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Descrizione dell'opera

FORM AND AUSTERITYMadame Récamier segundo David is a sculpture with a clearly defined past indicated in its title: the heir to a painting by David, dating from 1800, by Jeanne-Françoise Julie Adélaïde Bernard Récamier, the epitome of beauty, literary refinement and intellectual independence; in short, the femme du monde who survived, in her vicissitudes, the Revolution and Bonapartism. The portrait by David (the painter of Napoleon, a dubious, virtuoso creature) came two years before the portrait of Madame Récamier painted by Gérard and much longer before the versions in painting (in 1957) and in sculpture (ten years later) by Magritte, and also had come before La grande odalisque by Ingres. It is a painting that marks out a period, a style and an ideology. Madame Récamier is lying on an empire divan, wearing that neo-classical version of a dress that spread pneumonia in Napoleon’s court. Rui Sanches’s sculpture is a volumetric and de-eroticised conversion of the portrait, with the attention concentrated on understanding the compositional mechanism of the painting, converted into an analytical construction, poor in materials and neo-classical in its construction. Rui Sanches chose a very curious and strange path for his sculpture since the eighties; he took neo-classicism as his working field and transformed rigour of composition into poor, structural construction, bringing together a sculptural language coming from the avant-gardes of the first half of the century and an interest in its exact opposite, the formalism of the neoclassical universe. This union brought about a thesis on form, a rereading of the anti-ethical universes that served it as tools and material, a synthesis between an austerity of material (worn pine wood, sometimes the supreme irony of bronze painted white) and the Napoleonic and imperial reference of his models. This duplicity would open up a path to a work that would increasingly move towards a theory of form, then to a deliberate articulation of historical references through a theory of volume taken as the essential component of sculpture.Delfim Sardo

Biografia dell'artista

Rui Sanches: Exploring Memory and Form Through Sculpture

Portuguese sculptor Rui Sanches, born in Lisbon in 1954, embarked on a creative journey marked by profound engagement with themes of identity, memory, and history—concepts that permeate his distinctive sculptural practice. His formative years were spent pursuing medical studies before prioritizing artistic exploration, attending Ar.Co in Lisbon and Goldsmiths’ College in London (BA 1980), followed by an MFA from Yale University (1982). This academic grounding provided a foundation for his subsequent artistic endeavors, underpinned by a scholarship from the Gulbenkian Foundation during 1980/1982. Early exhibitions established Sanches’s talent—a solo drawing exhibition in Lisbon's Modern Art Gallery of SNBA in 1984 and a sculpture debut at Galeria Diferença—establishing him as an emerging voice within the Portuguese art scene. Since then, he has cultivated an international presence, participating in prestigious biennials like São Paulo (1980’s), showcasing works in galleries and museums across Portugal and abroad, including Winnipeg Art Gallery and Vancouver Art Gallery for “PASTFUTURETENSE,” Ghent's Europália 91, Tokyo’s Watari-Um for “From Silence to Light,” Vienna’s Museum Moderner Kunst Stiftung Ludwig for “Abstract/Real,” Cáceres and Porto’s Serralves Museum for “Dentro y Fuera.” Sanches’s artistic trajectory began with a fascination for deconstructing paintings and analyzing painting genres—a stylistic approach that reflects his intellectual curiosity and commitment to challenging conventional visual representations. This initial exploration evolved into a masterful manipulation of industrial materials, resulting in sculptures that grapple with complex ideas about time, perception, and the relationship between art history and contemporary concerns. His work consistently seeks to provoke contemplation and invite viewers to consider narratives embedded within form itself. A significant turning point was his decision to abandon medical studies in favor of artistic pursuits—a pivotal moment that propelled him toward Goldsmiths’ College in London (BA 1980), where he honed his skills in experimental design and engaged with influential artists like Michael Craig-Martin, Yehuda Safran, Richard Wentworth, Tony Carter and Sarat Maraj. Yale University awarded him a prestigious scholarship for his MFA program (1982), fostering further exploration of sculpture and its dialogue with architectural space. During this period, he experimented extensively with wood and its derivatives—a material that would become central to his artistic vocabulary. His exhibitions have spanned continents, showcasing works in venues such as São Paulo Biennial, Winnipeg Art Gallery, Vancouver Art Gallery, Europália 91, Watari-Um, Museum Moderner Kunst Stiftung Ludwig, Serralves Museum and Museu Nacional de Arte Antiga—demonstrating a sustained commitment to artistic dialogue and innovation. His sculptures are recognized for their conceptual rigor and aesthetic sophistication, reflecting his profound engagement with historical iconography and the exploration of memory as a sculptural medium. Rui Sanches’s contribution to Portuguese contemporary art has been acknowledged globally, cementing his place among the foremost sculptors of his generation.

Rui Sanches

1954 - , Portogallo

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Artistic Movement Or Style: Postmodernist Sculpture
Artists Who Influenced This Artist: ['David']
Date Of Birth: 1954
Full Name: Rui Sanches
Nationality: Portuguese
Notable Artworks: ['Madame Récamier, Segundo David']
Place Of Birth: Lisbon, Portugal

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