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Still Life. Table with a hat., 1929 by Pyotr Konchalovsky (1876-1956, Russia)

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Painting Copy Fine Art Still Life. Table With A Hat. - 1929 By Pyotr Konchalovsky , Painting Copy Fine Art Still Life. Table With A Hat. - 1929 By Pyotr Konchalovsky
Still Life. Table with a hat., 1929 by Pyotr Konchalovsky (1876-1956, Russia)
Painting Copy Fine Art Still Life. Table With A Hat. - 1929 By Pyotr Konchalovsky , Painting Copy Fine Art Still Life. Table With A Hat. - 1929 By Pyotr Konchalovsky

"Still Life. Table with a hat."

Pyotr Konchalovsky - 100 x 87 cm - 1929

This is Andre's only permanent public sculpture: it is sited in downtown Hartford, close to the Wadsworth Atheneum on a narrow, nondescript strip of grass between Center Church and its accompanying burial ground, and Gold Street. The work consists of thirty-six immense boulders, which were dug up at a local gravel pit and had been discarded by the quarry owners. Andre placed the largest stone (which weighs eleven tons) at the apex of the triangular plot, then set down the next two in a row running across the site, then the next three, continuing incrementally up to the eighth row, which is comprised of the smallest stones. While the sculpture is typical of Andre's fascination with sorting and arranging objects, it can also be read as a subtle meditation on the contrast between geological and human time.



 
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Still Life. Table with a hat., 1929 by Pyotr Konchalovsky (1876-1956, Russia)
/Art.nsf/O/8XYSG3/$File/Pyotr-Konchalovsky-Still-Life.-Table-with-a-hat..JPG
This is Andre's only permanent public sculpture: it is sited in downtown Hartford, close to the Wadsworth Atheneum on a narrow, nondescript strip of grass between Center Church and its accompanying burial ground, and Gold Street. The work consists of thirty-six immense boulders, which were dug up at a local gravel pit and had been discarded by the quarry owners. Andre placed the largest stone (which weighs eleven tons) at the apex of the triangular plot, then set down the next two in a row running across the site, then the next three, continuing incrementally up to the eighth row, which is comprised of the smallest stones. While the sculpture is typical of Andre's fascination with sorting and arranging objects, it can also be read as a subtle meditation on the contrast between geological and human time.
Pyotr Konchalovsky
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