Jean Tinguely (1925 – 1991) was a Swiss sculptor best known for his kinetic art sculptural machines (known officially as metamechanics) that extended the Dada tradition into the later part of the 20th century. Tinguely's art satirized automation and the technological overproduction of material goods.
Tinguely grew up in Basel, but moved to France in 1952 with his first wife, Swiss artist Eva Aeppli, to pursue a career in art. He belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realist's manifesto (Nouveau réalisme) in 1960.
His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2, detonated successfully in front of an audience gathered in the desert outside Las Vegas.
Tinguely’s art implicitly held a wealth of ironic social commentary. His whimsical machines deftly satirized the mindless overproduction of material goods typical of advanced industrial society. They expressed his conviction that the essence of both life and art consists of continuous change, movement, and instability, and they also served to refute the static art of the past. Tinguely was an innovator in his appreciation of the beauty inherent in machines and junk and in his use of spectator participation; in many of the events he engineered, spectators were able to partially control or determine the movements of his machines.
In 1971, Tinguely married his second wife, Niki de Saint Phalle with whom he collaborated on several artistic projects. Tinguely died in 1991 of heart failure.
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Jean Tinguely or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
Tinguely grew up in Basel, but moved to France in 1952 with his first wife, Swiss artist Eva Aeppli, to pursue a career in art. He belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realist's manifesto (Nouveau réalisme) in 1960.
His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2, detonated successfully in front of an audience gathered in the desert outside Las Vegas.
Tinguely’s art implicitly held a wealth of ironic social commentary. His whimsical machines deftly satirized the mindless overproduction of material goods typical of advanced industrial society. They expressed his conviction that the essence of both life and art consists of continuous change, movement, and instability, and they also served to refute the static art of the past. Tinguely was an innovator in his appreciation of the beauty inherent in machines and junk and in his use of spectator participation; in many of the events he engineered, spectators were able to partially control or determine the movements of his machines.
In 1971, Tinguely married his second wife, Niki de Saint Phalle with whom he collaborated on several artistic projects. Tinguely died in 1991 of heart failure.
© 2019. All content on this blog is protected by international copyright laws All images are copyrighted © by Jean Tinguely or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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| Mr Jean Tinguely |
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| 1955, iron tripod |
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| 1960, Fragment from Homage to New York |
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| 1960, Le Cyclograveur |
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| 1960s Installation |
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| 1961, Ballet des pauvres |
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| 1961, Baluba No. 3 |
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| 1965, Spirale |
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| 1970, Le Cyclop - La Tête |
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| 1970-72, Machine spectacle |
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| 1973 Chaos No 1 |
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| 1984, Trüffelsau |
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| 1985, Ritter Fifi im Kampf gegen das Monster |
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| 1985, Snow White and The Seven Dwarfs (or The Witches) |
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| 1986, Méta-Maxi |
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| 1989, Untitled - Proletkunst No.3 |
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| 2016, Si C'est Noir, Je M'appelle Jean |
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| Dissecting Machine |
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| Hippopotamus |
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| Installation |
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| kinetic sound sculpture Méta-Harmonie II |
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| Méta-Matic No 6 |
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| Retable de l'abondance |
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| Swan |
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