Author: Stefano Abbadessa Mercanti
Media: Stefano Abbadessa Mercanti
Eduardo Chillida is considered one of the greatest sculptors of the 20th. Century. His works are spread all over the world, but in an angle of Spain, in the baschi villages near San Sebastian, his native town, there is a museum dedicated to him that holds many of his creations, in an open air exhibition, situated on his property that has crowned one of the artist’s wishes.
My visit as an architect is oriented in taking conscious of the park museum and analyzes, from a panoramic point of view, the integration of sculptures, materialized as intended by the personality of Chillida, with the environment. It isn’t in my intention to express any judgement regarding the works of the artist. Read article>>
The idea comes first. To carry it out, I first I do a drawing. And as, for the sculptor, in the drawing is the form and the essence, it is necessary naturally to know how to draw; after which I do a sculpture in clay, in a kind of collusion between pattern/drawing and earth. Then I make a form in plaster, which has to be perfect. Once perfection is reached, I pass to the execution of the sculpture in marble. Visit gallery>>
The features, the outlines, the musculatures of Igor Mitoraj, are a mixture of Roman-Greek models and the Egyptian and Oriental; if possible more idealized to the point of unattainable beauty, put in evidence by the perfect smoothness of the marble or by the compactness of cast bronze. The figures are, however, deformed in size and the mutilations reduce the opera to a simple fragment, to an archaeological
Born in San Francisco in 1939, he is recognised by international critics as one of today's most innovative and important sculptor.
His talent is revealed, above all, in his accurate research of material, selected for its characteristics and the manufacturing process that it undergoes.
In this way, the material frees itself from the work, becoming part of the surrounding world transporting the spectator to an
Franco Adami, born in Pisa in 1933, lived and worked in Paris and Pietrasanta, in the Meremma of Tuscany. He studied at the School of art of Cascina, the Academia di Belle Arti di Firenze and the Ecole des Peaux-arts de Paris, while he earned a living as restorer of antique furniture. Between 1960 and 1970 he worked in wood, material then simple to find and sculpt: these years correspond to a period of