Alexander Archipenko in his Berlin studio, circa 1921

1887
May 30, Alexander Archipenko is born in Kiev, Ukraine, son of Porfiry Antonowitsch and Poroskowia Wassiliewna Machowa, brother of Eugene.
1902—05
Studies painting and sculpture at the Kiev art school.
1906
Moves to Moscow where he exhibits in group shows.
1909

Arrives in Paris. Finds the Ecole des Beaux-Arts too academic and leaves after approximately two weeks for independent study at the Louvre and other Parisian museums.

Establishes an independent studio at Montparnasse. Frequents the artists’ colony La Ruche where he meets Modigliani, Léger, Apollinaire, Cendrars, Gaudier-Brzeska and Raynal.

  • Alexander Archipenko

    Sorrow (La Tristesse), 1909

    Image by Lee Stalsworth for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity

    Catalogue Raisonné
  • Alexander Archipenko

    Woman (Sadness, Head on Knee), 1909

    Image courtesy of Stiftung Saarländischer Kulturbesitz, Saarlandmuseum Saarbrücken

    Catalogue Raisonné
  • Alexander Archipenko

    Suzanne, 1909

    Image courtesy of the Norton Simon Museum

    Catalogue Raisonné
1910

First public exhibition in Paris at the Salon des Indépendants with Cubists, including Delaunay, Duchamp, Duchamp-Villon, Le Fauconnier, Gleizes, Léger, Lhote and Metzinger. He also takes part in the Salons of 1911, 1912, 1913, 1914, and 1920.

Frequents the Duchamp brothers’ salons.

  • Alexander Archipenko

    Salome (Dancer), 1910

    Image courtesy of The Archipenko Fundation

    Catalogue Raisonné
  • Alexander Archipenko

    Sketch for Ceiling, 1910-1913

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    The Kiss 1910

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1911

Shows with Cubists at the Salon des Indépendants and the Salon d’Automne.

Review of Salon d’Automne caricatures Woman With Cat.

  • Caricature of Woman with Cat

    Published in an unidentified French newspaper at the occasion of the Salon d’Automne, Paris, 1911

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    The Kiss (Recherche plastique), 1911

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Maternity (La Mère dans les Roches), 1911-1912

    Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

    Catalogue Raisonné
  • Alexander Archipenko

    Woman With Cat, 1910-1911

    Image courtesy of Museum Kunst Palast, Düsseldorf

    Catalogue Raisonné
1912

Opens art school in Paris.

Boccioni who arrived in Paris in 1911, visits Archipenko in his studio.

Creates Médrano I, a sculpture with movable parts and constructed of various materials: wood, glass, and metal wire.

Shows at the Salon des Indépendants and the Salon d’Automne.

Shows in La Section d’Or, Galerie La Boétie, Paris.

Solo show at Museum Folkwang, Hagen, Germany. Apollinaire writes an introduction for the exhibition catalog.

  • Alexander Archipenko

    Medrano (Medrano I), 1912

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Dance, 1912-1913

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Two Bodies, 1912

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1913

Shows at the Salon des Indépendants.

Shows at the Armory Show in New York.

Galerie Der Sturm: “17. Ausstellung: Alexander Archipenko,” catalog foreword by Apollinaire.

  • Alexander Archipenko

    Porteuse, 1912

    © Christie's Images Limited, New York, 11/1/2011.

    Catalogue Raisonné
  • Alexander Archipenko

    Family Life, 1912

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1914

Shows at the Mánes Fine Arts Association in Prague, along with Brancusi and Duchamp-Villon.

Solo show in Halle, Germany, organized by Der Sturm.

Shows at the Salon des Indépendants. Apollinaire publishes a review in L’Intransigeant (March 2, 1914): “Le Salon des Indépendants.”

Shows at the Esposizione Libera Futurista Internazionale in Rome.

Creates first sculpto-paintings. Develops sculptural elements of color, the void, concave and convex, and geometric forms further.

“Archipenko challenged the traditional understanding of sculpture. It was generally monochromatic at the time. His pieces were painted in bright colors. Instead of accepted materials such as marble, bronze or plaster, he used mundane materials such as wood, glass, metal, and wire. His creative process did not involve carving or modeling in the accepted tradition but nailing, pasting and tying together, with no attempt to hide nails, junctures or seams. His process parallels the visual experience of cubist painting.”
-Juan Gris

August 1: Germany declares war against France and Russia. Many artists leave Paris and move to the South of France. Archipenko spends the war years (1914 - 1918) in Cimiez, near Nice, at Château Valrose. The group of artists living in Nice includes Ferat, Tsuguharu Foujita, Henri Matisse, Amedeo Modigliani, Morgan Russel, Chaim Soutine and Leopold Survage.

Installation view, Salon des Independants, Brussels, 1914; image courtesy of The Archipenko Foundation

 
  • Alexander Archipenko

    Carrousel Pierrot, 1913

    Image courtesy of the Solomon R. Guggenheim Museum, New York

    Catalogue Raisonné
  • Alexander Archipenko

    Blue Dancer, 1913

    Image courtesy of Stiftung Saarländischer Kulturbesitz, Saarlandmuseum Saarbrücken

    Catalogue Raisonné
  • Alexander Archipenko

    Medrano II Dancer, 1913-1914

    Image courtesy of the Solomon R. Guggenheim Museum, New York

    Catalogue Raisonné
  • Alexander Archipenko

    Boxers, 1913-1914

    Image courtesy of the Solomon R. Guggenheim Museum, New York

    Catalogue Raisonné
  • Alexander Archipenko

    Flat Torso, 1914

    Image courtesy of Stiftung Saarländischer Kulturbesitz, Saarlandmuseum Saarbrücken

    Catalogue Raisonné
  • Alexander Archipenko

    Woman in Front of Mirror, 1914

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    In the Boudoir, 1915

    The Philadelphia Museum of Art/ Art Resource NY.

    Catalogue Raisonné
1917

Develops La Vie Humaine, a cubist play.

1918

Correspondence with Theo van Doesburg, De Stijl Group.

Blaise Cendrars dedicates his poem “La tête” to Archipenko.

  • Alexander Archipenko

    Vase Woman, 1918

    Image courtesy of Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC; image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1919

Sally Falk acquires Archipenko’s work.

Marthe Donas becomes a close friend.

Shows in “Exhibition of French Art 1914 - 1919,” Mansard Gallery, Heal & Son, Ltd., London.

Spends time in Nice working on sculpto-paintings, which he presents the following year at the Salon des Indépendants.

November: Marcel Duchamp brings Katherine Dreier to Archipenko’s studio.

“Tournée de l’exposition de sculptures, sculpto-peintures, peintures, dessins de Alexandre Archipenko,” opens in Geneva, Switzerland. Traveling to other locations in Zurich, Paris, London, Amsterdam, Brussels, Dresden, Munich, Düsseldorf and New York.

  • Alexander Archipenko

    Portrait of Mr. and Mrs. Falk, 1919

    Image courtesy The Tel Aviv Museum of Art

    Catalogue Raisonné
  • Alexander Archipenko

    Standing Woman, 1919

    Image courtesy of The Phillips Collection, Washington DC

    Catalogue Raisonné
  • Alexander Archipenko

    Kneeling Woman, 1918-1919

    Image courtesy The Tel Aviv Museum of Art

    Catalogue Raisonné
1920

Shows in the last Cubist group exhibition at Salon des Indépendants.

Solo show at Venice Biennale, Russian Pavillion, “Mostra Individuale di Alexandre Archipenko.”

Shows in La Section d’Or, in Paris, Geneva, Brussels, Rome, and Rotterdam, The Hague, Amsterdam.

Installation view, Venice Biennale, 1920; image courtesy of The Archipenko Foundation

 
1921

Opens art school in Berlin, also keeps his studio in Paris.

Marries Angelica Forster (1893 - 1957), a German sculptor who exhibits under the name Gela Forster. She is a founding member of “Group 1919” of the Dresdner Sezession.

Verlag Ernst Wasmuth, Berlin publishes lithograph portfolio Dreizehn Steinzeichnungen.

"Archipenko," Société Anonyme, New York, organized by Katherine Dreier and Marcel Duchamp.

Publication of “Archipenko Album,” a monograph with texts by Ivan Goll and Theodor Däubler and the poem “La Tête” by Blaise Cendrars.

Alexander Archipenko with students

Berlin, c. 1922; image courtesy of The Archipenko Foundation.
  • Alexander Archipenko

    Standing Woman, 1921

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1922

Shows in “Erste Russische Kunstausstellung,” Galerie van Diemen, Berlin.

Solo shows in Germany at Galerie Fritz Gurlitt, Berlin and Kunstsalon Ludwig Schames, Frankfurt.

  • Alexander Archipenko

    Reclining Torso, 1921-1922

    Image courtesy of the Brooklyn Museum

    Catalogue Raisonné
  • Alexander Archipenko

    Portrait of Artist’s Wife, 1922

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Reclining, 1921-1922

    Image courtesy of Alexander Gray Associates

    Catalogue Raisonné
1923

Solo shows at Leipziger Kunstverein, Leipzig.

Angelica and Alexander Archipenko emigrate to the USA. They arrive in New York on board the S.S. Mongolia on October 16.

“America is the only country not jaded and rent by war. It is the land where the great art of the future will be produced. America fires my imagination more than any other country and embodies more of that flexibility, that yeastiness, which means life and vitality and movement.”
–Alexander Archipenko, 1923

Opens art school in New York.

Angelica and Alexander Archipenko on their way to New York, 1923; image courtesy of The Archipenko Foundation

 
1924

“The Archipenko Exhibition,” Kingore Gallery, New York, under the auspieces of The Société Anonyme.

Teaches summer art school in Woodstock, New York.

Alexander Archipenko working on Princess Matchabelli, 1924; image courtesy of The Archipenko Foundation

 
1927

Receives patents for “Archipentura”, an "Apparatus for Displaying Changeable Pictures and Method for Decorating Changeable Display Apparatus."

  • Alexander Archipenko

    Archipentura, 1924

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Archipentura, 1924

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Patent for Archipentura, 1927

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Patent drawing for Archipentura, 1927

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1928

“Archipenko,” The Anderson Galleries, New York, organized by Katherine Dreier and the Société Anonyme. Presents Archipentura for first time, catalog essay by Alexander Archipenko.

Installation view of the Archipenko exhibition at Anderson Galleries, New York, 1928; image courtesy of The Archipenko Foundation

 
1929

Purchase of 13 acres of land on rock quarry site in Bearsville, near Woodstock, New York.

Becomes American citizen.

Establishes “Arko,” a school of ceramics in New York City.

“An Exhibition of Sculpture and Paintings,” The Arts Club, Chicago.

“The Archipenko Exhibition,” Braxton Gallery, Hollywood. Josef von Sternberg purchases 18 works from the exhibition.

1931

Solo show at Braxton Galleries, Hollywood, “The Archipenko Exhibition.”

Solo show, Renaissance Gallery, Montecito, California.

Installation view of Archipenko exhibition at Renaissance Gallery, Montecito, California, 1931; image courtesy of The Archipenko Foundation

 
1932

Solo show at John Levy Galleries, New York City.

Lectures on creativity at universities and colleges on Pacific Coast, Midwest and the East Coast.

1933

Teaches at Mills College, Oakland, California and at the Chouinard School, Los Angeles.

Shows 44 works, including the Mâ-series at the Ukrainian Pavilion at the World Fair “A Century of Progress.” His narrative “M” is reproduced in the exhibition catalog.

1935

Moves to Los Angeles.

Teaches summer sessions at University of Washington, Seattle. Read.

Alexander Archipenko working on Torso in Space, 1935; image courtesy of The Archipenko Foundation

 
1936
Shows in “Cubism and Abstract Art,” Museum of Modern Art, New York, curated by Alfred Barr.
1937

Lives in Chicago. Invited by László Moholy-Nagy to teach at the New Bauhaus Chicago as head of Modelling Workshop.

“The credit for the first conscious use of concaves in sculpture – to replace saliences – is due to Archipenko... His attempt leads the observer, by its evident deviation from the customary naturalistic treatment, to a realization of the elementary possibilities of the positive-negative relations.”
– László Moholy-Nagy, 1932.

Solo show at Katherine Kuh Gallery, Chicago.

Germany, Nazis confiscate works by Archipenko as “Degenerate Art.”

  • Alexander Archipenko

    The Bride, 1936

    Image courtesy of Seattle Art Museum, Eugene Fuller Memorial Collection.

    Catalogue Raisonné
  • Alexander Archipenko

    Ma Meditation, 1937

    Image courtesy of private collection

    Catalogue Raisonné
1938

Opens “Modern School of Fine Arts and Practical Design” in Chicago.

Opens art school in Bearsville.

Solo show at Katherine Kuh Gallery, Chicago.

Invitation for Archipenko exhibition at Katherine Kuh Gallery, Chicago, February 1938; image courtesy of The Archipenko Foundation

 
  • Alexander Archipenko

    Seated Figure, 1938

    Image courtesy of private collection

    Catalogue Raisonné
  • Alexander Archipenko

    Yellow and Black, 1938

    Image courtesy of Los Angeles County Museum of Art

    Catalogue Raisonné
  • Alexander Archipenko

    Small Diagonal Torso, 1938

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1939

Solo show at Katherine Kuh Gallery, Chicago.

Creates Moses, a seven-foot high sculpture, to benefit artists exiled by the Fascist regimes in Europe.

Solo show at University of Omaha. The exhibition travels to Springfield Museum of Art and Philadelphia Art Alliance.

1940

Shows in “We like Modern Art”, Museum of Modern Art, New York.

1941

Solo show at Katherine Kuh Gallery, Chicago.

1942

Solo show at Katherine Kuh Gallery, Chicago.

Teaches summer art school in Bearsville.

Alexander Archipenko with student at his summer art school in Bearsville, New York, 1942; image courtesy of The Archipenko Foundation

 
1944

Teaches at Dalton School, New York.

Solo show at Nierendorf Gallery, New York.

1946

Teaches summer art school in Bearsville.

Returns to Chicago, teaches at the Institute of Design (formerly Bauhaus).

Teaches summer art school in Bearsville.

1947

Creates Seated Figure, his first carved plastic sculpture illuminated from within. Moholy-Nagy recounts later that Archipenko invents his own machine at the Bauhaus to carve plastic.

Returns to Chicago, teaches at the Institute of Design (formerly Bauhaus).

“In teaching I make my students realize the necessity of applying the psychological process for the discovery of creative reactions within themselves before they make the form which should contain creative power. This is a fundamental knowledge that vitalizes the work of art.”
–Alexander Archipenko

Teaches summer art school in Bearsville.

Alexander Archipenko working on Onward in his Bearsville studio, c. 1947; image courtesy of The Archipenko Foundation

 
  • Alexander Archipenko

    Seated Figure, 1947

    Image by Petro Hrycyk for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity.

    Catalogue Raisonné
  • Alexander Archipenko

    The Moon, 1947

    Image by Petro Hrycyk for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity

    Catalogue Raisonné
1948

Shows new acrylic glass works at Associated American Artists Galleries, New York.

1949

First exhibition after the war in Europe at Amt für Kunst, Berlin, Germany.

“Colored Drawings of Archipenko,” Seattle Art Museum, exhibition travels to Palace of the Legion of Honor, San Francisco.

“Alexander Archipenko,” University of Nebraska, Omaha.

1950

Shows in Annual Exhibition at the Whitney Museum of American Art, New York.

Teaches at University of Missouri in Kansas City.

Commissioned to create two statues for the entrance of the University of Missouri. The two identical “Iron Figures,” 14-foot high constructions with crossing planes, were completed in 1951. Read

  • Alexander Archipenko

    Iron Figure, 1951

    Image courtesy of University of Missouri at Kansas City, MO

    Catalogue Raisonné
  • Alexander Archipenko

    Iron Figure, 1951

    Image courtesy of University of Missouri at Kansas City, MO

    Catalogue Raisonné
1951

Shows in “American Sculpture”, The Metropolitan Museum of Art.

Teaches at Carmel Art Institute, California, at the University of Washington, Seattle, and at the University of Delaware.

1952

Shows in Annual Exhibition at the Whitney Museum of American Art, New York.

Shows in “L’Oeuvre du XXe siècle, Peintures, Sculptures,” Musée National D’Art Moderne, Paris, exhibition travels to The Tate Gallery, London, “XXth Century Masterpieces.”

Shows in “Sculpture of the Twentieth Century,” Philadelphia Museum of Art, exhibition traveled to The Art Institute of Chicago, January 22 – March 8, 1953, and to The Museum of Modern Art, April 29 – September 7, 1953.

“Desenhos de Archipenko,” Museum of Modern Art, Sao Paulo, Brazil.

1953

Elected Associate Member of International Institute of Arts and Letters.

Shows in “Le Cubisme,” Musée National d’Art Moderne, Paris.

1954

Retrospective “Archipenko 110th Exhibition, Fifty Years Production,” Associated American Artists Galleries, New York

1955

Large traveling retrospective in Germany, Hessisches Landesmuseum Darmstadt, Städtische Kunsthalle Mannheim, Kunsthalle Recklinghausen.

  • Alexander Archipenko

    Installation view of the traveling retrospective Alexander Archipenko Plastik Malerei Zeichnungen Druckgraphik, Hessisches Landesmuseum Darmstadt, 1955

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Installation view of the traveling retrospective Alexander Archipenko Plastik Malerei Zeichnungen Druckgraphik, Hessisches Landesmuseum Darmstadt, 1955

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    Installation view of the traveling retrospective Alexander Archipenko Plastik Malerei Zeichnungen Druckgraphik, Hessisches Landesmuseum Darmstadt, 1955

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
1956

Traveling retrospective in Germany continues, Städtische Kunstsammlung Düsseldorf, Kunstverein Freiburg, Charlottenburger Schloss, Berlin.

Teaches at University of British Columbia, Vancouver, Canada.

Shows in Annual Exhibition at Whitney Museum, New York.

1957

“Archipenko: Recent Polychromes,” Perls Galleries, New York. Catalog with foreword by Alexander Archipenko. Read.

On December 5 his wife Angelica dies at the age of 65, after a long illness.

  • Alexander Archipenko

    Cleopatra, 1957

    Image by Petro Hrycyk for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity

    Catalogue Raisonné
  • Alexander Archipenko

    Red, 1957

    Image courtesy of private collection

    Catalogue Raisonné
  • Alexander Archipenko

    Ballerina, 1957

    Image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Alexander Archipenko

    White, 1957

    Image by Petro Hrycyk for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity

    Catalogue Raisonné
  • Alexander Archipenko

    Oval Figure, 1957

    Image by Petro Hrycyk for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity

    Catalogue Raisonné
  • Alexander Archipenko

    Multicolored Figure, 1957

    Image courtesy of private collection.

    Catalogue Raisonné
1959

“Alexander Archipenko: Bronzes,” Perls Galleries, New York.

Awarded Medaglia d’Oro at XIIIa Biennale d’Arte Trivenata, IIIo Concorso Internazionale del Bronzetto, Salla della Ragione, Padua, Italy.

1960

Publishes his book “Archipenko: Fifty Creative Years, 1908-58."

Traveling exhibition in Germany, Karl-Ernst-Osthaus-Museum Hagen, Saarland Museum Saarbrücken, Kunstmuseum der Stadt Düsseldorf.

Marries Frances Gray, an artist and former student.

Return of early plasters, which were stored in the South of France since c. 1921.

Cover of Archipenko: Fifty Creative Years 1908-1958, New York: Tekhne 1960; image courtesy of The Archipenko Foundation

 

Frances and Alexander Archipenko, Saarland Museum Saarbrücken, 1960; image courtesy of The Archipenko Foundation

 
1961

Represented in “Bildhauer des 20. Jahrhunderts,” Hessisches Landesmuseum Darmstadt.

Represented in 6e Biennale Voor Beelhouwkunst, Middelheim, Antwerp, Belgium.

Represented in “Der Sturm: Herwarth Walden und die Europäische Avantgarde Berlin 1912 - 1932”, Neue Nationalgalerie, Berlin.

  • Alexander Archipenko

    Festive, 1961 (bronze cast 1962)

    Image courtesy of private collection

    Catalogue Raisonné
  • Alexander Archipenko

    Linear Oriental, 1961

    © Christie's Images Limited, New York, 11/13/2015

    Catalogue Raisonné
  • Alexander Archipenko

    Kimono, 1961 (bronze cast 1962)

    Image by Petro Hrycyk for The Ukrainian Museum in New York for the exhibition catalog Alexander Archipenko: Vision and Continuity

    Catalogue Raisonné
  • Alexander Archipenko

    Queen of Sheba, 1961

    Image courtesy of private collection

    Catalogue Raisonné
1962

Elected to the Department of Art of the National Institute of Arts and Letters.

“Alexander Archipenko: Bronzes,” Perls Galleries, New York.

“Alexander Archipenko Exhibition,” Winnipeg Art Gallery, Canada

“The quality of my work cannot be measured by its abstractness as conservatism, by its geometrical angularity as curvatures, but only by the large totality of its content and its variety of expression. My old works contain elements of the new, and the new contains elements of the old. By eating only a single apple, one cannot judge the size of the apple tree. History proves that works of art with a truly spiritual content remain immune to criticism.”
–Alexander Archipenko, in exhibition catalog, Winnipeg Art Gallery, 1962.

Shows at several venues in Germany, including Kunsthalle Mannheim and Wallraf-Richartz Museum, Cologne.

“Alexander Archipenko,” Galerie Im Erker, St. Gallen, Switzerland.

Poster of Archipenko exhibition at Galerie im Erker, St. Gallen, 1962-1963; image courtesy of The Archipenko Foundation

 
1963

Creates portfolio “Les Formes Vivantes,” a series of ten lithographs in an edition of 75, with Erker-Presse in St.Gallen, Switzerland.

Solo shows at Palazzo Barberini, Rome (exhibition catalog with essay by Gino Severini) and at Centro Culturale S. Fedele, Milan, Italy.

Shows in “Sculpture in France,” Auckland, Wellington, Christchurch, New Zealand.

Alexander Archipenko with his family pet Dalmation, c. 1963; Image courtesy of The Archipenko Foundation.

 
  • Alexander Archipenko

    King Solomon, 1963

    Image courtesy of Stiftung Saarländischer Kulturbesitz, Saarlandmuseum Saarbrücken

    Catalogue Raisonné
1964

“Alexander Archipenko, Skulpturen und Zeichnungen,” Galerie Stangl, Munich, Germany.

Alexander Archipenko dies on February 25 in New York, shortly after casting his last bronze King Solomon.

1967

“Alexander Archipenko: A Memorial Exhibition,” organized by UCLA Art Galleries. The traveling retrospective continues through 1969.

Installation view of Alexander Archipenko: A Memorial Exhibition, The National Collection of Fine Arts, Smithsonian Institution, Washington, 1968; image courtesy of The Archipenko Foundation

 
1968

Retrospective, “Archipenko: Content and Continuity 1908 - 1963,” Kovler Gallery, Chicago.

1969

National Collection of Fine Arts, Smithsonian Institution, organizes the traveling exhibition “Archipenko – International Visionary” in Europe.

Installation view of Archipenko International Visionary, Musée Rodin, Paris, 1969; image courtesy of The Archipenko Foundation

 

Installation view of Archipenko International Visionary, Municipal Gallery of Modern Art, Dublin, 1970; image courtesy of The Archipenko Foundation

 
1970

“Archipenko: The Parisian Years,” The Museum of Modern Art, New York, traveling exhibition.

“Archipenko: The American Years, 1923-1963,” Bernard Dannenberg Galleries, New York.

Installation view of Archipenko International Visionary, Musée Rodin, Paris, 1969; image courtesy of The Archipenko Foundation

 
1973

Represented in “Pioneers of Modern Sculpture”, Hayward Gallery, London.

“Archipenko at Pace,” Pace Gallery, New York.

1974

“Alexander Archipenko – A Pioneer of Modern Sculpture,” Fuji Television Gallery, Tokyo. Catalog with introduction by Frances Archipenko Gray.

1976

“Archipenko –Polychrome Sculptures”, Zabriskie Gallery, New York; exhibition travels to Arts Club of Chicago.

1977

“Archipenko,” Contemporary Sculpture Center Tokyo; travels to Contemporary Sculpture Center Osaka.

1979

“Alexander Archipenko 1887 - 1964: The Late Experimental Years,” Zabriskie Gallery, New York.

1980

Represented in “Three American Sculptors And The Female Nude: Lachaise, Nadelman, Archipenko,” Fogg Art Museum, Harvard University, Cambridge; exhibition travels to Bowdoin College Museum of Art, Brunswick, Maine.

1981

Represented in “Herwarth Walden and Der Sturm,” Helen Serger la boétie, inc., New York.

1982

“Archipenko: Naturalism of the 1920s and 1930s,” Zabriskie Gallery, New York.

“Archipenko, The Early Works: 1910 - 1921,” The Tel Aviv Museum, Tel Aviv.

1985

“Archipenko: Sculpture, Drawings, and Prints, 1908 - 1963,” Norton Center, Center College, Danville, Kentucky.

“Archipenko: Drawings, Reliefs and Constructions,” Edith C. Blum Institute, Bard College, Annandale-on Hudson, New York.

1986

“Alexander Archipenko,” Saarland Museum, Saarbrücken; exhibition travels to Karl-Ernst-Osthaus-Museum, Hagen.

“Alexander Archipenko: A Centennial Tribute,” National Gallery of Art, Washington, D.C.; exhibition travels to The Tel Aviv Museum.

Installation view of Alexander Archipenko: A Centennial Tribute, Tel Aviv Museum, 1987; image courtesy of Tel Aviv Museum.

 
1987

“Alexander Archipenko: The Last Decade 1954 - 64,” Zabriskie Gallery, New York.

1989

Represented in “The Development of Sculptural Form: Auguste Rodin, Alexander Archipenko, Louise Nevelson, David Smith, Nancy Graves,” Associated American Artists, New York.

1991

“Alexander Archipenko: The Sculptor As Printmaker,” Zabriskie Gallery, New York.

“Archipenko,” Galeria Freites, Caracas, Venezuela.

1996

“Archipenko on Paper,” Beth Urdang Gallery, Boston.

Represented in “Tanz in der Moderne. Von Matisse bis Schlemmer,” Kunsthalle Emden, Germany.

1997

“Archipenko,” Galerie Maeght, Paris.

2000

Frances Archipenko Gray establishes The Archipenko Foundation, a non-profit organization.

2001

“Alexander Archipenko: Terra Cotta Sculptures,” Zabriskie Gallery, New York.

2002

“Process and Exploration: Recurring Motifs in the Work of Alexander Archipenko,” Eaton Fine Art, West Palm Beach, Florida.

Represented in “Modigliani & The Artists of Montparnasse,” Albright-Knox-Art Gallery, Buffalo, New York.

Represented in “My Four Kings: Galka Scheyer and the Blue Four,” Norton Simon Museum, Pasadena, California.

2003

Represented in “Pleasures of Collecting: Part II. Twentieth Century and Contemporary Art,” Bruce Museum of Arts and Science, Greenwich, Connecticut.

Represented in "Russisch Paris 1910-1960," Von der Heydt Museum, Wuppertal; traveled to The State Russian Museum, St. Petersburg and Musée des Beaux Arts de Bordeaux.

"Refashioning the Figure: The Sketchbooks of Archipenko," Henry Moore Institute, Leeds, England. Essay by Marek Bartelik.

2004

Represented in “European Art Between the World Wars,” Nassau County Museum of Art, Roslyn, New York.

Represented in “A Secret History of Clay: From Gauguin to Gormley,” Tate Liverpool, Liverpool, United Kingdom.

“Alexander Archipenko: Unknown Works,” Galerie Gmurzynska, Cologne, Germany.

2005

“Alexander Archipenko: Vision and Continuity,” The Ukrainian Museum, New York City, traveled to Smith College Museum of Art and Chazen Museum of Art.

Represented in "Facets of Cubism," Boston Museum of Fine Arts, Boston, Massachusetts.

The Archipenko Foundation publishes the proceedings of the symposium "Alexander Archipenko Revisited," held at Cooper Union, New York, 17 September 2005.

  • Installation view of Alexander Archipenko: Vision and Continuity, The Ukrainian Museum, New York, 2005; image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Installation view of Alexander Archipenko: Vision and Continuity, The Ukrainian Museum, New York, 2005; image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Installation view of Alexander Archipenko: Vision and Continuity, The Ukrainian Museum, New York, 2005; image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Installation view of Alexander Archipenko: Vision and Continuity, The Ukrainian Museum, New York, 2005; image courtesy of The Archipenko Foundation

    Catalogue Raisonné
  • Installation view of Alexander Archipenko: Vision and Continuity, The Ukrainian Museum, New York, 2005; image courtesy of The Archipenko Foundation

    Catalogue Raisonné
2006

Represented in "The Société Anonyme: Modernism for America," Hammer Museum, Los Angeles, California.

Represented in "A Lighter Touch: 19th and 20th Century European Art," Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand.

"Archipenko 2D/3D: Prints and Sculpture," Museum of Fine Arts, St. Petersburg, Florida.

Represented in "L'Ecole de Paris: Entre Primitivism et Nostalgie," Okazaki City Museum, Okazaki, Japan; traveled to Kumamoto Prefectural Museum of Art and Hyogo Prefectural Museum of Art.

Installation view of Alexander Archipenko: Vision and Continuity, Smith College Museum of Art, Northampton, Massachusetts; image courtesy of Smith College

 
2008

“Alexander Archipenko,” Saarland Museum, Saarbrücken, Germany.

  • Installation view of Alexander Archipenko, Saarlandmuseum, Saarbrücken, 2008-2009; image courtesy of Saarlandmuseum.

    Catalogue Raisonné
  • Installation view of Alexander Archipenko, Saarlandmuseum, Saarbrücken, 2008-2009; image courtesy of Saarlandmuseum.

    Catalogue Raisonné
  • Installation view of Alexander Archipenko, Saarlandmuseum, Saarbrücken, 2008-2009; image courtesy of Saarlandmuseum.

    Catalogue Raisonné
2009

Represented in “La Ruche, cité des artistes 1902-2009,” Palais Lumière, Evian, France.

Represented in “Oublier Rodin? La sculpture á Paris, 1905 á 1914,” Musée d’Orsay, Paris, France.

“Alexander Archipenko: Skulpturen, Sculptures,” Galerie Thomas, Munich, Germany.

Represented in “Van Doesburg & The International Avant-Garde. Constructing a New World,” Stedelijk Museum De Lakenhal, Leiden, The Netherlands.

2010

Represented in “Modigliani Sculptor,” Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy.

2012

Represented in "Zentrum der Avantgarde: Der Sturm," Von der Heydt-Museum, Wuppertal, Germany.

Represented in “The Figure in Modern Sculpture,” Forum Gallery, New York City, curated by Dr. Kenneth Wayne.

2013

Represented in “Embracing the New: Modernism's Impact on Woodstock Artists,” Woodstock Artists Association and Museum, Woodstock, NY.

Represented in “The Human Face and Form,” McNay Art Museum, San Antonio, Texas.

Represented in “1913 Armory Show Revisited: The Artists And Their Prints,” International Print Center, New York City.

Represented in “The Armory Show at 100: The New Art Spirit,” New York Historical Society, New York City.

2014

“Alexander Archipenko: The Berlin Drawings,” The Museum of Fine Arts, Houston. Link

Frances Archipenko Gray publishes the memoir "My Life with Alexander Archipenko" (Munich: Hirmer Verlag, 2014).

Cover of My Life with Alexander Archipenko; image courtesy of The Archipenko Foundation

 
2015

“Archipenko: A Modern Legacy” opens at the Palmer Museum of Art of The Pennsylvania State University, curated by Dr. Alexandra Keiser; traveling to The Cummer Museum of Art and Gardens, The Faulconer Gallery at Grinnell College.

Frye Art Museum, Seattle, WA
January 28, 2017 – April 30, 2017.

Mjellby Konstmuseum, Halmstad, Sweden
June 17, 2017 – September 17, 2017.

Øregaard Museum, Hellerup, Denmark
September 29, 2017 – January 21, 2018.

Installation view of Archipenko: A Modern Legacy, Palmer Museum of Art of The Pennsylvania State University, 2015; image courtesy of The Archipenko Foundation

 

Installation view of Archipenko: A Modern Legacy, Palmer Museum of Art of The Pennsylvania State University, 2015; image courtesy of The Archipenko Foundation