Boris Lovet-Lorski "Head of Salome" Marble Sculpture
This bust by Lovet-Lorski produced this bust as a variation of his 1926 Salome sculpture that he produced one year earlier and exhibited at Grand Central Galleries in New York. The style of bob haircut which she dons is largely inspired by the ancient egyptian hairstyles and headdresses found on the artifacts of King Tut's tomb in 1922. Such bobs became fashionable on both real life women and egyptian themed fashion illustrations. Such simplification of hair and headdresses can be found on egyptian canopic jars, whereby the scale of the object demanded simplicity. The same hairstyle was found on Judith I, Gustav Klimt's controversial painting of Salome painted in in 1901.
Item #: S-21404
Artist: Boris Lovet-Lorski
Country: United States
Circa: 1927
Dimensions: 19" height, 17" width, 9" depth
Materials: Belgian Black Marble
Signed: ''Boris Lovet-Lorski''
Literature: Armitage Merle and Rouben Mamoulian Collection (Library of Congress). 19371935. Sculpture of Boris Lovet-Lorski. New York: E. Weyhe. p. 66
Item #: S-21404
Artist: Boris Lovet-Lorski
Country: United States
Circa: 1927
Dimensions: 19" height, 17" width, 9" depth
Materials: Belgian Black Marble
Signed: ''Boris Lovet-Lorski''
Literature: Armitage Merle and Rouben Mamoulian Collection (Library of Congress). 19371935. Sculpture of Boris Lovet-Lorski. New York: E. Weyhe. p. 66
Lovet-Lorski was a sculptor, lithographer and painter who contributed significantly to the American Art Deco movement. His style was a unique combination of Modern, Tribal, “Oriental”, Archaic and Teutonic influences. Lovet-Lorski approached sculpture as a means of overcoming life’s transient and often painful experiences and his modernism was always underscored by lyricism and a sense of mystery. This piece is particularly poignant in its quiet, meditative qualities and inherent pathos.
Lovet-Lorski was a sculptor, lithographer and painter who contributed significantly to the American Art Deco movement. His style was a unique combination of Modern, Tribal, “Oriental”, Archaic and Teutonic influences. Lovet-Lorski approached sculpture as a means of overcoming life’s transient and often painful experiences and his modernism was always underscored by lyricism and a sense of mystery. This piece is particularly poignant in its quiet, meditative qualities and inherent pathos.
