Swedish sculptor born in 1914 and died in 1976. It belonged to the group known as the men of 1947, group of artists that were unveiled in the young art ('Ung Konst') exhibition held that year and had a decisive importance in the introduction in Sweden of the European avant-garde artistic proposals.
He studied at the technical school in Stockholm between 1934 and 1940. It subsequently extended studies at the school of art between 1941 and 1947. He began to exhibit his first pieces, usually terracotta and some bronze, in 1945 and 1946 with two exhibitions in Stockholm and Sundsvall. The following year participated in the youth exhibition, shows that brought together a group of artists who later became known as concretistas. The seminal emerged as the assimilation by the Swedish vernacular pictorial tradition of artistic manifestations of the European Vanguards whose experience was put into practice in Europe between the wars and whose radical expansion occurred after the end of the second world war. Compared to other members of the concretist movement practiced painting, the foray into the arts by Jones was limited to sculpture. His work, although it has as a common feature a search of formal simplicity in tune with the tendency to abstraction that characterized to the seminal, covered a wide variety of materials ranging from the terracotta and wood, bronze and steel. The value of the artist gives the material, whose texture qualities hardly modifies is also characteristic of his work. His early work consists of terracotta as Liggande Modell (1944) or Acroupie (1945), of supposedly loose Bill that verges on the coarseness; and bronzes as Kvinna med viadukter, Lilla Massingen, or his famous Katedral (all 1947, Museum of modern art, Stockholm). In the latter you can see the next forms formal stylization architectural late which served as an excuse to the critic and historian Alfons Sven, to qualify to the sculptor and his circle of friends as young neo-Gothic. Between 1947 and 1952, he made a series of portraits in terracotta preserved in various Swedish private collections. Among them are Sven Alfons (1947), Maria Wine (1947), Gerard Bonnier (1949), Arne Sand (1951) and that of Tor Bonnier (1952).
In the mid-1950s, Arne Jones began to pay more attention to the metal as working material. Thus, after a first series of bronzes of stylized and geometric shapes developed from 1955, during the Decade of the 1960s, the sculptor experimented with spherical shapes that enriched his formal vocabulary. This period is his work Encercle (1960). The work of Jones from the late 1960s until his death, show special interest in the use of iron and steel and the more constructive character of his works against the sculptural presenting their bronzes. His art combined architecture, construction and visual dynamics. In addition to running numerous public works projects, his work is represented in many museums including the National Museum of Stockholm, Norrköpings Museum, Museum of art Skanska of Lund, and the museums of Mamo and Örebro.
ROBACH, CILLA; WIGH, LEIF and RAGNAR VON HOLTEN. Utopi & Verklighet: Svensk Modernism 1900-1960. (Stockholm, modern Museum, 2001).
ENGBLOM, SOREN. From interspaces and broken metaphors. (Stockholm, Editorial Institute Swedish, 1998).
VV.. Surrealismen i Danmark. 1930-1950 (København, Statens Museum for Kunst, 1986).
http://home.fhnet.net/fhcl/jones/skulpt.htm; (web site in Swedish dedicated to the sculptor Arne Jones. It contains numerous photographs of his works grouped by topics).