Robert Jacobsen (1912-93), Triptyque Spatial, 1950
To Robert Jacobsen, space and iron were equally valuable materials, as is evident in his major work from his early production of iron sculptures. Inside the tall, rectangular box, the space is framed and shaped by black lines and planes, forming rhythmic interspaces. At this stage of Jacobsen’s production, the iron is deliberately painted black, the objective being to make it an anonymous material that contrasts strongly with the empty space around it.
A three-dimensional painting
As the title suggests, the traditional triptych – a tripartite altarpiece – has been converted into a sculptural piece where the spectator’s own movement and changing angles of approach have been taken into consideration. Jacobsen wished to create a three-dimensional painting – a dynamic unity that may be closed up around itself, but which still invites a spatial dialogue.
The development of Jacobsen
During the 1940s, Robert Jacobsen sculptures went from imaginative figuration to constructivism. This development increased its pace after Jacobsen arrived in Paris in 1947 along with Richard Mortensen. Here, Jacobsen quickly became a respected artist among the circle surrounding the Galerie Denise René, where he had his great breakthrough with a solo exhibition in 1950.