In his later years Arp primarily produced three-dimensional sculptures that he modeled in plaster and translated into stone and bronze. Plaster enabled Arp to experiment with new, unique forms, such as the amoebalike shapes in Configuration in Serpentine Movements. Referring to his biomorphic art as "l’art concret" (concrete art), Arp emphasized how this style evoked natural forms without imitation or specific definition, as if the sculpture had been created by natural forces rather than his own hand.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Configuration in Serpentine Movements I
Artist:Jean Arp (French (born Germany), Strasbourg 1886–1966 Basel)
the artist (from 1950; to Curt Valentin); [Curt Valentin Gallery, New York, in 1954; sold to Colin]; Mr. and Mrs. Ralph F. Colin, New York (by 1957–76; their gift to MMA)
New York. Curt Valentin Gallery. "Jean Arp," March 2–27, 1954, no. 8.
New York. World House Galleries. "The Struggle for New Form," January 22–February 23, 1957, no. 2 (dated ca. 1950, lent by Mr. and Mrs. Ralph F. Colin).
Museum of Modern Art, New York. "Arp," October 8–November 30, 1958, no. 94 (as "Configuration in Serpentine Movements [Snake Movement I]," lent by Mr. and Mrs. Ralph F. Colin, New York).
New York. Knoedler Gallery. "The Colin Collection: Paintings, Watercolors, Drawings and Sculpture," April 12–May 14, 1960, no. 122.
Dallas. Nasher Sculpture Center. "The Nature of Arp," September 15, 2018–January 6, 2019, no. 72.
Maguerite Hagenbach in Carola Giedion-Welcker. Jean Arp. New York, 1957, p. 111, no. 109, ill. p. 84, calls it "Snake Movement I" and locates it in a private collection, USA.
James Thrall Soby, ed. Arp. Exh. cat., Museum of Modern Art, New York. New York, 1958, pp. 11, 123, no. 94, ill. p. 97.
"What Isn't Art?" Time (June 9, 1958), p. 62.
Stuart Preston. "New York." Burlington Magazine 102 (May 1960), p. 229, fig. 52.
Ralph F. Colin. The Colin Collection: Paintings, Watercolors, Drawings and Sculpture. Exh. cat., Knoedler Gallery. New York, 1960, unpaginated, no. 122, ill.
Marguerite Arp-Hagenbach in Ionel Jianou. Jean Arp. Paris, 1973, p. 72, no. 109.
Jean Arp (French (born Germany), Strasbourg 1886–1966 Basel)
1920
Resources for Research
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's engagement with art from 1890 to today includes the acquisition and exhibition of works in a range of media, spanning movements in modernism to contemporary practices from across the globe.