Bally Lyon
Identifiant(s):
1932038Z0, 1932038Z1, 1932038Z2 et 1932038Z3
1932038Z0, 1932038Z1, 1932038Z2 et 1932038Z3
Sujet:
Shoe
Shoe
Description:
Two hands highlight, on one side a man's shoe, on the other a woman's shoe."Who hasn't loved, more recently, the poem of beautiful feminine hands, modeled with such aristocratic love and holding the shoe with such grace, that one felt like asking the invisible yet dazzling saleswoman, not only for the Bally pump, but...her hand. The great difficulty lies in making the presentation of a strictly utilitarian object aesthetic. As uninspiring as a mustard bottle or a margarine packet may be, it is nonetheless from them that one must start. Here, the artist's gift comes into play. Two paths are open to them. First, an almost 'literal' approach where, through close-up, the letter and the product are presented with striking relief. Even for Bally shoes, where two shoes take center stage, Cappiello cannot confine himself to such a strict interpretation. With subtle imagination, he doesn't even add feet to the shoes; but, with unmatched elegance, he places his shoe on a silk palm and has his pump held by fingers worthy of handling works of art." [in Leonetto Cappiello or the living arabesque. Guéguen. AMG, no. 39, 1934]
Two hands highlight, on one side a man's shoe, on the other a woman's shoe."Who hasn't loved, more recently, the poem of beautiful feminine hands, modeled with such aristocratic love and holding the shoe with such grace, that one felt like asking the invisible yet dazzling saleswoman, not only for the Bally pump, but...her hand. The great difficulty lies in making the presentation of a strictly utilitarian object aesthetic. As uninspiring as a mustard bottle or a margarine packet may be, it is nonetheless from them that one must start. Here, the artist's gift comes into play. Two paths are open to them. First, an almost 'literal' approach where, through close-up, the letter and the product are presented with striking relief. Even for Bally shoes, where two shoes take center stage, Cappiello cannot confine himself to such a strict interpretation. With subtle imagination, he doesn't even add feet to the shoes; but, with unmatched elegance, he places his shoe on a silk palm and has his pump held by fingers worthy of handling works of art." [in Leonetto Cappiello or the living arabesque. Guéguen. AMG, no. 39, 1934]
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