{"id":34,"date":"2020-10-21T20:16:10","date_gmt":"2020-10-21T18:16:10","guid":{"rendered":"http:\/\/pan-wogenscky.com\/en\/?page_id=34"},"modified":"2021-07-16T15:09:39","modified_gmt":"2021-07-16T13:09:39","slug":"martapan","status":"publish","type":"page","link":"https:\/\/pan-wogenscky.com\/en\/martapan\/","title":{"rendered":"Biography, Marta Pan"},"content":{"rendered":"\n

Marta Pan,
modernity at work<\/h1>\n\n\n\n

Trained at the Academy of Arts in Budapest, Marta Pan moved to Paris in 1947. She was 24 years old. She was inspired by plants (onions, shells, roots) whose joints she drew in increasingly close planes, with great sensuality. She transposed these figures, brought to the limits of abstraction, into chamotte clay and, for some of them, into ceramic.<\/p>\n\n\n\n

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Marta Pan, 1966, at the Salon des Jeunes Galeries in Lausanne during the temporary installation of a floating sculpture \/ Collection Fondation Marta Pan – Andr\u00e9 Wogenscky \/ Credits : Marcel Ismand<\/em><\/figcaption><\/figure>\n\n\n\n

Between dynamism and balance<\/h2>\n\n\n\n

Towards abstraction<\/h3>\n\n\n\n

In 1954, Marta Pan tried her hand at woodcarving in the workshops of Charles Barberis, the carpenter established in Corsica who, among other things, made the woodwork for the glass panels of the housing units that Andr\u00e9 Wogenscky built with Le Corbusier.<\/p>\n\n\n\n

With an astonishing mastery, Marta Pan approaches simultaneously three types of abstract forms. Some of them, of simple appearance, strike by the dynamism that emerges from them. Such is the case of \u00ab\u00a0L’\u00e9b\u00e8ne\u00a0\u00bb arranged above the interior basin of the Fondation.<\/p>\n\n\n\n

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L’\u00c9b\u00e8ne \/ Collection Fondation Marta Pan – Andr\u00e9 Wogenscky \/ \u00a9Antoine de Cordoue<\/em><\/figcaption><\/figure>\n\n\n\n
<\/div><\/div>\n\n\n\n

Dancing inspiration<\/h3>\n\n\n\n

Others are articulated, like \u00ab\u00a0Teck\u00a0\u00bb, a large sculpture whose two elements unfold around a hinge. Maurice B\u00e9jart made this work the central element of the ballet he created in 1959 on the roof of the Unit\u00e9 d’Habitation in Marseille during the first Festival de l\u2019Art d\u2019Avant-Garde.<\/a><\/p>\n\n\n\n

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