Parvine Curie (1936)

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Lot n° 277
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Parvine Curie (1936)
Personnage portique, 2009 Collage on paper, signed and dated lower right 19.5 x 20.8 cm Enclosed is a lithograph signed and numbered 71/80 lower right, 28.5 x 23 cm Parvine CURIE (born in 1936) Parvine Curie studied in Bordeaux, then traveled in Europe, particularly in Spain. Her discovery of Catalan Romanesque art led her to live mainly in this country until 1969. She practiced sculpture as a self-taught artist, following the advice of the sculptor Marcel Marti. They will have together a son, the poet and painter David Marti (1959-2007). Back in Paris in 1970, she occupied a studio at the Cité internationale des arts. With Première mère, a monumental assemblage of stained wood and yellow brass planks, she was noticed at the Salon de la jeune sculpture, in the Luxembourg Gardens, by the sculptor François Stahly. With his wife, Claude Stahly, he invited her to work in the collective workshop of Crestet (Vaucluse), where she learned the basics of her profession. She develops a research of harmony between architecture, man and nature. Mother Walls is created in situ. This was followed by a series of "Mothers", a major theme of the artist: Mother citadel, Mother cross... Thanks to the architect Jean Balladur, P. Curie receives his first public commission for the college Bégon in Blois. This was followed by, among others, Mother Cathedral, purchased by the City of Paris for the inauguration of the Museum of Outdoor Sculpture. After numerous hieratic and architectural creations, she innovated in the 1990s with figures of imbalance: Winged Couple (1992); Flight III (1999); Almost lying figures (1999); Double flight (2003). "At every moment of the day, I believe that some form of waking life is necessary for survival like daily bread." Parvine Curie, March 2010. "The most obvious of Parvine Curie's gifts are the innate sense of grandeur, the strength in the stripping down, the sobriety in the fullness of the masses, the density of the volumes, the harsh articulations of the forms, these harsh, stiff, abrupt structures, and this almost manly grip that surprises in such a young woman. Whether she works in wood, bronze, aluminum, or graphite cement, she always seems at ease in her search for monumental and architectural expression. Franck Edgar
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