Details
Artist
Styles
Acrylic resin // Enrico Baj's Testa d’uomo (1969) is an acrylic resin sculpture featuring playful and abstract facial imagery. The tall, rectangular acrylic sheet serves as the head, with two colorful concentric circles in red, black, and green representing eyes, giving the sculpture an animated, whimsical appearance. A diagonal rectangular piece protrudes from the face, possibly symbolizing a nose or another abstract element, enhancing the quirky and surreal quality of the figure. The transparent nature of the acrylic allows light to pass through, adding a sense of weightlessness and fluidity to the overall form. Baj’s signature playful approach to human representation is evident, blending humor with geometric simplicity.
Testa d’uomo, 1969
form
Medium
Size
35 x 9.5 X 4.1 cm
- Inches
- Centimeters
Edition
Price
- USD
- EUR
- GBP
Details
Artist
Styles
Acrylic resin // Enrico Baj's Testa d’uomo (1969) is an acrylic resin sculpture featuring playful and abstract facial imagery. The tall, rectangular acrylic sheet serves as the head, with two colorful concentric circles in red, black, and green representing eyes, giving the sculpture an animated, whimsical appearance. A diagonal rectangular piece protrudes from the face, possibly symbolizing a nose or another abstract element, enhancing the quirky and surreal quality of the figure. The transparent nature of the acrylic allows light to pass through, adding a sense of weightlessness and fluidity to the overall form. Baj’s signature playful approach to human representation is evident, blending humor with geometric simplicity.
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Enrico Baj
Catherine Henriette De Balzac D’Etrague Marquise De Verneuil, 1978
Sculpture / Object
Mixed Media
EUR 9,500
Enrico Baj
Manifesto Per La Mostra Enrico Baj, Palazzo Dei Diamanti, Ferrara, 1977
Limited Edition Print
Silkscreen
EUR 1,500
What is new figuration?
Neo-Figurative Art is a collective term that refers to the revival of figurative art in America and Europe during the 1960s, following a period dominated by abstraction. Michel Ragon, a French art critic, argued that this resurgence of figuration occurred during a critical time of social and political upheaval in both regions.
