signed, numbered 6/8 and bear the foundry mark of Romain Barelier
16.54 x 9.45 x 5.91 in ( 42 x 24 x 15 cm )ZoomInquiry - Plaque, 1955- 1990
Galerie Erval, Paris
Sotheby's auction, Paris
" The material and its process are put forth, disturbing the logical relationship between signs and blurring the links between the signifier and the signified. These large plates that César built piece after piece like mosaics rise like blind mirrors that stop both light and reason. Immutably silent, they stand like iron Babels."
Cesar is the sculptor of the twentieth century par excellence. The genius of this artist is linked to an existential adventure, highlighting his love and demanding side of the material, his dazzle for modern nature, as well as his temperament as a visionary researcher with a perpetually new look. From 1958 and especially from 1960, we observe his first automobile cuts. It all begins with his Iron Age, establishing himself with its bestiary as the master of welded metal. Then follow the nudes and plaques in response by the artist to the revelation of the frontality.
In 1967, he reissued the tour de force, still at the "Salon de mai", by presenting his Great orange expansion, a flow of expanded polyurethane. And there again, his "flows" will dominate this whole sector of expressiveness.
In the 1970s, César tackled the treatment of the most diverse materials: glass (Dam 1969), gold and silver (Bijoux, 1971); Plexiglas (1972); thermoformed moldings (Self-portrait, 1972). He then returned in the late 1970s to his original irons, which he reshaped and welded in bronze. In the 1980s, he saw large monumental compositions appear in his home: The Centaur, a masterpiece of statuary of all times, and the Homage to Eiffel, with a giant plate 17 meters high.
César was the icon of contemporary French art. Today, the best film actors are rewarded during the Césars ceremony with the presentation of a compression by the artist.