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MANUEL NERI (b. 1930)

ARTIST BIO INQUIRE
 
During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior.
During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior. During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior. During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior. During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior. During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior. During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior. During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior.
Untitled Standing Figure No. 3199266 3/4 x 19 x 13 1/2 in.(169.55 x 48.26 x 34.29 cm) bronze
Provenance
Private Collection, 2005
During the late 1990s, Manuel Neri began to transform numerous plaster sculptures into bronze, frequently returning to earlier works to produce newly imagined renditions of each piece. These series, nearly indistinguishable in shape and surface detail, explore the impact of varying color schemes and mark-making that involve various actions, including incising brushing, scraping, or layering materials. By experimenting with different marking techniques, Neri could explore the interplay between form, color, texture, and light. In the context of Standing Figure No. 3, Neri limited his palette to an analogous color scheme, thinning the paint to create subtle gradations that enhance the sculpture's sleek, refined exterior.
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