Another driving influence throughout Béothy’s career was the relationship between mathematics and art.
In both his physical and philosophical output, the avant-garde sculptor, Étienne (István) Béothy (1897–1961) was one of the foremost creative provocateurs of the 21st century.
Béothy studied at the school of architecture in Budapest, Hungary, where he was born, and by 1920 had begun creating small scale sculptures inspired by his Constructivist sensibility. Later, a travelling scholarship through Europe found him settle in Paris, 1925. Here, Béothy was swept up in the city’s artistic milieu, which also served to soften his work, endowing it with a new, organic sensuosity, best articulated by his “Femme” series (1925–1929), which suggests bodies in movement. These bodies are simplified, a starting point in a quest for verticality. Wherever the viewer stands, he or she sees the same shape. “When you want nature to be more human,” he said, “inevitably you gloss over its accidental aspects.”
Another driving influence throughout Béothy’s career was the relationship between mathematics and art, a concern evident in all his work, but particularly 1939’s seminal manifesto “La Série d’Or” (“The Golden Series”).
His associates included members of the Abstraction-Création group, which he helped establish, such as Wassily Kandinsky, Piet Mondrian and Robert Delaunay. In 1951, he edited the inaugural issue of Formes Et Vie alongside Fernand Léger and Le Corbusier and also cofounded Éspace with André Bloc and Del Marle, an influential group that sought to champion geometrical abstraction.
H 96 cm (38 in.)