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Klippel's last decades were extremely prolific. In the 1980s he completed a major series of small bronzes, as well as a large number of monumental wooden assemblages, made from the pattern-parts of early twentieth century maritime machinery. Working with wood, metals, plastics, junk, machinery parts,
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Klippel's work commonly utilized an extraordinary diversity of junk materials: wood, stone, plastic toy kits, wooden pattern parts, typewriter machinery, industrial piping and machine parts, as well as bronze, silver, oils, photography, collage and paper. He is also notable for the great diversity of
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called
Klippel "one of the few Australian sculptors worthy of international attention". The statement cemented his international reputation, but he struggled to win acceptance in his own country. During the 1970s and '80s, when the traditional distinctions between sculpture and architecture, design,
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By the time
Klippel returned to Sydney in 1950, he was committed to construction as a method and was producing totally abstract sculptures. His work was received with little enthusiasm in Australia at first, with his first sculptural work was not selling in his country until 1956. Forced to work
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photography, performance and painting were frequently presented as obsolete, Klippel remained committed to the idea of sculpture as abstract, as occupying sculptural space, and as sustaining in ways beyond literary or narrative function.
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During his time in London, he began a series of drawings and filled his notebooks with analytical diagrams of organic and mechanical objects, everything from screws and cogs to insects and shells, and making detailed drawings of the
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sculptor and teacher. He is often described in contemporary art literature as
Australia's greatest sculptor. Throughout his career he produced some 1,300 pieces of sculpture and approximately 5,000 drawings.
285:. He moved away increasingly from traditional sculpture and produced his first junk assemblages in 1960. He began incorporating machine parts, pieces of wood and industrial piping into his works.
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scale of his work, from intricate whimsical structures in metal to the large wooden assemblages of the 1980s. His mature work was usually untitled, being distinguished by simple number sequences.
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oils, watercolours and paper, and utilising the techniques of casting, assemblage, painting and collage, he had completed over 1,200 sculptures by the end of the 1990s.
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on 19 June 1920. At the age of six, he made his first model ship after being taken on a ferry ride on Sydney
Harbour. Model making became a passion. He was educated at
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satire, combining
Klippel's sculpture with Gleeson's painting. For a time, Klippel embraced the surrealist ethic, exhibiting at a major surrealist show and meeting
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In 1957 he sailed to the United States, living in New York . He taught sculpture at the
Minneapolis School of Art (now the
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By the 1950s
Klippel had grown apart from the surrealists and in New York he was invigorated by the rise of
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While working at the centre he was able to attend evening classes in sculpture under Lyndon
Dadswell at
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His parents' business was successful and with their support, he left
Australia in 1947 to study at the
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While in London, he met other expatriate
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full-time, his production dropped to a mere 18 pieces between 1950 and 1957.
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1633 Connecticut Ave NW 4th floor Washington DC 20009. Available online:
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and after his military discharge, was able to attend for a full year.
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Ken Scarlett, "Robert Klippel: Australia's Greatest Sculptor",
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91:(19 June 1920 – 19 June 2001) was an Australian
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345:"No 35 Madame Sophie Sesostoris (a pre-raphaelite satire)"
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where he remained for six months. He lived and painted at
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The Years of Hope: Australian Art and Criticism 1959-1968
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A Quiet Revolution: The Rise of Australian Art 1946-1968
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He spent a year in Paris where he attended lectures by
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at the Gunnery Instruction Centre during World War II.
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Make It New: A Portrait of the Sculptor Robert Klippel
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He died in Sydney on his 81st birthday, 19 June 2001.
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242:. The two collaborated on several works, including
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432:Deborah Edwards, "Robert Klippel: Make it New",
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214:Alexander Mackie College of Advanced Education
16:Australian constructivist sculptor and teacher
500:Geoffrey Legge, "Robert Klippel, 1920-2001",
343:Klippel, Robert; Gleeson, James (1947–1948).
219:In 1988 he was appointed an Officer of the
561:People educated at Sydney Grammar School
556:Alumni of the Slade School of Fine Art
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210:Minneapolis College of Art and Design
493:Robert Klippel: Australian Innovator
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551:Officers of the Order of Australia
472:Artists and Galleries of Australia
60:Sydney, New South Wales, Australia
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546:20th-century Australian sculptors
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460:Daniel Thomas, "Australian Art",
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413:Encyclopedia of Australian Art
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262:forms used by artists such as
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486:Robert Klippel, Sculptor
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304:, was produced in 2003.
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279:abstract expressionism
411:and Susan McCulloch,
156:Peter Benjamin Graham
140:The Abbey Arts Centre
118:Royal Australian Navy
114:Sydney Grammar School
69:Robert Edward Klippel
300:A documentary film,
288:In 1964, art critic
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104:Klippel was born in
216:from 1975 to 1979.
488:, Bay Books, 1983.
386:SCULPTURE MAGAZINE
221:Order of Australia
191:Jiddu Krishnamurti
480:978-0-908175-87-1
462:Art and Australia
453:Graeme Sturgeon,
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34:19 June 1920
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541:2001 deaths
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264:Henry Moore
106:Potts Point
44:, Australia
530:Categories
379:References
184:Surrealism
144:New Barnet
496:The Blurb
370:The Blurb
172:Inge King
100:Biography
78:Sculpture
281:and the
199:Hinduism
195:Buddhism
519:at the
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110:Sydney
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355:9 May
308:Notes
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