of the work
An elegant line-drawn still life depicting two bottles and a stemmed glass, bearing a handwritten signature and the date 1956.
The composition stands out for its modernist aesthetic, characterized by a remarkable economy of means and a deliberate simplification of forms.
On the left, a bottle with vertical fluting has an architectural silhouette, while a second, more slender bottle occupies the right side of the composition. In the foreground, a stemmed glass overlaps the latter, creating a subtle play of transparency and depth.
The artist favors linear drawing, alternating bold outlines with light strokes. The objects are constructed from fluid, spontaneous lines, with no attempt at illusionism.
This approach evokes the graphic explorations of the 20th-century avant-garde, particularly those of late Cubism and modernist figurative art.
The understated background, simply crossed by a horizontal line suggesting the surface of a table, highlights the purity of the forms and the balance of the composition.
About the artist
Saul Yurkievich (1931–2005), born in Argentina and died in Paris, was a renowned poet, essayist, and literary critic, particularly known for his work on the Latin American avant-garde.
A close associate of Julio Cortázar, he took part in intellectual and artistic exchanges between Latin America and Europe.
Artistic interest
This still life is of particular interest because of its date, 1956, which places it in Saul Yurkievich’s early years.
Its pared-down graphic vocabulary, stylized forms, and play of overlapping elements reflect an aesthetic sensibility close to the modernist explorations of the mid-20th century.
An elegant and timeless composition, especially appealing to collectors of modernist drawings, Cubist-inspired still lifes, and 20th-century works on paper.
