EDUARD TRIER
Form
Sculpture of the
Twentieth
Century
Revised and
Enlarged Edition
PRAEG
rF cfl?
3*
FORM AND SPACE
Form and Space SCULPTURE OF THE TWENTIETH CENTURY revised edition
with 245 illustrations
EDUARD TRIER
FREDERICK
A.
PRAEGER,
NEW YORK
'
Publishers
WASHINGTON
BOOKS THAT MATTER
BOSTON PUBLIC LIBRARY
PUBLISHED IN THE UNITED STATES OF AMERICA IN I962 BY FREDERICK A. PRAEGER, INC., PUBLISHERS III FOURTH AVENUE, NEW YORK, N.Y., 10003 REVISED EDITION, 1968
© GEBR. MANN VERLAG, BERLIN, i960 AND I968 ENGLISH TRANSLATION © THAMES AND HUDSON, LONDON, I96I AND 196! ALL RIGHTS RESERVED LIBRARY OF CONGRESS CATALOG CARD NUMBER: 68-14737
TRANSLATED FROM THE GERMAN BY C. LIGOTA AND FRANCISCA GARVIE ILLUSTRATIONS PRINTED IN GERMANY. TEXT PRINTED IN ENGLAND
Contents
I
FOREWORD
?
FOREWORD TO THE SECOND EDITION
9
THE PROBLEM OF FORM
n
Kernel Sculpture
12
Opening up of Volume
13
Sign in Space
14
Constructions
16
Mobile Sculpture
29
Relief
30
Excursus: Conglomerates and
II
'Recognized' Sculpture
32
THE PROBLEM OF MEANING
42
III
THE PROBLEM OF PURPOSE
IV
FORM AND SPACE: VARIATIONS
223
1967
V CLOSING REMARKS: FORM AND SPACE
BIOGRAPHICAL INDEX OF ARTISTS
250
314
321
<£
Foreword
This book
is
not a history of
completeness from features
A
to Z.
of 20th-century
Its
nor a lexicon whose main advantage would be
style,
purpose
is
rather to plot in
word and image
sculpture, bringing out connections
the typical
and oppositions. Chron-
ology, nationality and membership of this or that school play a subordinate role.
Attention
is
directed to the problems of
lend speech to
modern
sculpture and an attempt
is
made
Descriptions of individual pieces
from many
countries serve as so
The two terms
many
approaches
to the
theme of form and
and
including their usual synonyms. This applies in particular to 'form' which
as
space.
restricted in a classicizing spirit to the
pointed out that
it is
human
are to be taken in the widest sense
As
figure.
to 'space',
it
the following
may be observed
:
not
reject the
procedure
closest possible contact
sculpture,
is
also
answer;
or theorizing.
Its
sole
I
hope, none the
aim
is
to bring
The less,
first
problem, which
he will
him into
the
is
concerned with typical manifestations
an exercise in method serving to elaborate the framework for the
treatment of the two other problems.
The second
one, that of meaning or theme, sug-
gesting a kind of iconography cannot, of course be divorced ,
from the
first
since in art
content cannot exist except as form hence the results obtained in treating the ;
often be
reader
with the works themselves.
The treatment of the of
as rhetorical
Regarding
using the examples assembled
consider successively the problems of form, of meaning and of purpose.
may suspect collusion in this game of question and
not
is
need hardly be
to be understood in the artistic not the scientific sense.
method and arrangement I
to
this silent art.
drawn upon.
Finally the third problem, that
first
will
of purpose, will be concerned
solely
with sculpture
as a public art. The reader unity in spite of this threefold division.
h Ve
anTr ^
^
1 "^l* *
is
requested to consider the
m°dem
^^ ^ *"
book
as a
*«*"
*• div d.vi!,ion on and the resulting order in which the works are considered cannot poss.bly mply anyjndgtnent of value.
nelp that
many of them have
It is
by the inclusion of their works
that
I
pay ,ny tnbute
given me. (i959)
Foreword to the second edition
me
This second edition of Form and Space gives
making also
of enlarging
Form and
The
which
am
it. I
Space, for
above
with the problems of sculpture in 1959, but
indebted to the English readers for their interest in
all
without them
dealt
welcome opportunity not only of
this reappraisal
would not have been
revision does not affect the conception of the book, in
are integrated. clearly.
which
corrections to the book,
the
On
the contrary,
Of course Form
have
I
and Space
text
and pictures
emphasize the main themes even more
tried to
not a historical treatment of 20th-century sculpture
is
requires merely the addition of recent material to bring
decided to add in the
which
possible so soon.
up
it
to date.
new edition a fifth chapter in which the main theme is
I
therefore
modified in
relation to 1967.
Chapters
I
to
IV have been corrected and brought into
illustration sections
-
1
have substituted 22
show
the illustrations and to
some of the
represent
artists
by
better or
more
book was
younger sculptors
typical
I
wanted
among the substituted received much help in the I
collectors
and
galleries, all
should like to thank
work, or to document the main
of
also
owe
emie, Diisseldorf,
graphy and the participation
thanks to
who
would be
are
my
To
impossible.
Marcus and
artists
artists,
in the captions.
thank
But
I
discrimination, gave
me
the
and con-
museums,
Most of
all I
who, with
his
such valuable
Schuir, librarian of the Staatliche Kunstakad-
me
with the
list
of
illustrations, the biblio-
my friends and colleagues for their critical should like to thank my wife, Edith, for her all
ever-understanding and patient help by dedicating children, Michael,
from many
gratitude to the
acknowledged
power of
Mrs Hedwig
work.
established artists are also
the late Jules Langsner of Los Angeles,
untiringly assisted
secretarial
formerly not represented;
works of seven newly
revision of Form and Space
whom
my friend,
who were
Of
plates.
extensive learning and his clear I
artists
should therefore like to express
noisseurs.
to
who were not yet recognized when the first edition of
published, and in fact the
included
advice.
improve the quality of
reasons for the addition of new text and illustrations are given in Chapter V.
these are mostly
I
either to
alterations in the
artists.
the 32 additional plates, 21 are devoted to
the
with the
the sculptures in their present state, or because
theme of the book by the work of other
The
- made
plates
line
this
book
in
its
second edition to our
Alice.
Cologne and Diisseldorf
December 1967
I
In every
work of art we
conveys the
that
artist's
are confronted first
message and
formal aspect of a work of art tation of its content.
I shall,
is
of all by the problem of form.
realizes his intention.
Thus
therefore, concern
The
myself in the
criteria for this
which take no account
as yet
of
first
areas
volume which
of shaped void annexed to
modes of appearance
by
formal analysis will extend to artist's
manipulation of
relief
out of
They can be reduced
implies both the mass of a
as
modes of
stylistic differences arising
work of art and
with
his material
its is
work of
art
On
the
whether
through movement. Finally
transitions to painting.
to
The
well as the relationship between the two.
either statically or
it,
the elucidation of the
instance with
include further the space surrounding a
delimited, touched or filled
the
it,
form
formal inquiry are supplied by
individual handwriting, technique, or time and place of origin. the category of plastic
It is
knowledge or interpre-
the necessary preliminary to any
appearance in modern sculpture. basic distinctions
The problem of form
the other
my
hand
excluded from the discussion. Whether he
carves in stone, solders and welds metals, or models for a bronze cast - these differences,
of great
moment
for the content
and significance of modern works of sculpture
with a few exceptions, be discussed
later.
These fundamental concepts of form do not, of course, apply solely sculpture.
The problems they involve
are partly as old as the art
constructivist sculpture offers formal possibilities
itself.
past
do
not,
however, intend
to repeat the
to
modern
But mobile and
which the 20th century in
particular has
recognized and developed, though even here historical precedents could be I
will,
cited.
well-worn comparisons between sculpture
and present or draw analogies from the world of nature.
themselves and confront them one with another
is
To
discuss the
works
in itself sufficiently exciting so that
no
other, extra-artistic stimuli are needed. ii
KERNEL SCULPTURE It
my
seems desirable to begin
which the
material
artist
shapes but does not attempt to open up this approach might be ;
described as kernel sculpture;
volume
made
(fig. i),
sculpture in
by shaping
it
its
making
is
it
of his, The New-Born
and single-minded concen-
of my formal examples.
as the first
an egg Brancusi
as
An early work
radical simplicity
embryonic form. This marble piece
its
art.
has concerned himself most intensively with the
with
serve,
on mass and volume,
tration
who
Constantin Brancusi.
is
may
in 191 5,
the simplest and perhaps the oldest variety of the
it is
In the 20th century the artist
shapes of compact
formal analysis with the compact, entirely solid mass of
What we
have here
an embryo also in what
is
emergent
signify
life.
it
is
conveys
But the problem of
meaning, though especially relevant in the case of Brancusi, whose sculpture has always
something to
'say', will
not be investigated here;
reserve
I
broader context. The New-Born, smooth and rounded,
the absolutely pure, universally valid, perfectly produced
left
add or
to
Of
formal maturity.
subtract. It
course the
artist
is
with
its
perfect in itself
inventions attest the
aim
artist's
body of the egg,
It
long years of
formal
this
would have been
lost
the oblique flattening at one end
grained stone of the base, rough-planed at the edges,
work.
after
and presents an optimum of
at the
bottom -
produce an individual, unique
to
He
favourite observations
could have equally well achieved
by the rounded swelling
privative effect mitigated
aim was
rigour and immaculateness of the ideal vision
perfection with a sphere or a simple egg but the specific reference the tapering ridge rising out of the
as a
compact body of volume.
;
work with chisel and file has all the
simply
evokes. Brancusi's
of sculpture must have no holes and the form realized
that a piece
with nothing
it
One of his
sought the extreme in simplicity and completeness.
patient
for later treatment in a
artistically effective
is
three-dimensional object, quite apart from the associations
was
it
is
also
these formal
figure.
The
coarse-
an integral part of the
enhances by contrast the smoothness and high polish of the marble which not
only invites the hand to touch but the richness of reflexion
on
own
Thus have Brancusi's hands wakened the dead
the surface.
- the
eye with the play of light and shadow and
feasts the
of forms.
stone to a
life
of its
As
not
my intention to discuss the influence of Brancusi's style on his contempor-
aries
it is
or younger
works by other The Couple
sculptors as spring
(fig. 2)
the
likewise
in a
on
all
reduction, while
more than
of the
artist
sides
the
Adam
from
Adam
a recognition
set it
his figured solids
same formal assumptions. The is
the older one.
cut,
smooth
The
stability.
for a
solid,
latter
surfaces that clearly define
Only
the
opposing each other distinguishes the work
The growth of Brancusi's figures is
constructs with planes or spherical surfaces.
mark
plaster cast
off sharply against the surrounding space.
surfaces abruptly
only such
based on the same conception of a
- a block expressing weight and
tendency towards neatly
volume of the work and
of the younger
from
by Henri-Georges
shows
facet-like character
12
have selected for comparison with
artists, I
compact body shut
work
life
newly invented
object.
The
a process title
is
of
no
OPENING UP OF VOLUME In opposition to the type of compact
Brancusi and
on
clarity
volume
illustrated
Adam, and particularly congenial
and the objective
postulate, the disintegration
to the Latin spirit in art
be achieved,
result to
by examples from
we may
set,
the
work of
with its emphasis
in terms
of
a
formal
of mass and opening-up of solid volume. As against rep-
resentation in one - material - medium alone, appearing
whole,
as a self-contained
we
now have figures made up of solid and space, of mass and void, of outer and inner volume. Sculpture becomes
more complicated,
no longer
it is
Adam's monoliths. The treatment of empty space sculptors in fact treat real
implies the use of
it,
one serves to make
two
'of a piece' as are Brancusi's
and
as 'sculptural material', as certain
different
media of which the allegedly
of its imagined companion. Concomit-
significant the otherness
antly there appears a hierarchy of forms; subordinate and superordinate elements
come
to the fore.
Jacob Epstein's sculpture The Rock Drill (fig. the avant-garde group of
3),
executed in 191 3 while he belonged to
'The Vortex', provides a typical example of the
artists called
subordination of individual forms to the primacy of one large form. There here to elaborate on
sculptural significance as the translation
its
figure into a robot
(see also
R.
Duchamp-Villon's
machine), or
its stylistic
on
The key position Rock Drill occupies
the other.
will
have discussed,
it is
worth remarking
tured and subdivided,
as well; in the
radically
on
the one
hand and modern
art
beginning of modern sculpture
at the
In the formal context
(fig. 5).
that although the solid
volume
is
we
strongly struc-
development of 20th-century sculpture Epstein's RockDrillis an
important step towards sculpture
Of course, we find
of a half-length human
yet a compact mass that determines the character of the
it is
sculpture. In the stylistic
no room
Horse, fig. 102, interpreted as a
references to exotic sculpture
emerge from a comparison with Henry Moore
is
as 'object'.
such piercing and opening-up of solid volume in older sculpture
fundamental forms of
art it
is
new, something that has never before
almost impossible to invent something existed.
But
it is
in the 20th century that
the idea of combining positive and negative forms has been systematically exploited.
The name given that I
it
has struck
to this trend, hole sculpture, apposite if
home.
cannot consider here the misguided contention that
my
wards nihilism, formal
my
approach
is
earliest
of secondary
interest.
There are
e.g. the
work of Alexander Archipenko.
example
Woman
Standing with Guitar
It is
parts,
than the space
is
than the ones to be mentioned,
Jacques Lipchitz.
of the various
kind of sculpture tends to-
not an historical one, the question of
original authorship as regards 'transparent sculpture'
My
this
purpose being neither exegesis nor apology but the elaboration of
criteria. Similarly, since
earlier instances
somewhat derogatory, shows
it
is
the gilded bronze
intended and executed
swaying
as a transparent piece.
The
(fig. 4)
by
bodily substance
delicately or else twisting into spirals, appears less in
volume
enmeshes. 13
The
whose
piece,
historical lineage
could be traced to Cubism and Surrealism, docu-
new artistic intention. The sculptor abandons
ments a
neglects the emphasis circulate inside
on weight and loosens up
The forms within and
it.
their spatial relatedness, are just as
internal space.
at the
which can be grasped and the
as the front
transparence frees the sculpture
Its
compact
solid,
the composition to allow light and air to
back,
important
the primacy of the
from
at a
glance in
allusively indicated
the static perspective
:
the single
impression yields to the experience of spatial simultaneity.
The formal postulate the
title
discernible in Lipchitz' sculpture
one of his bronzes
for
(fig. 5)
:
symbolism involved will be
Here too the
specific
assumptions and the
out of account, and only the formal principle con-
left
While Lipchitz reduces
sidered.
it.
body
the mass of the
to a
few
thin,
almost
linear,
elements, Moore's figure, in spite of the side opening, remains block-like and heavy. piece
is
as
Forms - an explicit
called Internal-External
it is
indication of the artistic purpose realized in
was taken by Henry Moore
The
not transparent and allows only glimpses into the interior whose partial exposure
does not break the overall cohesion of outline. space the forms inside
these in turn are
;
The
outer shell encompasses in hollow
composed of
positive
=
(
solid)
and negative
(= spatial) elements. The reciprocal relationship between inner and outer, mass and void, remains even.
The Spaniard Pablo ative forms. surfaces,
The
Gargallo, a contemporary of Picasso, also uses positive and neg-
skeleton of his bronze Prophet
curved contours and cut-out forms,
therefore, be seen
from
the front.
the spectator to establish
its
The
actual
(fig. 6), is
made up of concave and convex
intended
as a silhouette
volume of the body
extension in space
is
slight
by imagining continuous
and should,
and
it is
surfaces
up
to
from
the outline indications that are supplied.
A
later
work, the cement Great Mask
formal intention.
Its
(fig. 7)
by
the Italian Mirko,
much
transparence suggests not so
a private sculptural space as
permeation by the free surrounding space. Mirko's composition Gargallo's;
it
draws into
its
spatial existence the
shows the same
even more open than
is
whole environment.
SIGN IN SPACE
Mirko goes
so far in reducing bodily substance that his
to the next formal type in a
new
there
taken
as a transition
which the opening-up and attenuation of solid volume
sculptural function, that is
work can be
of a sign in
space. Here, if there
expansion in another. The figures of
this
is
create
shrinking in one sense
type are not confined to a space of
own which they either fill bodily or at least somehow annex their activity reaches beyond their own limits, spills over into infinite space which it seeks to inform. In strong
their
;
contrast to the at the
and
self-sufficiency
of the sculptured blocks considered
beginning of this chapter, their whole tendency
characteristic
14
stillness, isolation
of kernel sculpture
is
replaced
by
is
outwards. Formal concentration
eccentricity.
The
figure, as
it
were, parts
with
itself by
projecting itself into space.
found particular favour with expressionist This tendency to disembodiment
Mannerists,
recalls the
nude whose members is
not
and
still;
its
is
already beginning to operate in the early bronzes
is
What
dating
(fig. 8),
also a description
more
Matisse's figure,
solidly built
bruck's youth shows
on
1909.
The
of the form - a
of the work, which
title
thin, elongated, serpent-like
chest.
whose strenuous composure could be
by Wilhelm Lehmbruck
tightrope walker, the Attacking Figure is
from
many directions so that the figure, though static, is made even less secure by the complicated stance
and the pronounced inclination of the
1914-15,
has been said about the formal type
traverse space in
precarious balance
Compared with
that this formal vocabulary has
artists.
of the painter and sculptor Henri Matisse. applies fully to his Serpentine
no accident
It is
from
dating
(fig. 9),
of a
that
even though the subject involves movement. But Lehm-
on the one hand
the characteristic diminution of solid volume,
and
the other the outward, expansive striking force of the individual parts of the body,
which
no longer
are here
upwards. The
charges the high stretched-out trunk and the arms crossed in open
artist
overcome the body's weight,
space with his will to
Yet more rigorous in the attenuation of his
to
figures
make is
the figure issue like a cry.
Alberto Giacometti, though he
does not attempt Lehmbruck's expansive gestures. Venice VII (1957; wife,
stiff as
the space
The
thin,
a pillar
round
it.
of salt. But
The rough
emaciated body
occupies so
is
apparently motionless figure has
this
surface
tense
is
in constant
communication with
formal analysis into interpretation of meaning almost dangling skin
is
the surrounding space
The though
it
:
may
more than merely an exposed its
infinite space if this
of which
it
departure from
be permitted. The scabby, torn, surface offsetting the
body it
against to such
becomes an intermediate zone between the two.
small iron figure of the Dancer with Flowing Hair earlier in date
-
historical
sequence
is
(fig. 11)
not relevant to
from volume, already reduced
strument for performing gestures in space, to the immaterial give the dancer her shape are, from an
artistic
Gonzalez uses for marking space. The
result
problems of statics and gravity, displaying it
Lot's
many contacts with
deep dents and craggy botches have dematerialized
represents the further transition
which
fig. 10), is like
with inner forces which seek to burst out.
almost an anthropomorphic signal tower -
little. It is
an extent that
vehemently
carefully balanced against each other but strive
its
as
The by
of an in-
iron rods that
more than
a diagram, unaffected
lines
which
the sculptural
weightlessness in the free space round
can serve to measure. The figure projects
and downwards -
present purpose -
to the status
sign.
point of view, no
is
my
by Julio Gonzalez,
its
form
in every direction,
photographed, against a background of an
it
upwards
airy, weightless trellis
of
branches whose wild growth both harmonizes with and contradicts the rigid form disciplined
by
Gonzalez' artists
the
hand of man.
momentous invention of
working
after
World War
II
to
the 'sign in space' spurred
new
on many younger
discoveries in the language of space.
The 15
Bow
by
12; lead)
(fig.
of building
with bold,
in space
The bronze
elements.
tendency and the
many possibilities
the American, Herbert Ferber, shows one of the airy,
seemingly self-supporting and loosely combined
by
Eclipse (fig. 13)
result
the Italian,
a theatrical flight
is
clouds in the sky, and not the earth, acting
Carmelo Cappello,
intensifies this
of sculptured form through space with the as
backcloth.
CONSTRUCTIONS The opening-up of solid volume or are not the only possibilities to
the elaboration of expressive sign figures in space
have been tackled by modern sculptors in
their
formal
explorations. Artists with a constructional bent have also responded to the challenge.
As
Naum Gabo
of
and
early as 1920, Antoine Pevsner
Constructivism that tals,
to be adequate to real
'(1)
space and time;
(2)
volume
must
Naum is
(fig.
abolish free,
new
function as a boundary
The
rhythm
by
spatial effect
letting
is
artificial
but - with the
rhythmical stages
through
circular steps
and the projecting platforms - spreads out on taking
round
it
and releasing
in
it is
also
is still, it
volume,
way Gabo
all
but
obtains
Gabo
plates
dynamic element
is
;
lines
(fig.
are put together to part'
figures in infinite space to is
16)
which have no
words, an 'integral
in this respect
free space,
multiple relationships with the space
at in his
Lux
8
(fig. 15).
so that the rigid skeleton
also stylistic differences
concern us of prime relevance
and
communicating with
hoop
Here the movement of iron beams and
taken up in a play of solid and projected forms in space.
is
mainly metal. There are
curved
The Column not only
base, the obliquely set
prefers translucid artificial materials while his brother,
Construction in Space
is
it.
what Nicolas Schoffer aims
light adds another
punched metal
is
of
by Pevsner, of which
his
an example. The piece consists of plane surfaces and
'body', or at least
it.
Antoine Pevsner, uses
between the two but these need not
the formal type elaborated
form an open
The
which it
do not function
artistically as
unit with the circumambient air
as,
volumes.
in Pevsner's
Construction in Space carves out distinct polygonal
declares itself to belong.
It
appears as entirely weight-
opposed even more radically than Gonzalez' iron figures to the
massive forms of Brancusi.
16
materials
slight
light. In this
of its
all sides,
A construction static in itself but entering into
less
sufficient;
flowing transitions between sculptural and external space, while the effect
rises in
They
not
kinetic
obtained by the transparence of
strengthened by actual openings and breaks in the structure.
of
is
(3)
forms.'
though they preserve some
the materials used which,
its
must be based on two fundamen-
made of wood, metal and
14)
true, entirely static in its structure.
some of
in the 'Realist Manifesto'
real time, static
and discover
cease to be imitative
Gabo's Column
life art
down
not the only means of expression in space;
is
and dynamic elements are needed to express (4) art
laid
I.
Constantin Bbancusi The New-born,
191 5
Marble Height
6",
Length
S
"
1
2
Philadelphia
Museum
of Art
Photo:
Museum
M
^ /^
2.
Henri-Georges
Adam
The Couple, 1946 marble
Plaster for
Height 7S 3
" 4
Photo-Malec, Levallois-Perret
Jacob Epstein
3.
The Rock Bronze
The Tate
Drill, 1923
Height 27V1"
Gallery,
London
Photo:
Museum
4.
JACQUES LlPCHTTZ
Woman
Standing with Guitar, 1926
Formerly Curt Valentin collection,
New
(Silt
bronze Height io'/j"
York Photo: Marc Vaux,
Paris
5-
Henry Moore
Internal-External Forms,
95i
Bronze
Height 24 s
" 8
Kunstniuseuni, Basle
6.
Pablo Gargallo
Prophet, 1933
Bronze
Height 93 3 / 4
"
Middelhcim Museum,
Antwerp Photo: Author
7.
MlRKO
The Great Mask Cement Height 59 s 8 " Photo: Author
8.
Henri Matisse
Serpentine, 1909
Bronze
Height 22 1
Museum of Art, Photo: Museum
* /
4
Baltimore
9.
WlLHELM LEHMBRUCK
Attacking Figure, 1914/15
Bronze
Height l7 3 / 8
"
Dr Bernhard Sprengel coOection,
Hanover
Photo Hans Wagner, :
Hanover
io.
Alberto Giacomietti
Venice VII, 1957
Bronze
Height 46
1
Private collection
1
ii.
Julio Gonzales
Dancer with Flowing Hair, 1934 Iron
1
[eight 24 s
" s
Pi ivate collection, Paris
Photo: Author
^»_^^s, l^^L^A
^B
J
12. T
HERBERT Ferber
Z
The Bow, 1950
^^1
Lead
Height 48"
Photo: Author
The
dissolution
of mass has been taken to an extreme by the American, Richard
Lippold, in his Variations within a Sphere No. 10: The Sun
(fig. 17).
luminous, apparently weightless, transparent constellation of golden is
made of fme
steel.
As
dynamism of Pevsner,
and according to simple proportions, remains invades
its
indistinct outline
However,
and absorbs
his cubical
It
passively in space
It flutters
is
which
scintillations.
not the only resource of con-
= ax -bx +cx)
his Sculpture in Space (y
3
3
(fig. 18).
forms stand freely in space unaffected by the laws of statics. They create
an architectural space though Space and architecture
is
their structure
also the
architecturally improbable.
is
formal theme of the enormous iron construction by
museum
Matthias Goeritz in the patio of the experimental City.
points.
Georges Vantongerloo, at one time an adherent of the de Stijl move-
ment, adopts the opposite solution in
But
still.
the negation of mass in favour of space
structivist sculpture.
and
a
the piece, constructed symmetrically
disembodied
its
lines
is
on wires of stainless
threads of pure gold soldered together and spun out
against the spatial
Lippold's sun
But unlike Vantongerloo's
El
Eco
(fig.
19) in
Mexico
and horizontal forms, Goeritz spans the court-
vertical
yard with the powerful diagonals of solid volumes of sheet iron, whose expansive
movements
dissect the architecturally limited space.
loo's calculated forms, the El
rightly called
it
By comparison with Vantonger-
Eco construction seems highly
expressive,
and the
artist
'emotional architecture'.
MOBILE SCULPTURE So
far
my
ment. But
My first
first
subject has been static
volume
this aspect deserves separate
example
is
from
treatment and
work of
the
His Small Mobile of Seven Elements
moves
in
20; painted
But
it
rest.
As
for
its
relation to space,
Volume, extension and position vary according entailing a succession
tenser
compressed
and more
steel) recalls
that disturbs
He was
the
Lippold's Sun
its
balance and
no one system of data
to the degree
defines
it.
and kind of movement,
of spatial patterns.
A somewhat different kind of mobile sculpture uses
move-
sculpture in motion.
does not stand motionless like a taut
complex rhythm with every current of air
then slowly comes to
who
now pass to
at
not carried object', of 'freedom from the
(fig.
in the flimsiness of its material components. sail; it
I
the American, Alexander Calder.
to think, in sculptural terms, of a 'floating,
earth'.
with only occasional hints
in space
steel
restricted:
bands and vibrating it is
is
offered
aerials (fig. 21).
produced by the gradual
in fixed directions, the steel coils
by the
release
unwinding themselves
who
Walter Linck,
Movement
here
is
both
of pressure and operates
like clock springs.
swinging of Calder's Mobile and the nervous trembling of Linck's
both outdone by Jean Tinguely,
Swiss,
steel
The slow
constructions are
introduces clockwork and electric motors to
generate motive power. This he uses as the very principle of his art: his compositions -
29
the one illustrated here parts -
first
come
(fig.
22) consists
into existence
when
of twenty-six mobile and two stationary
can vary from the dizzying to the imperceptibly
Rotating about their axes
at speeds that
slow, they create entities
whose permanence
resides in the constant
Tinguely, no doubt, approaches the limit of sculptural Physical,
more
particularly magnetic, forces are
change of pattern.
possibilities.
brought into
artistic
sculptor interested in technical experiment. In his Telemagnetic Sculpture
Greek pieces
and in
living in Paris
New
motion.
their solid (metal) elements are set in
York, shows the
result
play by another Takis, a
(fig. 23),
of a movement produced in
of metal by a powerful magnet. The trajectory has not been completed: the spher-
oid and the cone are held back from actual contact with the magnet
by almost
invisible
wires or nylon threads, and remain suspended in mid-air. Their relationship to one
another in space has been carefully calculated.
magnetic force, collapsing
when
Both Tinguely's moving
again.
this is
patterns
of technical devices. With the former while the
exists
by
virtue of the
withdrawn and re-forming when
it is
applied
and Takis' telemagnetic objects involve the use it is
velocity that constitutes the
with comparable extremism,
latter,
The composition
by means of an equilibrium of force and
sets
up
a
temporary
work of
art,
'sculptural situation'
resistance.
RELIEF
The
two examples have brought
last
belongs relief
come
in the
possibility
towards
as the
first
us to the frontier zone of sculpture.
To
this
zone
accepted transition to painting. In the 20th century, initiative has
instance
from
the other side: painters have been attracted
by
the
of breaking away from the illusionism of the two-dimensional surface
effects in real space,
and
also
of introducing new
Numerous examples
materials.
could be cited here, especially from the period of Cubism, though even today there are
many things.
who
painters
It suffices
paste colours
on the canvas
in thick relief, or 'paint' with other
mention Jean Dubuffet and Alberto Burri, Jean Fautrier and Rolf
to
Nesch, Antoni Tapies and Carl Buchheister, Emil Schumacher and Karlfred Dahmen,
Bernard Schultze, Claude Viseux and Robert Rauschenberg, son
(fig. 27),
Victor Pasmore, Giinter Uecker and Otto Piene - to indicate
the interest and
how numerous
by
to modelling
However, tural use
finally also
light
apart
and shadow.
from
who
how wide is
do from incrustation
are the variations, ranging as they
the application of relief in painting, the
of it seems to be bound by tradition much more than
Paul Gauguin,
Ben Nichol-
can be considered
as the father
is
more properly
sculpture in the round.
of the modern painter-sculptors,
consistently translated his style as a painter into three-dimensional terms in his reliefs,
cut
but the effect
from
the
is
one of flatness. But whereas Gauguin's
woodblocks intended
dimensions, the 'painter-sculptors'
30
for his woodcuts,
who
followed
sculp-
reliefs,
remained
flat,
him were above
wood
which he sometimes with reduced all
plastic
interested in the
movement of solid on
the
masses. In his relief The Back I
same theme, Matisse, whose
(fig. 25),
the earliest of three variations
we have already discussed (fig.
statuette
places the
8),
powerfully modelled forms of a female nude seen from the rear on the animated surface
of the
relief
ground, and organizes their weights and interacting
a vertical axis in fact there
which
is little
is
shifts in
position along
underlined by the supporting leg and the backbone. Although
depth, the relief gives the effect of a statue in the round
ground no longer seems
the relief
;
support the figure but simply becomes an optical
to
background.
Very
different in this respect
forms burnt into the
flat
is
Pietro Consagra's
surface of wooden planks.
Human
Although the
to give the composition a certain spatial quality, the
of the forms which adhere to the surface
linearity
means of importing the
to use relief as a
Colloquium
for sculpture. In his celebrated
wool and
oilcloth,
Medrano
and mounted in
its
vary in depth
comes from the
effect
As
with
26)
against these attempts
third dimension into painting, Alexander
Archipenko's sculpture-painting - a combination of solid and use of manufactured materials, with colour
incisions
dominant
like a frieze.
(fig.
- was intended
(fig.
to
flat
forms, involving the
open up new
possibilities
of 191 5, composed of painted
25)
full relief against a
to reproduce the basic geometrical forms of the
background, he
human
tin, glass,
out not only
sets
figure but also to bring out
its
three-dimensional character, which he does by using solid and hollow volumes to obtain effects
new;
of light and shadow. 'My sculpture-painting', says Archipenko,
I
have learnt
it
from
While Archipenko
the Egyptians.
seeks to
make
Only
relief
more
aim of the Spaniard Manuel Rivera
type, the
the
is
new
'is
kind of forms
concrete, to 'realize'
is
really
nothing
mine.' a sculptural
it as
dematerialization. His compositions of
iron wires and metal nets are intended not as sculpture but as painting realized with sculptural materials. Consequently, the pinturas metalicas are not easy to define in spatial
The
terms even though the wires and nets appear in varying depths. lations, disintegrating at the edges,
act as flat patches
do not range themselves in
transparent reticu-
spatial relationships
of colour. The absence of background to give them
relief
but
completes
the painterly effect.
The examples
discussed so far have
painting, can yet maintain
its
shown
autonomy
as
that relief,
though
of Greek
art.
to the flat surface out
The background
is
(fig.
28),
is
of which
it
is
gradually giving up this
emerged in the classical period
no longer the matrix of independent forms but merely
the carrier of hardly projecting patterns. Parasols
A wood composition by
a typical example. Executed in 1938 after
Sophie Tauber-Arp,
an
drawing,
earlier
presents a rhythmic play of simple, melodiously shaped pieces of wood. flat
very close to
a sculptural type. But, apart from Archi-
penko's high relief Medrano, a rare exception, relief today
autonomy and returning
at times
They move in a
foreground and even the recessed, 'negative' forms are drawn into
Nicholson's Tuscan Relief sculptural
(fig. 27),
a later
example of
his fully
it
mature,
it.
In
Ben
classical art,
forms and colours are equally important, combining to open up to the 31
The
spectator the spatial expanse of an abstract landscape in strictly geometric forms.
numerous gradations of the which has only two
levels,
relief,
by
contrast with Sophie Tauber-Arp's
borderline case. Are his metal
a Swiss
reliefs
of Hungarian origin, presents a more
paintings with a special emphasis
of the medium, or should the collection of miniature blocks and the (fig.
(fig.
28)
emphasize the sculptural quality of Nicholson's composition.
The work of Zoltan Kemeny,
them
work
29) be considered as a sculptural composition?
a typical sculptor's choice.
The open cubes of
on
the materiality
interstices
Kemeny uses
difficult
between
copper and
brass,
various sizes with a fixed profile are
organized in a loose diagonal formation resembling a mosaic or an air-view of a city that has
grown without
plan.
and projecting
sides
serial repetition
and
The varying depth of the
relief
could be interpreted in sculptural terms. bestrewing of a surface are
'pointillist'
the scales are definitely weighted in favour of painting
deployed against a
and the alternation of cavities
flat
surface
and not
in depth, the third
On
more
by
the other hand, the
a painter's effects ;
and
the fact that the forms are
dimension being thus reduced
to insignificance.
The ground Hajdu
(fig.
plays an important role in the copper and
He
30).
does not treat
challenge as a matrix of forms. shapes are not 'arranged' but
He
relief
datum
uses the
to be accepted as
from
reliefs
it is,
of £tienne
but meets
its
embossing technique and thus the forms he
grow out of the ground
terrupted transitions. Modelled breathing, swelling
as a
it
aluminium
in continuous
volumes and unin-
inside out, the originally flat surface acquires a
movement which not only
presses against the contours
but advances and recedes in other directions. Yet
this
of the
commotion does
multiple
not break the surface anywhere nor does the gentle play of light and shadow impair the firmness of sculptural form.
excursus: conglomerates and recognized
By way
sculpture
of conclusion to the typology of modern sculpture
may
be added examples of
conglomerates constructed with heterogeneous materials and of assemblages of trouves.
The problems involved here
therefore, be fitted into the terms
Laurens'
still-life
early attempt to
of 1919,
Bottle
are not only formal but technical as well
of reference of this chapter only
and Newspaper (fig.
31), in painted
entity in space. Laurens dispenses
with background but props
play of mass and void, against a wall. His collage its
and can,
an excursus. Henri
wood and
metal,
is
an
go beyond the Cubist conception of relief as painting with sculptural
means, and construct, with fragments of ready-made objects, a
ture;
as
objets
spatial possibilities
is
new
type of sculptural
his construction,
an inter-
thus a cross between relief and sculp-
were developed by the Constructivists
who
did
away with 13.
the aperspectivist overlapping.
Laurens uses
Jean Dubuffet, 32
artifacts
who
which he dismantles and re-composes
Carmelo Cappello Eclipse, 1959
in different relationships.
has already been mentioned as a practitioner of relief in painting,
Bronze
Height 88f
*
Photo: Allegri, Brescia
V
14-
Naum Gado
Column, 1923 Plastic,
wood and
Height 41
metal
" 2
Solomon R. Guggenheim
Museum, Photo:
New
York
Museum
(left)
15.
Nicolas Schoffei
Lux
8, sculpturi
spatiodynamique,
Copper-plated
195! stee
Height 101
1
Photo Yves Hcrvochon, Pari :
("ght;
.-
_
.
•
>
V
1
> •
>
.' ' '
.. •
w f t
>W
*ft \\
'
\
>_*fc
*..'** V *•.*!<
^.v> J* k!
i
>
*
,\^
'
'
»
1 vj»
)
1 >
-
»
V> »> V
V
.
y»v \ A '
t
i6.
Antoine Pevsner Construction
in Space,
1929 Brass sheet and
glass
Height 27
1
',,''
Kunstmuseum, Basle Emanuel Hoffmann Foundation
r.
b Ik
17-
Richard Lippold
Variations within a Sphere
The Metropolitan Museum
of Art,
New
York
No.
10:
The Sun, 1953/56 Gold wire Length
Fletcher Fund, 1956
Photo: Author
i3i 7 / 8 ", Height 263 3
,
4
",
Depth 65 7/ 8
is.
Georges Vantongj
Sculpture (y
ax*
Space
in
— bx«
Argentine
moo
1
|
ex), 1935
[eight is
*
1
f
Kunstmuseum, Bask Emanuel
I
loffm.inii
Foundation
19-
Matthias Goeritz Iron Photo:
Armando
Salas
sculpture in the patio of the experimental
museum
'El Eco',
Mexico City 1952/53 Height
c.
15',
Length
c. 3:
20.
--
Alexander Calder Small Mobile
of Seven Elements, 1958
Steel
Dr.
Bemhard Sprengel
collection,
Hanover
adopts the opposite procedure. roots, pieces
over
Dubuffet's sculptures are
is
in fact
The
pieces
it
as
found objects
like
minimum of workingthe
artist
decrees that
such by putting together ;
this recognition.
of slag and the root growth
yet archetypal figure. There
a
no more than assemblages:
informed because he has recognized
components he expounds
the
takes insignificant, accidentally
of slag or sponge, and puts them together with
(fig. 32).
the formless
He
is
'explain'
one another
as parts
a distant resemblance to the 16th-
device whereby fragments of minerals as
objets trouves
of a
fantastic,
and 17th-century
were combined with decorative
goldsmith's work. But Dubuffet excludes artifacts and uses accidental shapes as he finds
them. This example of creating form by an act of recognition brings first
part of
my inquiry.
me to the end of the
The problem
II
The
analysis
of meaning
of selected formal types attempted in the
than describing what
is
and
suppositions, theories
The
control. analysis
of
chapter involved
no more
or occurs before our eyes. This objective and 'public' orientation
when interpretating meaning
will be a useful check
first
associations
interpretation
in
which systems of reference - pre-
- are necessarily more personal and
of meaning cannot, in any
of form; and by remaining close to that analysis
art itself. Its specific task will
it
case,
difficult to
be divorced from the
will remain close to the
be to consider the formal choices of the
artist
work
not in
themselves but as vehicles of a message.
The approach will,
again, not be historical but
with the consequent arrangement of the It is
hoped
parent.
more in
illustrations
that the unity in multiplicity
by
the nature of an iconography,
subject
and not chronologically.
of modern sculpture will thereby become ap-
Within the various iconographic groups the same formal
applied as in the
first
categories will be
chapter.
In contrast to painting where non-objectivity has been in the ascendant, at least
during the
Fifties
and early
of our century, sculpture has preserved an
Sixties
the appearance of the outside world, in so-called reality. to concern itself with the traditional but
may
and the inquiry into meaning occupation with man. motionless
The
by
turn
figure,
years before
sculpture
42
human
I
first
both
still
World War
I,
specifically, it continues
valid task of representing the
fittingly
begin with examples of
to the statue ; that
naturalistic
More
and
is,
interest in
human figure,
this artistic
to the representation
pre-
of the
abstract in varying degrees.
so important for
modern
a tendency towards heavy, block-like figures.
art,
are characterized in
The determining
influence
here
is
not only the newly discovered art of archaic and 'primitive' cultures but also a
movement
for reform designed to restore sculpture to
had surrendered to painting. This alienation from public and in 1899 August
Schmarsow could
its
aesthetic
itself had led to
say that 'no art
is
autonomy winch
it
an alienation from the
modern man
so foreign to
as sculpture'.
Thus Barlach
compact forms
the closed-in, angular and
(fig. 33),
Andre Derain
those of Constantin Brancusi
(figs. 1, 34),
influence of painting, as a meditation
we
find in the
works of Ernst
of the century and, not
35) at the beginning
(fig.
the rendering not of the transient,
that
least,
in
are to be understood as a reaction against the
on one of the age-old fundamentals of sculpture,
momentary
of enduring and
visual stimulation but
Man Alone (fig. 33), heavy, simplified forms carved in wood, portrays solitude not as a passing mood but as the lot of man. The sturdy mass of supra-personal values. Barlach's
the
body
leaning to one side, imprisoned in
terms of a statement concerning the nature of clarity
Andre Derain who
to the so-called
Negro
intended
as
solid
existence.
as well,
The need
up
for formal
many of whom turn for a time his attention
his Squatter (fig. 35) in the isolation
of a rough-
block not only constitutes a formal postulate;
it is
also
an expression of the primeval and the original. Adapting Gauguin's words,
one could say
that in those years the
'means of rejuvenation', the
compact hard volume was for many
way back
to
human
(fig. 34),
sculptors a
origins.
similar tendency towards a naive expression
Brancusi's almost contemporaneous Kiss
the
a translation into sculptural
is
under Gauguin's influence, turned
in 1906,
sculpture, shuts
hewn block of stone. The
A
human
and firmness begins to preoccupy painters
to sculpture.
cloak,
its
of human
intended
as a
life is
to be
found in
tombstone. The union of
man and the pregnant woman in the rectangular block is a union tense with contrary of the stone and the tenderness of the
forces: the heaviness
death, the 'primitive' these polarities
form and the
and yet
fuses
already concerned Oskar
polychrome
reliefs.
He
them
as a free-standing relief.
phenomenon
into a whole.
it
has only
Ewald Matare's Female Torso attempt to conjure up a
far
human
to
figure
his painting
and
36) the sub-title 'Rundplastik'
angles and
the elementary
is
ahead of
more his
accurately defined
time and an isolated
form
into a relation of
human form to an object,
a headless statue in smooth, polished
body, rigid under a taut surface,
is
it
is
an
into a
charged with a
becomes an emblem. The American Raoul Hague of metamorphosis. His torso
a thing,
wood,
presence and, at the same time, to transmute
similar formal idiom, the magical aspect
woken
Bauhaus period, in
human
it.
(fig. 38),
spare, almost sexless
heraldic meaning,
trunk
abstraction of the
until forty years later, places the objectified bodily
While Derain and Brancusi equate
The
two
Schlemmer's invention,
tension with the free space around
'sign'.
his
The
his Abstract Figure (fig.
(sculpture in the round), but in fact
symbols of life and
graceful composition. Brancusi gives full value to
Schlemmer before
gave
subject,
(fig.
stresses,
37)
is
in a
a tree
life.
43
_
;
Marino Marini
seeks an archaic, not a 'primeval', effect in his lifesize Dancer
which might equally well be as the
embodiment of
rounded,
warm
Pomona. The
called
the fullness of
body
shapes of the
artist
woman
sees
as
(fig. 59),
magna
mater,
and the mystery of generation. The well-
life
are maternal fertility
The
itself.
stable stance
is
challenged by the dynamic pattern of colour. Marini's elemental force, the nudes of his fellow countryman
Compared with Giacomo Manzu
of refined
Manzu's
girl,
very
reserved, displays a leisurely elegance in her arrested dance step. Quite different
from
(fig.
are products
39),
kind,
Toni
artificiality.
Eos
a figure almost
these statues, each masterly in
its
painterly in the fluidity of
forms, kneeling on both knees as though in the act of
its
is
Stadler's
becoming conscious of its limbs. Similarly relaxed,
soft shapes,
(fig. 40),
notwithstanding the clear
modelling and articulation of the body, are to be found in the nudes of Edwin Scharff
and Gustav
Seitz.
The human
likewise heavy, bulky masses its
rank decomposition
tionally
by
bodies modelled formerly
but they are in decay. Flabby
;
to lead to
is
the English sculptor,
new
flesh
contacts with reality.
abnormal and obviously absurd, deserves our attention
Dada, Surrealism, abstract
art
and
art brut that
:
Anthony Caro,
is
ruthlessly
The
exposed
enterprise, inten-
the experiences of
it is
have brought Caro and
are
his
contemporaries
in the early Fifties to this anti-aesthetic extremism. It
would, however, be a mistake to take
war generation of sculptors. For
this attitude
instance, the Italian
up of the body and all its implications, and
as typical
Mario Negri
gives his figures a
Two
formal idiom of Lynn Chadwick's
of protest
Watchers
(fig.
of the post-
rejects the softening-
more vigorous texture. The
42) expresses a comparable
toughness and resolution: the two figures, a tense, crystal-hard phalanx, challenge the
surrounding space and maintain themselves in
The
possibilities
modem sculptor,
weight of tradition sculptor, in task
it
seems to
whether
that,
with
his
approach be constructive or destructive, in
his historical sense,
he has to carry.
an arresting contrast to the modern painter,
of 'creating the
sculptural forms (fig.
man of our time in sculpture are inexhaustible. me, why the human figure continues to preoccupy
of portraying the
This must be the reason, the
it.
first
man'.
Any
author
:
seems that the modern
each time confronted with the
and animated surfaces of Henry Moore's Reclining Figure (two
landscape, as
is
'Being in two pieces the
sentation of a reclining figure.
human body, with
of the forms. This figure
confirmed by the following words of the
work The
of the
attempt to describe anatomically the primeval
41) leads to a dead end, because of the ambivalence
human body and
is
It
spite
separates itself
sculpture
is
from seeming
a mixture, an
rock-forms, giving to each element a
to
pieces) is
both
artist to
the
be only a repre-
amalgamation of the
new aspect, and
perhaps a
new
meaning.'
That the architecture of the human body can be portrayed illustrated
44
by
the
works of two
sculptors pursuing similar aims
as
an abstraction
though
their
may
be
methods are !
21.
Walter Linck
Sculpture Mobile, 1959 Steel
Height
and iron
Length 1577s" Photo Mario Tschabold, 59", :
Steffisburg
22.
Jean TiNGUiiLY Yokohama, Galerie Denise Rene, Paris
in
Metamorphosis, 1956 Oil paint on mechanisms Height 56 //, Length 49'
Photo: H. Stoecklin, Paris
"
1
4
S3-
Jm
Takis Tclcmagnctic Sculpture, 1959 Magnet and iron Height
19",
8
",
Length
I3 3 /,"
Galerie
Iris
Clert, Paris
^1
5
24.
Alexander Archipenko
Medrano, 191 Painted
tin, glass,
wood and
oilcloth
Height 50"
Solomon R. Guggenheim Museum,
New
York
Photo:
Museum
25.
Henri Matisse
The Back
I,
Bronze
Museum
of
Modem
Art,
c.
6' 2"
1909/10
x 3 '8" York
New
Photo: Author
27.
Ben Nicholson Tuscan
26.
PlETRO CONSAGRA
Human
Colloquium, 195S
Wood
with burnt-in design
Height (left)
52",
Length 4j 3
" 16
Relief, 1967
Relief and
oil
58
"
1
4
x 63 3 ;8 " Marlborough Fine Art
Ltd.,
London
28.
Sophie Tauber-Arp Parasols, 1938 Wood and white oil-paint Height s 34 ,/„", Length 24' Rijksniuseum Kroller-Miillcr, Ottcrlo Photo: Museum
'tM4
29.
Zoltan Kemeny Banlicu
des Anges, 195S
Copper Height 26 3
,'
4
",
Length 37 3 / 8 " Galerie Paul Facchetti,
Paris
30.
Etienne Hajdu The Wolves, 1953
Chased copper Height 66'
8
",
Length S2 5
,*
Photo: Claude Michaelides, Paris
Htl;
SB
3i.
Bottle
Henri Laurens
and Newspaper, 1919
Wood
and metal, painted
Height 2o\ 8 ", Length i$ z U"
Depth Stedelijk
8 5 /8
"
Museum
Amsterdam Photo: Author
32.
Jean Dubuffet
The
Sorcerer, 1954
Lava
slag
Height 43
and wood-roots >
/
Collection Daniel Cordier
1
33-
Ernst Barlach
Man
Wood
Alone, 191
Height 34 5
Kunsthallc
" ,'
8
Hamburg
Photo Dr Wolfgang Salchow :
Cologne
34-
Constantin Brancusi The Philadelphia
Museum
of Art,
Kiss, 1908
Limestone Height 23", Length 13", Depth
Arensburg Collection Photo: Author
10''
35-
Andre Derain
Squatter, 1907
Stone Height 13"
Museum
des 20. Jahrhundcrts, Vienna
Photo: Author
36.
Oskar Schlemmer
Abstract Figure, 1921
Bayerische Staatsgemaldesammlungen,
Nickel-plated bronze Height 65'/**
Munich Photo: Museum
37-
Raoul Hague
Ohayo Wormy Butternut 1947/48
Wood
Height 66V2"
Museum
New
of
Modern Art
York
Photo:
Museum
38.
Ewald Matare
Female Torso,
Wood
c.
1926 28
Height 22 1 / l "
Lchmbruck Foundation through the 'Kulturkreis'
Duisburg
Museum
Photo:
Hewickcr, Kaldcnkirchcn
F.
.
39-
Giacomo Manzu The Dance
Step, 1950
Bronze Height 63"
Middelheim Museum, Antwerp Photo: Jean do Maeyer, Antwerp
—___
40.
Toni Stadler
Kneeling Figure EOS, 195S
Bronze
Height 59"
Lehmbruck Foundation, through 'Kulturkreis',
Photo:
J.
Duisburg
Museum
Schmitz-Fabri, Cologne
th
4i.
Henry Moore
Reclining Figure
(2 pieces),
1959 Bronze Length 46", Height 51"
Lehmbruck-Foundation, through the 'Kulturkreis', Duisburg
Museum Photo:
Artist
^_________^____
42.
Lynn Chad wick
Two Watchers,
1958
Iron and plaster with iron chips
Height 19 5
,"
Collection of the late
Dr Ferdinand
Ziersch,
Wuppertal Photo: Abisag Tiillmann, Frankfurt Main
43-
Fritz
Wotruba
Figure, 1959
Limestone Height 39 s
Photo: Ehsabeth Speidel, Hamburg-Blankenese
,
8
",
Length 26 3 / 4 ", Depth i9 5 / 8
44-
Hans Aeschbacher
Figure
Red
I,
1958
stone
Height without base 57 Collection
Zollikon
Dr Walter
ZH
Photo: Artist
1
/'
Bcchtler
45-
JOANNIS AVRAMIDIS
Group
of Figures, 1959
Bronze
Height 33 7
"
'
8
46.
Etienne Hajdu
Small Figure, 1957 Pentelic marble
Width 7Va
Height 20 1
, ,
*
Photo: Rogi-Andre, Paris (left)
47.
Wiliielm Loth Relief
Bronze
V/ 1959
Height i7 3
Length 23 Collection
Dr H. J.
5
" /
4
"
'
8
Imiela
Darmstadt (right)
48.
Alberto Giacometti
The
Leg, 1959 Gilt bronze
Height (with base) 86 1
" ,
4
Lchmbruck Foundation, through
the
'Kulturkreis'
Museum Dr Wolfgang
Duisburg Photo:
Salchovv,
Cologne
49-
Aristide Maillol La Mediterranee, 1902 Marble Height 40V2" Tuileries, Paris Photo: Author
so.
Hans Mettel
Seated
Man, 1954
Photo: G. Hauck, Frankfurt Main
Plaster for
bronze Height 2s
1
,",
Length I0 6 / 8 ", Depth 16
1
V
51.
Karl Hartung Thronoi, 1958/59 Plaster for
bronze
Height 94 V2" Lehnibruck Foundation through the 'Kulturkreis'
Duisburg
Museum
Photo: Gnilka, Berlin
53.
Kenneth Armitace
Diarchy, 1957 Bronze
Height 68V 2
"
Arnold H. Marcmont collection, Chicago Photo: Author
52.
Henry Moore King and Queen,
1952/53
Bronze Height 64 s
" 8
Photo: Author
54-
Hermann Blumenthal
Meditating Youth, 1929
Bronze
Height
68','
" 2
Lehmbruck Foundation, through 'Kulturkreis'
Duisburg
Museum
the
55-
Emilio Greco
Large Female Bather No.
2
1957 Plaster for
bronze
Height 89
1
//'
56.
Henri Laurens
Great Amphion, 1952
Bronze
Height 86 5 / 8 "
Lehmbruck Foundation, through the 'Kulturkreis' 1
)uisburg
Museum
Photo: Galerie Louise
Leiris, Paris
57-
Ossip Zadkine
Small Orpheus, 1948
Bronze
Height 82 5 / 8
Lehmbruck Foundation, through
"
the
'Kulturkreis'
Duisburg
Museum
Photo: Marc Vaux, Paris
58.
Henry Moore Draped
Reclining
Woman,
'' 1957 Height 53 Vs". Length 8iV 8 Baycrische Staatsgcmaldcsammlungcn, Munich Photo: Author
The
distinct.
Swiss Hans Aeschbacher constructs his Figure I
of ashlar masonry. Yet the figure
come without denying
its
sweet nudes.
The
look
an enduring
like: as
a
is
monolith whose
lends itself to the carving of
form and determines what
material imposes the
monument and not an
from
a stone figure
On
improvisation.
force of the sculptor's informing will can be gauged
as a piece
resistance the artist has to over-
Red sandstone hardly
strength.
of 1958,
(fig. 44),
is
to
hand the
the other
the bold diagonal across the
middle. Here the ashlars could have slipped. But they are firmly knit together and held
by
in position
a system
of counter-weights, so
that the figure stands
immovable, a tower
of rock fashioned by human hand.
Monumentahty and figure
(fig.
of 1959, more
43)
Wotruba's limestone
architectural effects also characterize Fritz
various parts, ascending in a powerful rhythm, are carved as a single block. yields as
the
the vertical
most
when
solid piece
its
The
nature.
form involves
the intended
of sculptured stone there
artist runs,
even when
as
a challenge to tectonics.
a point
is
not
is
Thus even in
where the tension between form is
jeopardized by a risk
Wotruba and Aeschbacher he
eternity. This readiness to take a risk
as
stone must obey the sculptor, even swerve
and material comes to a head, where the stabihty of the whole
which the
Wotruba
Aeschbacher to the intractability of the material though, again
little as
Aeschbacher, he recognizes
from
The
abstract than the Austrian artist's earher works.
carves, as
were, for
it
endowing Wotruba's
least responsible for
stone figure with the quality of a living being.
Joannis Avramidis, a pupil of Wotruba, constructs his group of figures
symmetry
rigorous
of the
rigidities
multiple unity. There
as a baluster-like shaft, a
of Byzantine
may
(fig.
with
45)
be an echo here
perhaps also of the painted figures of Oskar Schlemmer,
art,
but the originality of plastic invention - a
human group
as a sheaf of columns
- remains
entire.
Etienne Hajdu's Small Figure
(fig.
46)
is
also
conceived
an anthropomorphic
as
column, though with a more strongly emphasized rhythm of recesses which the shaft. There
is
thus
more openness than
articulate
in Avramidis' introverted group,
and the
well-proportioned figure, like a caryatid freed from architectonic service, though it
owes nothing
anthropomorphic
to
has
on
the
Greece,
Relief VI 1959
theme of the
(fig. 47),
torso, has
no antiquarian or archaeological
no
of
their derivation
which anatomical
up with enchanting
-
criteria
vestigial
produced in
classical
own
Rome as
to
lightness
one of a
antecedents; nor
interests and, as
are not synecdochal but wholes in their ories
plays
the
hints in the capital.
Wilhelm Loth's ations
classical
is it
series
of vari-
a fragment.
Ulrich Gertz has noted, his torsos
right. Preserving at best distant
hands or breasts - they have become
no longer apply. Neither
Loth
fetish
nor
idol,
mem-
artefacts to
nor sign - each of
many metamorphoses that the human figure has undergone in our century - Relief VI 1959 interprets man in the widest, 'romantic' sense as part of nature, identifying him with the earth and making him function as landscape.
these has been a stage in the
83
Alberto Giacometti's Leg according to the
artist,
(fig.
48) in gilt bronze, planted
work of art
every authentic
which has long preoccupied Giacometti.
now
there are also arms and hands, and
on
should.
high
a
too
It
socle, surprises as,
is
a torso, a
theme
In his earlier work, besides heads and busts
(1959) this over-lifesizc, long, thin leg with the
What
already familiar active, tingling surface.
does the
artist
'mean'?
Is it
a
macabre
joke of the ex-Surrealist deriding monumental statuary?
We have Giacometti's own remarks on As
Pierre Courthion
tells us,
himself to drawing models' totality; the living
whose function feet I
whole
to
is
already as a student at the
feet.
is
problem of the autonomous fragment.
the
His contention
not a
sum of
evoke the whole.
academy
the artist had confined
that a figure cannot be grasped in
is
Hence
details.
the concentration
on
its
a part
cannot see simultaneously the eyes, hands and
'I
of a person standing two or three metres away from me, but the individual part that
look
at brings
home the existence of the whole.' And so too the spectator proceeds from
the initial astonishment to recreate the figure that the fragment suggests. Inviting others to participate in his creativity Giacometti,
The examples
it
has been said,
more
is
discussed so far have been characterized
clearly set off against the surrounding space.
Those
a poet than a sculptor.
by compactness of volume
to follow will be considered
from the
standpoint of communication with space or of the participation of space in their existence.
The
first,
Aristide Maillol's early
work, La Mediterranee
(fig. 49),
can only be ad-
mitted on certain terms. Maillol's figures are solid and compact, a reaction, the century, against the debilitating influence of painting. Yet the seated strong,
rounded limbs can be described
weight and support 'plastic areas'.
The
recalls a
side
La
as
does the system of closed and open
classical
proportions and her self-assured calm
Mediterranee embodies an antique principle of order.
thought disturbs her; no passion
stirs
this-worldly and monumental, she that
is
at
is
The symbolism figurativeness
in these strong breasts.' Balanced
the perfect
is
cast for his large Seated
professed
Man
(fig.
minimum. As
I
50)
by Maillol does not apply
abstract to a degree. Mettel's
the limbs and intended to
is
a piece
and impersonal,
of architecture
in the order
said in
prime concern
body and
is
proportion, the rhyth-
the areas of void enclosed
man
not
as
an individual but
as a position in a
by
also a challenge to
Wallraf-Richartz
Museum
system of
anonymous cipher
it.
In the elaborately articulated structure of Prometheus Bound, a bronze at the
whose
my Moderne Plastik, in connection with another work of the
of our world, perhaps
now
in space.
to this rigorous composition
co-ordinates - a metaphor for the reduction of the individual to an
84
'No
communicate with external space. Anatomical detail is reduced
Mettel seeks to portray
Marcks,
it,
woman adequately objectified in a form
mical structure of the whole, both the mass of the
artist,
As Andre Gide has put
once solid and open.
Hans Mettel's
to a
woman with her
out particularly well: the figure seems to be
this
contained in an imaginary cube. In her
turn of
an open composition. The clear articulation of
as
Greek temple,
view brings
at the
by Gerhard
in Cologne, an architectural conception
Arms,
also apparent.
is
characterized
by
legs
and the trunk bending forward make up a composition
rhythm and with numerous overlappings.
a lively
In contrast to
Mettel's figure, integrated in a static order, the Prometheus struggles to break out.
Rieth has accurately described
Karl Hartung's over-lifesize Thronoi
The gnarled beams and
buttresses
(fig.
analysed
by Carl
a throne.
The
Linfert in his
Baroque
trionji,
left
empty
itself
scrolls
in expectation
I
Henry Moore (fig. artist's
would
at the
1
959I60)
52), a
intention, as
in
'It is
thrones in the biblical
highly developed
attest a
of
allegories
of the most varied kind, any triumphal arch; a central space of a venerable or sacred presence which can it
is
either manifest
remains hidden.'
monumental elements appear in
the seated King and Queen
by
work on the borderline between the figurative and the abstract. he himself has
perhaps the head of the King which
one form and
:
elaborate this hint and cite the thrones
Early Byzantine mosaics which
stressed,
but to evoke the archaic idea of kingship is
(in Junge Kiinstler
me) has hinted
or remain hidden. In Hartung's throne
Similar archetypal and
The
memories and premonitions of man. The
The idea can be illustrated by other examples - the Renaissance
angeology). the
grotto-like structure, a kind of human
monograph on Hartung
hierarchy of angels as a possible source. (in
both figure enthroned and throne.
of this monumental figure have been acutely
filiations
sculptor (in conversation with
with a book lying on them
is
51)
form an open,
tabernacle enshrining the hopes and fears,
ambiguity and the iconographic
image of distress'.
as a 'spatial
it
Adolf
is
not to portray a specific royal couple
is
as such.
Moore
adds: 'The "clue" to the group
a head and crown, face and beard
combined into
my mind has some slight Pan-like suggestion, almost animal, and yet, I
think, something Kingly.'
Anonymous, mythical beings confront (fig. 53).
plate
with
arms and at.
The two
As
figures
a is
figures are fused into
illegible signs scratched in
legs protrude
with surprising
whole the composition a facade
and
wrinkled skin grooved
it.
their
us in the large Diarchy
one body
Summary
or,
one upright
exactly, into
indications of breasts,
plasticity; the
takes almost
more
by Kenneth Armitage
and stumps of
high-held heads are merely hinted
no account of
space; the
body of
physiognomic expression has to be read from
like the die
of a stamp block. Primeval and
it,
hieratic,
from
the its
Diarchy
monument of a primitive culture long since lost. The conception of the human body as an architecture of limbs is represented in German sculpture chiefly by Wilhelm Lehmbruck {Youth Ascending; Fallen Man). Moving in Lehmbruck's wake, Hermann Blumenthal attempts to apply this abstract formula to the portrayal of men as he sees them in his environment. If we compare appears as a
Blumenthal's
work with Lehmbruck's
'constructive expressionism', there
on
the solid body.
Lehmbruck
is
bolder conception, which
in his Meditating Youth
(fig.
industrial
have described
as
54) a definite emphasis
strives to rise to the transcendental
ment; the creations of Blumenthal, a student of the
I
through disembodi-
worker
as a
human
type,
remain on the ground. 85
The
peculiarly Latin elements in the
plified in the
parts
bronzes of Emilio Greco
of the body are opposed the
modern
(fig. 55)-
To
are well
form
attitude to plastic
main
the soft, full modelling of the
tense, boldly stretched-out limbs, especially the
arms turned outwards, with an almost
exem-
linear sharpness
of outline. The tension
is
pointed height-
ened by the twist of the trunk which propels the figure with centrifugal force into the surrounding space. Like some of his Italian fellow countrymen, Greco invites comparison with Mannerism not only in regard to formal idiom but also to His
statues, at
spiritual attitude.
once formalist and natural, diagnose a dichotomy in the existence of
modern man. Henri Laurens, one of whose Cubist compositions has already been discussed 31),
turned in his later
(fig.
56)
work
to stable solid shapes.
whose beauty moved
ness
in the Great
Amphion
he boldly combines the powerful mass of the body with areas of shaped void.
Amphion, son of Zeus and Antiope,
built the walls
the stones into place.
born of music
tecture
However,
(fig.
or, as
Thus
Henri Focillon puts
the it
of Thebes by the music of his lyre
theme of the composition
in his Fdoge de
la
is
archi-
main, the 'effortless-
of work performed according to musical rhythm'. The declamatory play of the
hands reaching out into space and the stable architecture of the body are the determining 'motifs'
once
they reappear, ambivalently combined, in the centre of the figure which
;
string instrument
and
fluted
column
Ossip Zadkine's Small Orpheus
(fig.
lation
and baroque overstatement. In a
up
instrument, opens
shaft.
comes from
57)
strained expression observable in the last
few examples
is
tioned in the
yields here to dramatic gesticu-
Surrealist conflation
Orpheus' body becomes
first
Internal and External
chapter.
own words: 'When the
The
and
its
Forms (compare
artist applies
fig. 5)
them not only
Draped Reclining
constructive build,
and section conceived in
Woman
in his abstract (fig. 58).
it is
possible to keep within full
its
the centre of gravity base)
- yet having an
alert
Moore's statement makes
their air-surrounded entirety, stressing
a question of form.
clear to
Whether he
monumentality or shaping
'internal
is
S6
unesco
figure
(fig.
and yet turn
and
static, in
falling
straining,
the sense that
or
moving
off
work
for
its parts.'
what extent even
a representational
portraying a naturalist female figure of
and external forms', Moore's theme
There are no holes in the body of the Reclining Woman the large
210), but the
possi-
form-existence, with masses of varied
dynamic tension between it
in
quote Moore's
limitations
within the base (and does not seem to be
lies
To
works but
knowledge of its
thrusting and opposing each other in spatial relationship - being
him
The broken-up
have already been men-
sculptor understands his material, has a
an inert block into a composition which has a
its
his
into a lyre (Zadkine calls his piece personnage-instrument). Music,
his naturalist pieces as well, e.g. the
size
re-
thus not only formally significant but carries a representational, mimetic value.
Henry Moore's
bilities
But the
a kindred world.
song, plaint and the hero's tragic fate are simultaneously conveyed. solid
at
is
is
is
classical
plastic
form.
as there are, for instance, in
theme of the shaped void
is
not absent. The
59.
Dancer, 1949-58
Museum
Polychromed bronze
Marino Marini
Height 67!" Lehmbruck Foundation, through the 'Kulturkreis' Duisburg Photo:
Dr Wolfgang
Salchow, Cologne
function of the drapery is formal, not decorative. pressing
from
inside', the
movement of
mass of the body upwards, and, where protruding
epic quality about them.
60), the collapsing horse
(fig.
man
head of the
must succumb,
a
to hold himself
Along
to the muzzle of the animal
composition - the drama of both
Not only have
is
it
emphasizes the
downward line from
the
in the
doom. But
its
in his last despairing effort
doom.
modem
sculptors far afield.
they explored the archaic and prehistoric cultures of Europe and Asia
hitherto the exclusive
The 'Negro of individual
and
caught in an
falling rider are
- the highest and the lowest point
of the origins of sculpture, they have
and the two Americas -
phenomenon, originating with the Cubists and the
How
What
is
(fig. 61),
monumental bronze totem, made up of artist
relevant
and fructifying
liberating
Cubist work, Jacques Lipchitz' Figure
concave forms, the
Islands
of
domain of ethnographers.
style' as a historical
artists.
also discovered the primitive art
of Africa, the South Sea
need not be discussed here.
Expressionists,
his dancers (fig. 59)
by horses and horsemen.
the drawn-out
also perhaps defying that
'unhistorical' peoples, those
In this
sweeps the heavy
being played out. According to Marini the rider
is
symbol of humanity nearing
up he
and the
search for primeval idioms of expression has taken
in pursuit
the 'forces
calm flow of monumental form have an
their
Marino Marini on the other hand -
architectonic formula of tense concision.
late
adheres to the body,
it
apart - explores the dramatic possibilities offered
In the Miracolo
The
small,
calls
parts.
Moore's reclining female figures with
Pomonas
and
folds, large
its
Moore
enhances what
It
it
is its
influence
on
the
work
could be appears in a relatively
dating
from
positive
the years 1926 to 1930.
and negative, convex and
has attempted to preserve for our disenchanted and rationalist
world the 'solemn' quality
that Nietzsche discerned in African art,
its
magic and
incantatory power.
Archaism the Austrian
as a
mode of expression,
Rudolf Hoflehner
(figs.
not
as
borrowed form,
characterizes the figures
of
62 and 66). In contrast to other sculptors working
medium as infinitely ductile and malleable, does not respect its 'ironness'. He composes cyclopic figures by
in iron, Hoflehner does not treat his
forge and weld
it
but seeks to
piling massive blocks
and
it is
of raw iron on top of one another (they are secured by soldering),
the weight and thickness of the material, not an
imposed shape,
that he brings
into play. Recently Hoflehner has taken to splitting his blocks into pairs of slender
volumes with a iron even
more
immovable
as
viewed from
recess or
opening between them
forcefully. Hoflehner's
ever all
it
aim
is
;
this
the statue in the strict sense, as firm and
has been. His figures, colossal and stable, which are meant to be
angles, are designed to contradict the fleetingness
space, to attest the
permanence of the
spiritual act.
88
They
are
no longer based on
of appearances in
Whereas Hoflehner's
often seem active, even aggressive, his later sculptures, a passive effect.
brings out the massiveness of the
still
earlier
made of solid steel,
works
often have
the virile active principle, but they present
the other side of human existence, the experience of pain and suffering. In formal terms this
change of viewpoint
is
expressed in the change of directions. Hofleliner's figures
used to confront the viewer firmly with verticals or steeply rising diagonals
This
also tend to the horizontal.
and more
flattened
exclusive
made
flexible
is
evident in The Couple
66) with
(fig.
:
a spiritual attitude towards the
they
interlocking,
volumes. Hoflehner himself commented 'There
problem of form, but
now
is
no
pure,
world which must be
manifest in a form.'
To
may
Hoflehner's figures
(fig. 63),
be opposed the contemplative passivity of The Self
an iron piece by the American Isamu Noguchi.
Its
simple forms express spiritual
self-sufficiency, inner concentration
and calm - values for which,
mised, Far Eastern art could offer
many
The
can safely be sur-
That Noguchi's Self speaks in an
human figure in plastic form interests sculptors of all persuawho incline to figurative art. Hans Steinbrenner pursues the theme
portrayal of the
not only those
in his
parallels.
it
idiom needs no particular explanation.
abstract
sions,
its
;
wood
compositions
limbs, as does Etienne-Martin in his Large Couple
of heavy, massive shapes, partly
Danger
revealed
is
when
the veil of flesh
Her Don Quixote
world only the himself
as a
beyond
his reach
untragical, self-assured
non-conformist.
and
recalling shields
away
falls
plate
vizors, the statue
of the
(fig.
Hammered and is
by Wander Bertoni
position
(settled in
wood, an accumulation vitality.
leaving a fragile, unstable
(fig.
67)
pedestal),
is
of solitude.
a hero
he wages
his hopeless
it is
a projection of himself. In a hard
68)
of Seymour Lipton can maintain
forged out of metal
composed of
'hero' can also
Vienna), Icarus
plates, its
scaly
seems to expend evokes a
The
its
be seen in an aluminium com-
(fig. 69),
with its pointed
thrusts in
sideration in
its
in battle.
own
right.
artist's
Edgar Degas possessed and misunderstood Paying
little
70)
of an obviously Futurist descent,
of figure in motion has been incidentally touched upon;
demands on the
(fig.
energy inwards rather than outwards. The ebb and flow of the forms
movement
subject
this latter piece,
of
armour.
every direction, or in the sharp edges and projecting angles of the marble rider
by Umberto Mastroianni, though
forms
several dovetailing pairs
volumes sharply demarcated from the outside world by the
Something of the aggressivity of this
gesticulating
of Germaine Richier, exposed to every
because
Hero
in
convey human
with the Sail of a Windmill
Pushed to the edge of his world (here the struggle against a ghost
(fig. 65), also
figurative, designed to
skeleton, as for instance in the visionary figures
external power.
by
64) with their paired voids enclosed
(fig.
attention to
the climax of a dance
greater
of mass and rhythm than the seated or standing
figure.
this sense to
as a
deserves con-
medium makes
The rendering of motion
sense
it
sculptor,
in a plastic
an eminent degree when, threatened with blindness
he was modelling
physiognomic and anatomical
movement;
the
moment,
that
is,
his
wax
detail,
when
statuettes
of dancers.
Degas strove
the figure
to capture
becomes
a con-
struction in space.
89
•'*-
moment
This
The
(fig. 71).
it
in verticals
has been carved.
and within the
by
spatial limits
of the
tree
trunk out of
Not only
rises
the poised dancers lead figure
along
the formal idiom, to be accounted for
the hardness of the material (oak) and the technique of carving, but the
conception suggest a primitive
The
Kirchner's Dancer with Raised Leg
A stiff rhythm, set by the firmly planted right foot,
the intersecting diagonals of the limbs. partly
Ludwig
an early work of Kirchner's (1912), from the best years of Die
figure,
moves only
Briicke,
which
does not occur in Ernst
ritual dance, diametrically
opposed
in
its
whole
contraction to
by Degas. by Germaine
The Top
Richier, called
(fig.
120)
from
its
small and
unimportant attribute which appears on the pedestal, advances with measured and
solemn
from
step
towards an undetermined goal. Emaciated, with cracks in
the relative protection of its spatial
by Hans Hartung) and
home, defmed by
work
space - solid
as
form and unformed void - appears
sculptor
who
has found in space a
Germaine Richier has been
seem
emerges
it
the backdrop (painted over
of the
which
region of storms, monsters and forest demons.
is
the tension
absorbing challenge. terrible'
her
and her
home ground,
fantastical art
of
Max
of Alberto Giacometti. In her conception of
Germaine Richier conveys
does
than to some dark
The metamorphoses and hybrids
also, for instance, in the forest representations
recalling the figure style
between figure and
one of the basic experiences of the
new and
called 'sculptor
to belong less to the Mediterranean,
imagines occur
skin,
the pedestal, to expose itself to the perils of the infinite. In this
highly expressive and surrealistically disquieting
modern
its
that she
Ernst while
man and
space
a tragic outlook.
Detachment from the ground, apparent weightlessness achieved by converting mass into energy - these problems, after having preoccupied the
those of the 20th century. Lipchitz, for
whom the expressiveness of form is closely linked with symbolic meaning.
as
much
has repeatedly treated since 1933
in terms of the contemporary situation
of crisis, danger of war -
as in those
of the
Prometheus Overcoming the Vulture
artist's
(fig. 72),
and shaped voids in turbulent movement as
-
is
dictatorship,
thus to be
atmosphere
formal and compositional postulates.
a study
Ministry of Health and Education in Rio de Janeiro,
- and
sculptors, fascinate
We encounter them particularly often in the work ofJacques
The theme of Prometheus which Lipchitz understood
Baroque
by Lipchitz
is
on
for the facade
a composition
of the
of solid volumes
the point of flying, above
ground
such a very topical allusion in mythological language. Floating in the
air like
passing clouds are also the Genii
by
flying, or
the Swiss Arnold d'Altri
cement bodies, though unsymmetrically arranged, are so
skilfully
another that the slender support, planted in an undressed stone, here, as in Lipchitz' composition, an attempt to translate a
(fig. 73).
is
Their heavy
balanced against one
hardly noticed. There
is
Baroque allegory into modern
terms.
Reg
Butler,
on
the other hand,
flying Figure in Space
90
(fig. 74).
makes no attempt
to conceal the rods supporting his
Indeed he gives them an aesthetic significance, in that they
6o.
Marino Marini
Miracolo, 1954 Bronze Height 51 Vs", Length 66 7
"
'
8
Photo: Author
6i.
Jacques Lipchitz
Figure, 1926/30 Bronze
Museum
of
Modern
Photo: Author
Art,
Height 84 5
New
,
York
8
62.
Rudolf Hoflehner
Doric Figure, 195S Iron (solid)
Height 73 s
Zurich, Kunsthaus
'„'
63.
The Iron
ISAMU NOGUCHI Self,
1957
Height 34"
Stable Gallery,
New
York
Photo: Author
n*.
_
1*1
64.
Hans Steinbrenner Composition, Photo: Author
1956
Elm wood Height
68 7
" ,
8
Middelheim Museum, Antwerp
6S.
filXBNNB-MARTIN
Large Couple, 1947
Elm wood
1
[eight 7 s
"
Private collection, Paris
1"
66.
Rudolf Hoflehner The Couple
(Figure 101), 1966 Solid
steel
Length So 3
4
",
Height 67V4", Width 15 3 /.," Photo: Artist
6~j.
Germaine Richier
Don
Quixote with the
Sail
of a "Windmill, 1949 Gilt
bronze
Height 22 7
Private collection
Photo: Author
" ,
8
6S.
Seymour Lipton
The Hero, 1957 Nickeled
silver
on
steel
Inland Steel Building, Chicago
Photo: Oliver Baker,
New
York
69.
Wander Bertoni
Icarus,
1953
Aluminium Height 47 ," Middelhcim Museum, Antwerp 1
Photo: Author
V
70.
Umberto Mastroianni The
Rider, 1953 White marble Height 53
" 8
Middelhcim Museum, Antwerp Photo: Author
72.
Jacques Lipchttz
Prometheus
(
)vercoming
the Vulture, 1943
Bronze study
Height
Photo: Adolpli Studly,
Ernst Ludwig Kirchner Dancer with Raised Leg, 1912 Bog oak (painted) Height 26 Private collection
Photo: Author
By
"
1
s
permission of the Stuttgarter Kunstkabinett
c.
i;
:i
,"
New York
73-
Arnold d'Altri
Genii, 1949
Cement Height
S6 5 / 8 ", Length
no
1
,/'
Lcvcrkusen Municipal
Museum Photo: Author
74-
Reg Butler
Figure in Space, 1959 Bronze Height i3'/s
!
75.
Gerhard Marcks
Pair of Runners, 1923
Bronze Height 7 5 / 8 ", Length 77 2 " Dr .Walter Ncuerburg
collection,
Henncf Photo: Author
76.
Movement, 1944 Bronze Height 12", Length I3V 8 "» Depth 10" American Art, Philips Academy, Andover, Mass. Photo: Andovcr Art Studio
Peter Grippe Figure
Addison Gallery of
in
^^^i^^^nH^^i^H 77.
Drago Trsar The
Demonstrators
II.
T 1957 Bronze Height 53 / 8 ", Length 66'/g" Photo: Author
1811
78.
Alberto Giacometti Seven Figures
— One Head,
1950 Painted bronze Height 22 7 /s", Length 22 V2", Depth 18 V 8
Fritz Koenig
Group
of Riders, 1956 Bronze
Height
n
3 /8
",
Length 2i 5 / 8 ", Depth n»//
Brunswick Municipal Museum Photo: K. H. Steppe, Landshut
On
permanent loan from the 'Kulturkreis'
Alfred LOrcher Troy
Bochum
Municipal
in Ruins, 1958
Museum
Photo:
J.
Height
n
3 /4
",
Length
g"/ a "
Schmitz-Fabri, Cologne
On
permanent loan from the 'Kulturkreis'
8i.
Emil Cimiotti Group of Figures, 1958 Bronze Height 15 3 / 8 "
On
permanent loan from the 'Kulturkreis'
Brunswick Municipal Museum Photo: Dr.Wolfgang Salchow, Cologne
82.
Louise Bourgeois
One and
Others, 1955
Painted
wood Height 20 // Whitney Museum 1
of
American
Art,
New
York Photo: Oliver Baker,
New
York
83.
Mary Callery
Study for
a Ballet
Bronze M. Knoedler and Co.,
Inc.,
New
York
84.
Pa bio Picasso The Bathers, 1957 Bronze Height
53
V8 "
- 103
"8 "
Galerie Louise Leiris, Paris
Photo: Author
86.
Mldarho Rosso
Lady with
Wax
1
a Veil,
1896
[eight 29'
/'
Middelheim Museum, Antwerp Photo: Jean dc Maeyer, Antwerp
85.
Ciaude Visfux
Petrified
Crowd, 1959 Bronze Height 27 5 / 8 ", Length 29
1
/./
Daniel Cordicr, Paris
_-
i
88.
Antoine Pevsner
Portrait of Marcel
Duchamp, 1926 Celluloid on
Yale University Art Gallery, Collection Societe Anonymc,
87.
Pablo Picasso
Female Head, 1910
Bronze
Height i67 2
Photo: Brassai, Paris
New
zinc
Height 37", Breadth 25 5 / 8
Haven Photo: Museum
89.
Bernhard Heiliger
Portrait of Ernst
Reuter
1954
Cement Height Photo:
15
3
/.,"
Dr Wolfgang Salchow
Cologne
90.
Emy Roeder
Self-Portrait, 1958
Bronze
Life-size
Photo:
J.
Schmitz-Fabri, Cologne
9i.
Cornelia Runyon Head, 1953 Greenish-brown Photo: Russ Halford
desert stone
Height 13" Private
collection,
Los Angeles
92.
Joannis Avramidis Head, 1959 Synthetic
Photo
:
resin
on aluminium
structure
Life-size
Herbert Hohl, Vienna
J
'*fc
mi
93-
Claire Faikensthn Portrait of the painter Karel Appel, 1956
Iron wire Height 27 5
— 59
* ,'
8
Galerie Stadler, Paris
r _s
94.
k
Jean Dubuffet
Madame j'ordorme,
~'«"
1954
Lava Height 36 1 //' Collection Daniel Cordier, Paris
!St*
95-
Max
Ernst Anxious Friend, 1944/57 Bronze Height 26 3 / 8
Eduardo Paolozzi
96.
St Sebastian IV, 1957
Bronze
D.
Gommc
Height 90V2"
collection,
London
Photo: Author
97-
Lynn Chadwick The
Stranger
II,
1956 Iron and conglomerate Height 43 3 /s" Photo: Author
98.
Cesar
Homme
de Draguignan, 1957/58 Bronze Height 28", Width 41" Galerie Claude Bernard, Paris
99-
Jaap
Mooy
Icarus
Iron
Height 29V;,"
Stadtische
Kunsthalle
Recklinghausen
ioo.
Bronze
Roel D'Haese
The
Indifferent
(cire
perdue) Height 26 3 / 4
Man, 1959 "
Claude Bernard Haim collection, Paris
Photo: Lucjoubert, Paris
102.
Raymond
I
>i
<
hamp-Villon
The Horse, 1914 Bronze Height
Museum
of
Modem
Art,
New
* '
i
(
York
Photo: Author
101.
Man
David Hare with Drum, 1948
Bronze
Height 23 5 / 8 "
Photo: Amerika-Dienst
Wessei Couzijn
104-
Flying Figure, 1958
Bronze 22 Stedclijk
1
,*
,
[2« ,*
Photo:
IO3.
CONSTANTIN BRANCUSI
Bird in Space, 1925 Polished bronze on base of marble
and oak
Height 49 2 / 3
Philadelphia
Museum
Arensberg Collection
Photo Author :
-
1
5
1"
Museum, Amsterdam
"
of Art
Museum
105-
Stele
Horst Econ Kaiinowski pour unc Antilopc, 1965
Leather over
wooden frame
6i 3 /a
x
35'
Photo Robert David :
.
«
io6.
Ewald Mataee Lying Cow,
1946 Ebony Length
8 5/ 8 "
Photo: Dr Wolfgang Salchow, Cologne
io7-
Andrea Cascella
Lcda, i960 "White marble
12"
x 65" x
8"
Galleria dell'Ariete,
Milan
io8.
Jacques Charles Delahaye The Cat, 1952 Bronze i9 5 /s" x 6 3 " x
I
5 4 /»"
Galerie Stadler, Paris
Photo: Augustin Dumage, Paris
109.
Bernard Meadows Crowing Cock,
1955
Bronze Height 29 7 / 8 " Photo:
British Council
no.
Otto Freundlich Ascent, 1929 Plaster original Height Mme. Jeanne Kosnickloss-Freundlich, Paris
78
"
3 /
4
hi.
Hans Arp Growth,
1938
Marble Height 39 Vs*
Solomon R. Guggenheim Museum,
New
York Photo: Museum
ii2.
Hans Arp
Seuil,
1959 Plaster for bronze Height
c.
35
1
/2
",
Depth
c.
4"
Galerie Denise Rene, Paris
_
-
•
113.
-
'\*i
Alicia Penalba
Homage
to Vallejo, 1957
Galerie Claude Bernard, Paris
Bronze Height 118
Photo: Author
1
ii4-
Guido Jendritzko Composition
II,
5 3 1959 Plaster for bronze 25 / 8 " X i7 /s" Photo: Gnilka, Berlin
n.S.
Francesco Somaini Iron 5925, 1959 Iron Height 38 %" La Medusa,
Rome 116.
Theodore Roszak Thorn Blossom, 1947
Steel with nickeled silver
Whitney Museum
Height 33 V 2 "
of American Art,
Photo: Oliver Baker,
New New
York York
.
_
ii7-
Otto Herbert Hajek
Space Knot 64, 1958
Photo: Galcrie Anne Abels, Cologne
Bronze
27V
x 15" x
7
3
/e
Ravensburg church
movement of the
repeat in an abstract version the gyrating
stretched-out figure.
open construction and the compact female body could be taken
form and
exposition of the general theme of this book,
The problem of the
an early work, the Pair of Runners abstract composition, Figure in
His main concern
career.
and 'captured' in a running
steps
two
that not
space.
Marcks presents two men
(fig. 76).
who
moment. The
by
the
is left
to the imagination
gives in full the
first
anonymity of the runners' of Marcks' work
If this interpretation
is
of the spectator, not without
- an impression
we may
trait
- temporal
what occurs
as
in succession
(fig. is
76).
time, normally introduced in mobile constructions,
In that
its
consistently at is
member of
older sculpture, but has claimed the
its
duration.
Thus the element of
here rendered by
is
static
rhythms.
sculpture can hardly ignore the fact
a mass society. Representations of crowds are not
it is
artist's
unknown
attention as a principal subject.
An example is The Demonstrators II
by the Yugoslav sculptor, Drago Trsar. Trsar, with whom the motif is
77)
has,
however, integrated
What
his
crowd
Trsar constructs as a
Koenig the
as a 'sign',
relief, Fritz
several figures are also
more
giving
it
a collective individuality.
Koenig arranges in depth
distinct.
recurrent,
(fig. 79).
The Demonstrators have one
will
With which
they proclaim in unison by one gesture. Koenig's Group of Riders, on the other hand, collection
of individuals who, though
Siamese twins,
by
still
in
only in the 20th century that the shapeless mass of human beings
(fig.
space
not
dealing not only with the unique individual but also with the anonymous,
it is
fungible
man contemporary
concern with modern
The
well in that the successiveness represented
both to the structure of the movement and to
relates
is
consider as parallel Peter
maintained fixes the consecutive stages of a movement. The simultaneity aimed but - a Futurist
that
faces.
appearance in different positions of certain defined forms whose identity
spatial
in full
alternation. This could indeed suggest
accepted,
Grippe's attempt to render simultaneously
only
in
of the pattern - long
serial repetition
courses but successive stages of one are represented
strengthened
by Gerhard Marcks
tackled
with the rhythm of the moving limbs which are observed
is
characteristic
artist
is
compendious
as a
and by the American Peter Grippe in an
(fig. 75),
Movement
and steering arms -
guidance from the
of motion
sculptural rendering
The
all
alike and, in
one
instance,
grown
is
a
together as
preserve their autonomy, structurally articulated and defined in
the rhythmical echelon arrangement.
Alberto Giacometti's fantastic painted bronze Seven Figures - One Head
an even more individualized, indeed disparate assemblage. The figures stand apart like trees in a thin
the others. Here if anywhere
is
tall
wood - each on its own and
(fig.
78)
is
and lanky human
without contact with
the sculptural simile for the existential situation of mod-
ern man, his isolation, his inability to communicate, his despair. Exposed to infinite space, passive and, in the strict sense solitary
head are an epitome of
individual
is
condemned
of the word, vegetating, the seven figures and the
human
society
to surfer alone the
- a
common
futile
lot
nightmare in which the
of solitude. 149
Groups of men engaged and
tators
listeners,
in discussion or negotiation, bathers, revolutionaries, spec-
or simply scenes of
movement -this
repertory of the late Nestor of contemporary liveliness
Ruins
and directness of Lorcher's
among
art are well
which the wooden horse
80) in
(fig.
German
has been, for
many
years, the
sculpture, Alfred Lorcher.
exemplified by his
tachiste relief
The
Troy
in
the centre of a tumultuous scene enacted
is
the collapsing city walls.
Group of Figures (fig. 81) in mind when he developed his open composition from the centre outwards - a cluster of human forms with pairs of legs
Emil Cimiotti had
a
standing closely spaced in a circle while bodies and arms open out in agitated gesticulation and, in an astonishing metamorphosis, begin to breathe as one body.
It is
hardly
necessary to point out that in group compositions of this kind the inner logic of human
not binding. The
forms
is
freely
with what
it
artist's
purpose
not to imitate his
is
for,
or brings out, a certain ambivalence in the interpretation
of reality. Cimiotti's group of figures could equally well be seen
One and
Louise Bourgeois.
knows
Others
One
(fig. 82),
could take
composition in painted
a it
for a colony of
as a plant,
wood by
mushrooms. The
and the same
the American,
artist,
however,
push the ambivalence in the direction of the excluded middle and
better than to
thus deprive the
but to operate
has to offer.
This approach makes
applies to
'subject'
work of the gay and
serious poetry
standing close together, large and small,
some
in
of strange and yet familiar objects
one colour, some striped or spotted,
all
- except the One. This puzzling and witty invention can hardly
similar to each other
have a sociological significance
;
it is
much more
like a fable
- perhaps the fable of the
white raven. F. E.
the
McWilliam remains
human
American
closer to conventional reality,
even though he
translates
figure into spatial schemata with radically altered proportions, as does the
Mary
artist
Callery,
whose group of bozzetti
in the Study for a Ballet
(fig.
83)
and other group compositions embody various kinds of movement brought together in a choreographic conception. It is
a far cry
from
these scenes to the idyll
even farther one from that composition with
and drama to the
Petrified
of Pablo its
Picasso's Bathers (fig. 84)
equivocations between
Crowd of Claude Viseux
(fig. 85).
continuous, line of development in technique can be traced
of Lorcher to
Picasso's lath figures stuck together in a
these again to Viseux' fantastic
Yet an
stability
from the sketchy modelling
rough-and-ready way, and from
group made of straw wisps and,
like the Bathers, cast in
The theme of the
150
However,
its
is
or
normal
near dissolution.
torso has already been touched upon.
and most frequent types ture.
human mass
inevitably in a surrealist masquerade or in the antithesis of the
of sculpture, in
pastoral
intelligible, if dis-
bronze for preservation. These sculptural essays in the problem of the
crowd end
satire,
and an
the bust or head
;
that
is,
in a
One of the most
narrower
important
sense, portrait sculp-
the portrayal of a man's head or face alone has never been found as
n8.
Harry Bertoia
Steel
Cones on Stems Gilded bronze Height 23" Stacmpfli Gallery,
New
York Photo: John D.
Schiff,
New
York
of a limbless trunk or some other part of the body. The head
irritating as that
tionally accepted as a synecdoche, for in reflected.
Thus
this particular
practised in the past,
conven-
is
soul and character are supposed to be
it spirit,
fragmentation of the
human
figure has been extensively
and the examples that follow do no more than
illustrate
new ways
of tackling an old problem.
Medardo Rosso
tackles
it
an Impressionist and elaborates a corresponding tech-
as
nique, modelling his Lady with a Veil
schematic, evoked rather than present.
87)
by Picasso, but otherwise
shadow
this
substance
Its plastic
of the
subtle are the painterly effects extracted out
Painterly effects of light and
wax. The face
86) in
(fig.
a transitory appearance,
is
slight
is
how
but
rich
and
Head
(fig.
soft material.
are also to be observed in the Female
Cubist piece with an objective, geometrical structure
Amedeo
the antithesis of the accidental, indistinct appearance of the Lady with a Veil.
Modigliani was even more radical in the reduction of objective forms with a sharp emphasis stylization
on
possibility
anonymity of Byzantine
to the
But if Picasso's and Modigliani's heads have is
heads to elementary
certain parts, such as nose
he moved furthest away from the
was harking back
his stone
is
and
of the individual
eyes. In his portrait.
He
art.
little
do with the individual
to
portrait,
it
not their Constructivist or Abstract tendencies that are responsible; for these are even
more trait
consistent in a relief of Antoine Pevsner's
of Marcel
ideal portrait
Duchamp
(fig. 88),
though
with no claims to a striking
we
which he has
called,
none the
more than an
are not supposed to look for
likeness.
Pevsner offers, as
it
Por-
less,
were, a geometrical
equation for the image of the great ironist and prince of Dada.
Alberto Giacometti also produced in his Surrealist period an abstract head.
(now
rectangular marble plate 'absolute' profile
which,
at the Stedelijk
like Jawlensky's
Museum, Amsterdam)
heads en face, can be interpreted
Head
a sign of meditation. Joannis Avramidis'
(fig.
92)
is
Constructed of modern materials, aluminium and synthetic
harmonious proportions Head,
like
in the structure
Giacometti's,
is
'absolute',
thin,
represents an as a sign
also entirely
- here
anonymous.
resin, it presents regular
of the human figure
one which
is
The
and
(see fig. 45). is
and
Avramidis'
subjected
to
rigid
rules.
Other sculptors have reverted to the orthodox portrait in search for nominator between autonomous form and Portrait ofErnst Renter (fig. 89), a solid ality
119.
LUCIO FONTANA
Concrete Spaziale-Nature, 1965 Bronze 33^" diam.
Rijksmuseum Kroller-Muller Otterlo (Holland)
Photo: Author
is
characteristic
of the model but
of moving
surfaces. Heiliger, says
model into
a plastic reality.
likeness.
volume it is
no
Kurt Martin,
common
Bernhard Heiliger finds
activated less
a
it
de-
in his
from within. Three-dimension-
a plastic
phenomenon, a combination
translates the personal
energy of the
Emy Roeder's Self-Portrait (fig. 90) is tauter than the rises and
hollows softly flowing into one another of Heiliger's modelling. The skin adheres closely to the skull revealing
not only
its
result in a particular
shape.
The
rigid construction
and the
incisive chiselling
formal type but convey something of the
of the model, here identical with the
human
quality
artist.
153
I
A careful balance of the 'will to form' and receptivity to the medium can be discerned in the as
an
Head (fig.
91),
carved in desert stone by the American Cornelia Runyon. Her
work
begins already with the choice of the stone. She picks the hardest specimens,
artist
even large half-precious stones
common
and observes them for a
in her native parts,
long time until they disclose their inner, exemplary form which she then, with patience
and sympathy, proceeds to disengage. out with'.
By
What emerges is
(Jules Langsner.)
composition
contrast, Claire Falkenstein's open, nest-like wire
Appel in
cally identified as the Portrait of the Painter Karel
However,
model
the 'archetype of the idea she set
a painter
is
of this identification
to understand the nature
and that the portrait
is
intended
of
spite
it is
(fig.
93)
specifi-
is
abstract idiom.
its
know
necessary to
that the
three-dimensional correlative of
as a
his handwriting.
Before turning from the
worth glancing
at the
human
figure to other themes of
Dubuffet; witness his
A
Madame j 'or donne
master of these real-unreal creations
(fig.
94)
up at random. The same black humour appears
Max
Ernst
which shows
imagination by
its
buffoonery and
in the
its
is
Dubuffet's figure, appealing to our
his visions
of the
fantastic in
(fig. 97),
angular,
man, in whose compact
- an apposite reminder that the
fear
the primeval sources of artistic inspiration,
and
Read has read the 'geometry of fear'
of demons and
fear in general are
among
chimaeras
bird, half
shapes Herbert
is
Jean
is
unexpected correlations.
winged beings of iron and conglomerates, half
inhuman too
it is
made of blocks of lava picked bronze Anxious Friend (fig. 95) by
which
as little artistic 'skill' as
Lynn Chadwick embodies
that the
sculpture,
marginal but relevant sector of fantastical figurations with their
and deeper meaning.
implicit irony
modern
human.
Cesar conjures up fabulous beings from the dark zone between nature and tech-
nology he has ;
also incarnated the
industrial refuse. Hostility
are the driving forces figurines
Akin
which he
winged
figure
towards perfection and
of the
artist
casts in a vast
Homme
de Draguignan (fig. 98) out
of
dislike
'beautiful' materials
from southern France whose inventions
human
of
- these
are theatrical
tragi-comedy.
to Cesar's fantastic figures are the abstruse fetishes that the
Paolozzi fashioned formerly out of bronze clippings
(fig.
96)
;
Scotsman Eduardo
but they have a ruthless
outspokenness which Cesar, with a devil's courtesy and obviously enjoying the game, avoids.
The Dutchman Jaap Mooy
many young
Why
sculptors today, for
(fig.
99)
which he
postulates
example Robert Stankiewicz
in the
shares
United
with
States.
should whole figures be welded out of clippings and shavings, out of refuse and
waste?
It
seems that the activity of free re-composition or re-integration
here, in the service
of a
new
declares the
need to 'break up
allusions to the
daemonic in
is
all-important
poetic of objects.
The American David Hare, whose Man
154
works from
reality
things,
with
Drum
(fig.
and recombine
it'.
101)
He
is
of Surrealist lineage,
achieves this without
showing humour and formal inventiveness in the
120.
Germaine Richier The Top, 1953 Colouring by Hans Hartung Lead Height 50I* Lehmbruck Foundation, through the 'Kulturkreis' Duisburg Museum Photo Dr Wolfgang Salchow, Cologne :
'Sculptors should present reality not as
way he integrates solid volume with shaped void. an object which might
and the observer' relationship
between
exist
by
itself in
the closet, but as the relations between the object
how Hare sums up
this is
subject
and
object,
conception of reality and of the
his
problems that today preoccupy sculptors
all
over the world.
of the sculptural exploration of the human figMan (fig. ioo), a bronze piece by Roel D'Haese.
Finally, the inexorable consequences
ure are to be seen in the Indifferent Its
monstrous, puffed-up and shrivelled forms are plastic equivalents for the polarities of
human
existence.
Among distant its
the traditional themes of sculpture
memories have, however, remained of
apotropaic functions.
original comiection with
its
the popular
baby animals of Renee
both on account of their formal idiom and as animal portraits belong to ism.
The
movement of individual
bearing or the
human
ity in the
of the 20th century are not interested in the
sculptors
sphere,
it is
magic or
19th-century love of, and sentimentality over, animals
if one disregards
out of fashion,
also
The
Only
the representation of animals.
is
man as
animals; their object
is
is
Sintenis which, late
Impression-
characteristic
form,
the animal as such, just
as,
in
such; they are concerned with creatureliness and animal-
scheme of Creation. The animal
not primarily a companion, a zoological
is
phenomenon or a parody of man. To generalize somewhat, it could be said that, besides the traditional symbolism (lion = strength dove = peace) which is still accepted, the ;
animal embodies for the 20th-century
The
origins.
lions
artist in
the
first
place vitality and proximity to
of August Gaul, Franz Marc's horses, the birds of
Toni
exotic animal statuettes of Gerhard Marcks,
of Philipp Harth, Chadwick's Beasts and, not
reliefs
Marini's horses -
these indicate the prevailing trend
will be discussed here, without
its
Ernst, the
Dog, Picasso's celebrated
Stadler's
She-Goat, the animal all
Max
least,
Marino
of which a few notable stages
being suggested that the
artists
involved are in any
sense specialized 'animal sculptors'.
The
first
radical transformation
hands of Raymond ine-horse,
of the animal in modern sculpture occurs
Duchamp- Villon.
His Horse
combines in semi-abstract forms the
universal horse.
The
(fig. 102),
static
a horse-machine or a
at the
mach-
and the dynamic aspects of the
partly organic, partly mechanical elements find themselves in a
peculiar state of vibrant suspension
between
and headlong movement.
rest
Up
to the
19th century, and with extensions into the 20th, the horse was a symbol of sovereign
power
to be placed
on
pating the onset of technology, transfers
embodies,
as
it
Duchamp- Villon,
a pedestal, or else itself serving as one. it
to the
were, the horse's horse-power or
Constantin Brancusi's Bird
in
Space
(fig.
103)
realm of mechanics. His piece
dynamic
its is
a noble
potentiality.
and radiant symbol. The
highly polished bronze and the arrow-like shape shooting upwards declare the intention to liberate
form from matter. This bird
antici-
in space
is
vital force
and
121.
Shinkichi Tajiri
artist's
spiritual
Bronze
Plant, 1959 Height 27!"
Photo: Paul
discipline,
156
movement and
rest,
action and contemplation, breath of
life
and abstraction
Huf
Amsterdam
122.
Harold
B. Cousins
Sculpture, 1959 Iron ssVs"
X z6 3 /a " X
io 5 / 8 " Photo: Authc
perfectly conceived
It is
and adequately executed and has been refined
than a gleaming surface and Figure
(fig.
by
104)
away from
glides
it
Dutchman Wessel
the
the
world of
until
no more
it is
things. In the Flying
Couzijn, the emphasis
on
is
flight as such,
not a specifically animal phenomenon, and here more in the nature of a poetic baroque
image of a heavy and powerful wing-stroke.
Ewald Matare's Lying Cow
The
blem.
artist
(fig.
wood)
106,
has not copied any particular
is
em-
stylized into a three-dimensional
cow
resting
have seen in the countryside of the Lower Rhineland
;
on
the
ground
may
that he
he has composed a heraldic
cipher which, like mediaeval zoomorphic symbols, has a magical function.
Kalinowski's Stele pour une Antilope thought.
The
and of
was only natural
tactile
and the gentle
stele
objet'.
While Kalinowski
Leda
invents
up
107) takes
(fig.
-
'eye'
a
new
As
in
'caissons'
Formal indications - the horns on the head symbolic meaning of
myths, Andrea Cascella, in
his
theme from ancient mythology. Here
in the definition of volumes. title
wooden frame covered
and visual value of Kalinowski's
also point to the
determining factor in the choice of
Antilope nor the
a
he should affectionately commemorate the origin
that
his material, in this case the antelope.
of the
from
constructed the stele
artist
Leather also determines the
steles. It
artistic
material and the 'objectification' play the decisive role in evoking the
magic of the image. The leather.
shows an opposite trend of
105)
(fig.
title
so often happens, neither the
Leda makes any claim
marble sculpture
too,
seems to have been formal
'poeme
this
however, the
interest, pefection title Stele
pour une
to singular validity; both are there to
suggest plausible associative possibilities.
The
structure
of the animal body, its muscles and ligaments, interest the young Pari-
sian sculptor, Jacques
108)
Delahaye-but not from an anatomical point of view. His Cat
a study in the self-propulsion and speed of a
is
body which, apparently not
to the laws of gravity, maintains itself in an arrested spring. is
also in the service
content
it
shrivels
Excited
of
this
'new naturalism'
up and develops
movement and sudden
tory, unsettling professes, in
manner
common
realism which, with
in remarkable contrast to the
subject
material
dynamic
a fossil-like texture. arrest are
in the Crowing Cock
with Delahaye and
him
;
The handling of the
(fig.
in particular, has
In the monsters of Agenore Fabbri, akin to
brought together in a
(fig.
109)
many
its
similar, contradic-
by Bernard Meadows. Meadows
other French sculptors, a symbolic
roots in the fears and horrors of our time.
Germaine Richier's
mantis, the obsession
with
fear acquires a theatrical quality.
Man nature.
the
and animal do not exhaust the repertory that modern sculpture draws from
The two themes have been treated
human
considered
or the animal is
no) or
remains to be
human, animal or
plant variety.
the slowly rising or gradually developing
generated from within, (fig.
its
as
in the
we
movement of a body
see in the rolling, cloud-like masses
forms inspired by the
which
What
the starting point for free invention.
the portrayal of organic growth, in
Growth can mean Ascent
is
in a wide sense so as to include forms in
human body
of Otto Freundlich's
characterizing
Hans Arp's 159
marble Growth
(fig.
mixed forms of
112), in the
(fig.
Or it can
in).
entitled Seuil (threshold). In
form of the gateway, but is
also a
monumental
manifest
vegetation merge into an
a
forms
this
Even its
artist
nature. Architecture and
Alicia Penalba's Homage
(fig.
114)
Vallejo (fig. 113)
to
and Francesco Somaini's
Iron
5923
allusions either explicitly in the title or in the artist's intention.
(fig.
115) carry
Yet
their structure, their articulation into leaf-like forms, and,
that kind. General notions
evoke
associations
work
in these as in other compositions
while in Space Knot 64
which the
cactiform structure conforms to nature's law.
Guido Jendritzko's Composition III1959
Roszak's Thorn Blossom
work of Arp's
one too can be ambivalent: the threshold
form of growth, of organic
appears as a product of organic energy;
of
recent
formal and verbal terms Arp here evokes the architectural
artistic unity.
no vegetal
more
to quote a
a two-sided relief executed a jour,
like all his
leaf,
itself,
(fig.
(fig. 1
not
least, their
of organic growth
of the two young
are,
at
Theodore
of an exotic splendour,
by Otto Herbert Hajek they inspire forms
17)
no doubt,
sculptors. In
116) they lead to baroque inventions
contours
that
make up
a thorny bush or a closely knit lattice work. These forms hark back to the Tree of
and Late Gothic
Jesse
altar tabernacles
priate place in a church.
By
the
title
with such echoes Hajek's work finds
;
of his work
Steel
Cones on Stems
(fig.
appro-
its
118)
Harry
Bertoia seems to deny any associative values and to emphasize instead the formal and
Yet the spectator cannot avoid seeing a golden
material qualities.
tree.
The interest in forms of organic growth for their own sake as distinguished from borrowings of fragments, usually for stumps
a technical rather than
as disguised props), is peculiar to
modern sculpture.
an aesthetic purpose It
(i.e.
leads to plastic invention
most varied kind, for instance one of the bronze spheres of Lucio Fontana(fig.
the
which, entitled Concetto Spaziale-Nature,
lies
tree
of
119),
in the grass like an overripe, burst fruit
of
enormous proportions or the imaginative, half animal, half vegetable forms devised by Shinkichi Tajiri
(fig. 121).
can Harold B. Cousins
growing
as their
(fig.
The
delicately
membered metal compositions by
the
Ameri-
122) with their roots and branches have both blossoming
and
theme. As in Hajek's space knots, solid forms and space intertwine in
one indissoluble whole.
The
last
few examples have
led us
towards the creation of autonomous
away from
plastic objects.
of natural forms
the representation
From
here
it is
only a short step to
forms that are entirely independent of human, animal or plant models - to
more and
precisely, to objects invented
set
To
the
human mind,
fashioned
by
the
human
hand,
over against the products of nature. survey
this
type of sculpture, the scheme applied in the
service since in plastic obj ects
the question of meaning.
constructions artist's
by
artefacts or,
;
but
intention
I
chapter can be of
with no external referents, the question of form must precede
I shall,
therefore, deal first
shall also consider
may have
first
been.
with compact
what any given work has
solids
then with open
to 'say'
The development from compact
and what the
solids to spatial
schemata, or from the realization of order to the expression of vitality, that can be
160
123.
Umberto Boccioni Development
of
a
Bottle in Space, 1912
Height 15"
Museum
of
Modern
Art,
New
York Photo: Museum
(Soichi
Sunami)
125-
Robert Adams
Iron Sculpture, 1956
Height l6 1 / 8
"
R. Jahrling, Wuppertal Photo: M. Abel-Menne, Wuppertal
124.
Vojn Bakic
Developed Form, 1958 Plaster for
bronze
Height 27 5
Galcrie Denise Rene, Paris
Photo: Toso Dabac, Zagreb
127-
11
\n s
A»P
Moon-like, hollowed OUt, ghostly, 1950
White marble Di Bcrnhard Sprengel
Height
collection,
i6'/ 2
"
Hanover
Photo: Hans Wagner, Hanover
126.
Wiiiy ANTHOONS
Being,
)')>-
$6
Stone from Poullenay 17 3 //' X 35 3 /s" x
l
5*ft"
F
'
«3 '-
.'
• *
« .
128.
Robert Muller
Sheba, 1958 Iron Breadth 30V4" Elie de Rothschild collection Photo: Author
129.
Francois Stahly
Medusa, 1959 Olive
wood Height
c.
Photo: Pe Willi, Zurich
23
"
5 /8
130.
Gio Pomodoeo Co-existence, 195S Bronze 59" X 63"
131.
LUCIO FONTANA
Conversation, 1934
Bronze
gilt
Height 27 5
" /
8
132.
Maurice
Lipsi
Volvic Stone, 1958 Height 45 Vi" Galerie Denise Rene, Paris Photo: Author
133-
Shamai Haber Composition with
3
Stones, 1957/58
Breton granite
Height 35 3
"
'
8
O. Le Corneur
collection
134-
Eugene Dodeigne
Sculpture, 1958
Bluestone Height 74V4" Photo: Author
135.
Lorenzo Guerrini Sculturc
forte,
1958
Stone Height 25 5 /s" Photo: Alfredo
L. Ferrctti
136.
Peter H. Voulkos
Terracotta Sculpture
Height 29'
137.
„"
Barbara Hepworth Figure
in
Landscape, 1952
Alabaster Length 10"
Smith College, Northampton, Mass.
•
[38.
Day Schnabei
In
Memoriam, 1952 Stone Height
31 V>
observed in the sequence of illustrations should not, however, be understood lution in an historical or a qualitative sense.
whose scope and value have been
One of the
by the
With
phased occupation of space
a
the
less substantial solidity
volume with
free space,
the
is
Boccioni. The :
the forms
layers. In a centrifugal
Vojn Bakic today
124)
(fig.
the spatial evolution of form, the fusion of solid
Both works bring
the basic motif.
is
1912,
effected.
is
of his Developed Form
With him too
pursues similar ends.
from
Umberto
Futurist,
develop outwards from a solid kernel in expanding, overlapping
movement
book.
tins
volume and surrounding space
again the relation between solid
is
of
plastic objects, dating
Bottle in Space (fig. 123)
an evo-
of the method employed,
solely out
discussed at the beginning
of these 'independent'
earliest
bronze Development of a
problem
It arises
as
to
mind
a sentence
from
the Futurist manifesto of 1912: 'A Futurist sculptural composition will possess the
wonderful mathematical elements of modern
The
by Robert Adams
intention realized
rectangular,
compact
objects.'
in the pattern
Iron Sculpture (fig. 125)
is
best explained
himself: 'As an abstract and non-objective sculptor, sitions that
owe
influences.
My
problem
proportions
words the
up objective
modem offers
relationships
produce
to
is
harmony with
are in
which he has
a dialectician
The
science.
'things'
My
whose
the material used. In other
between things
that are valid in
them-
erected, for the Theatre at Gelsenkirchen, a
and an
intellectual
who
Belgian, Willy Anthoons,
keeps abreast of developments in
whose stone
an interesting comparison with Adams' iron composition,
meditative
formal compo-
of concrete.
similarly articulated wall is
at creating
accident that his compositions are instinct with the spirit of a rigorous
architecture in pursuit of
Adams
each work.' Adams' purpose
objectify
work and whose forms no
aim
artist
models are not derived by a process of abstraction from nature.
artist sets
selves. It is
I
by the words of the
his
everything to themselves, that are completely independent of external
... to
is
of contraries offered by
artist
who
chisels stone
or carves
wood with
piece Being is,
on
(fig.
126)
the other hand, a
patience and devotion to obtain
forms that embody a collected calm. The reclining block with long, drawn-out contours but with an energetic sign impressed into
contemplation and action, thus justifying
its
it
low
in
philosophical
relief,
expresses
title.
'Moon-like, hollowed out, ghostly' - these are the epithets that Hans Arp his
composition in white marble
(fig. 127).
The
title refers
expressive aspect, to the latter twice over but in the
the essence of the It
work in
will not be amiss,
fitness
is
on
the one
hand
of name to object; on the other, the magnificent
were, turns
and
stress
its
at rest,
multiplicity
inside out
and yet preserves
its
of meaning
lies
vein.
how
vitality
life,
The
artist
has captured
may seem inappropriate.
artistic in itself is this
kernel in a solid
which embodies breathing, sensuous
applies to
both to the formal and the
and other comment
this description,
however, to
same
both
and
of the work which, shell,
very as it
which both grows
spiritual being. In this
the great poetical force of the work.
177
Similar swelling forms, forged in iron, are to be seen in Shcba
Robert
Miiller.
cap-like forms overlap, so that
open narrow chinks where the is
exposed to view but divines the shape of what
Gio Pomodoro attempts Co-existence
(fig.
an interpretation
lies
one
130). Direct political reference
hidden
them but
it is
moving, breathing surface with
strokes. stract
is
as a lively,
lambent
idiom. Maurice Lipsi's Volvic Stone
whose three-dimensionality can be sharply cut contours
silhouette.
while the 'conversing' back side
it
Both Pomodoro and Fontana attempt
inside.
size
which
by
a series
what matters
(fig.
inferred
is
A calm,
convey a complex message
to
on
132),
the other hand,
the
is
is
restless
in an ab-
from one
is
bulwark in space
a
Shamai Haber's works
(fig.
133)
seem
setting
two
their formative years in different
Lipsi inclines to monoliths, illustrated
artist's
sculptors,
builds
up
his
movement of advance
of flexible
resistance to
it.
akin to Lipsi's: sturdy, compact
architectural turn
of mind. But there
though both born in Lodz, have spent
environments - Lipsi in
Haber
out
it
and monumental character of
a system
at first closely
blocks with simple outlines which attest the are important divergences: the
static
up
side
no perforations or hollows, only
articulated block has
and withdrawal which appears compatible with the Stone
mass
a sturdy
- without an all-round view - from the
again by their changing configuration. This creates an over-all
example
of
long-drawn-
covered with rapid
are so devised as to lead the eye continuously
The rhythmically
The
of
but differing in
shallow caverns which draw external space into them but immediately thrust
the piece.
life
in Lucio Fontana's two-face relief Conv ersation (fig. 131) the surface does
engraved in
to the next.
leaves
delicate yet forceful modulations.
its
not bound a volume but functions line
He
not only the
visibly interrupted
transversal seams. In this composition contours are secondary;
By contrast,
unknown
probably not intended, though such
is
not impossible: two areas roughly equal in
is
sees
the Swiss
to give plastic expression to a very abstract concept, that
configuration; a deep furrow separates
out
but
vitality, she lies like a ripe, full-bodied
Overflowing with
by
has linked-up the rounded blades in a system of incapsulations.
fruit. Miiller
of what
128)
(fig.
Paris,
Haber
in Israel.
While
compositions out of several stones.
The
comprises only three blocks of granite but others have six or seven
components, dressed in the same precise manner and balanced against each other without recourse to symmetry. This strong art recalls Aeschbacher's stone figure (fig. 44), not in the sense of direct filiation but in the context of contemporary trends.
bacher, however, the joints are only depressions in the surface whereas a truly Cyclopean structure, a unity of distinct parts
Francois Stanly opens
up the compact
With Aesch-
Haber
piles
up
monumental and primeval.
solid to a greater
degree but he proceeds with
moderation and allows himself to be guided by the natural configuration of his material, the
wood of
Medusa he has title
178
a thick root.
(fig. 129).
left his
He
reads
meaning into what he fmds and
calls his
piece
Eugene Dodeigne could have thought of similar correspondences but
powerful composition in Belgian blue stone
so as not to detract
(fig.
134) without a descriptive
from the immediacy of its monumental
character.
While Dodeigne's stone has only narrow
perforations,
Lorenzo Guerrini opens up
whose
massiveness, rugged outline
his Scultura forte (fig. 135) into a gate-like structure
and rough surface constitute an abstract variation on the theme of archaism. Peter H. Voulkos, an American of Greek descent,
He
up
builds
is
his large terracottas (fig. 136)
similarly inspired
by
architectural notions.
with heavy blocks combining regular and
rock-like formations.
and external forms, which appeared
Internal
Chapter One, are the theme of Figure
in
Landscape
Hepworth. The double perforation of the stone shell
while allowing the eye that
composition. the
The
relations
artist's interest (she
They
sees
as
through
one of the main formal categories in
(fig.
137),
serves to
it
to
an alabaster piece by Barbara
open up the
interior like a nut-
annex the 'back and beyond' to the
between landscape and the human figure have for long been
works mainly
are interpreted in terms not
open
in the
air;
her materials are stone and wood).
of Romantic correspondences but of solid and
spatial
forms harmoniously balanced.
Day to
Schnabel, an American of Austrian extraction living in Paris, seems at
work from
similar postulates. For instance, the idea
her In Memoriam
parts, as in
Henry Moore. The
Hepworth
(fig. 138), is
difference
seeks equivalents
familiar
between the
from
first
sight
of a composition in two separate
work of both Hepworth and
the
sculptresses
is
largely
one of theme while :
of structure and rhythm for the subjective and emotional
experience of landscape, Schnabel works out, with free concave and convex forms, an architectonic idea. In
Memoriam, which
monumental requiem
for
While
some destroyed
calls
city
to
mind
fantastical ruins,
of Europe.
- compact forms and open composition - the works of
similar in structure
Marta Pan carry no ostensive symbolic meaning. Marta Pan Equilibrium
(fig. 139). It is
a beautiful object
and nothing more; a complete,
her piece simply
calls
- harmonious and made of noble material -
fully articulated
form
to be turned this
with a smooth, convex surface for the hand to explore. As the sense
is
in
skilfully contrived balance, a favourite
its
could be a
way and
title
that,
suggests,
its
theme with Marta Pan whose work
includes sketches for ballet - one even called Equilibrium.
The
sculptures
of her fellow Hungarian, Etienne Beothy,
have a similar elegance. The Nocturno better:
(fig.
140)
and
'tall
may be
literary
also lives in Paris,
and atmospheric, but not very informative
safely ignored;
slim, light in
who
Eva
title,
Friedrich's periphrasis serves the purpose
make, projecting,
collected, sharply cut, profiled'. Par-
taking of mathematical abstraction and of the sensuous immediacy of objects, this three-
dimensional
An (fig.
spiral
is,
like Pan's Equilibrium, a
product of unsurpassed
skill
and
artistry.
extreme tension seems to inhabit Karl Hartung's nameless mahogany piece
141). Carl Linfert, speaking
of similar works,
(Widerspruchsformen) which, partly stance and,
compared with Beothy's
rigid,
refers to 'forms
partly expanding,
of contradiction'
maintain a
defiant
light elegance, are almost rude in their thrusting
gestures, clenched fists raised against the surrounding space the penetration
of which 179
is
reluctantly tolerated.
I
national character can be
do not want
drawn from
sometimes be helpful. Related to informel',
of
is
Umberto
solidified lava, a
this situation
of conflict;
may
at best loose parallels
of examples, though tending towards
this series
Two
Milani's
to suggest that conclusions as to personal or
Front Sculpture No. 2
(fig.
143).
'art
looks like a piece
It
primeval shape whose capacity for poetic associations the
artist
'exposes to view'.
We have already discussed Cesar's imaginative figures (fig. 98). The title Petite de Radiateur (fig. 144)
the scrap object
which
in fact
which he gave
to his iron sculpture evokes, ironically
final destruction
work of art by means of 'compression
as a
surprising aesthetic results: freed
from
its
on
One
could even compare
and
the automobile graveyard and revived
The
dirigee'.
process of transformation has
function and possible defects, compressed in
volume, the former technical object achieves a connotations.
ruefully,
the help of a hydraulic press
whose meaning he transformed with
he saved from
and
Tete
it
new beauty of structure with ornamental
with the fauna of the
but perhaps the
sea,
metamorphosis from car component to deep-sea organism leads too
far into the
realm of
the subjective.
The sharp-toothed
spatial figures (fig. 145) that
movements out of
constructs in brisk, vertical
of
statics,
volume
balance and solid
figures are abstract but they
remain
pieces
the sculptor
figures,
Franco Garelli.who
how
of iron show
working
independent
in metal can be. Garelh's
corresponding with each other and with the
surrounding space by means of a dramatic, aggressive gesticulation. Terrosa
composition in forged iron by the Spaniard Eduardo Chillida, has in
movement certain stylistic analogies
Turin,
lives in
to Garelh's
work but it is less
its
(fig.
146), a
angular, abrupt
more
eloquent,
rigor-
ous, more earnest and resolute in expression - in a word, Spanish. The sturdy iron bars
bear clear traces of hammer, anvil and forge; they are the
work of a
peasant craftsman.
Horizontals prevail in the composition which remains close to the earth though
awkward selves
up
limbs,
winch
in a tense,
are planted far apart in the stance
haughty gesture to challenge the surrounding
time Terrosa has the sober adequacy of a peasant tool title
suggests - belonging to
The
from
of black sheet
steel
(see fig. 20),
to
sides.
The Whale
(fig.
com-
out into space
147), a
com-
monumental
title
and the invented
go well together.
forceful representatives
is
conditioned by space,' says Berto Lardera, one of the
of recent trends in iron sculpture and he adds 'Concep-
tion and technique are intimately linked with one another ...
180
static
thus appears as a silhouette but also as a powerful solid
'The problem of sculpture
most
produces
plates reach
developing in space with an imposing rhythm. The associative
form seem
At the same
a central shaft and, in overlapping, create spatial
partments bounded on two, at most on three 'stabile'
space.
prop them-
lying in the field and -as the
smooth contours of his metal
sinuous,
often a considerable distance
left
rider,
it.
Alexander Calder, the father of mobile sculpture positions as well.
of a Spanish
its
;
I
:
use the materials of
my
time.' Lardera's Cathedral of Pain
V
(fig.
148)
is flat,
volume, a sculptural paradox mitigated by the
without any
fact that the
metal
artistically effective
plates, cut in
open on
patterns, are soldered at such angles as to delimit compositions in space that are
Lardera's compositions are both spatial constructions and signs in space, airy
all sides.
fabrics
of metal surfaces that carry and are
movements they
carried, intersect
communications with the environment whether natural or little
and thrust out
are often perforated to allow a free flow
;
ever, as
various
non-objectivity here as in the
example
pointers; as in the
of space and to
architectural.
work of Gonzalez. The
they
illustrated,
endow what
in enveloping
titles
establish
There
is,
how-
themselves are
they describe with a high
emotional charge. In conception
and
it is
on
149) derives
(fig.
from Gonzalez'
sign in space
shoots high into the air like a signalling beacon. Brigitte Meier-Denning-
the other hand, in a modified application of the technique of her teacher,
Antoine Pevsner, uses 151) as surfaces sition
Franchina's Nike
executed with the technique of the American metal sculptors. Placed on an arch-
aistic socle, it
hoff,
Nino
and
straight brass rods soldered together to construct her
moving
hoists
it
in space.
in the air
is
The
which
shaft
carries the larger part
so slender that as a support
Wings
of the compo-
hardly perceptible.
it is
(fig.
The
wings thus appear almost weightless; spreading out in a powerful beat they carve out portions in space while the undulation of their surfaces directs the eye to the central shaft as the axis
of the
These formal (fig.
150)
though
figure.
effects its
of outspread
occur also in Luciano Minguzzi's Dragons
sails
multiform, weightlessly fluttering silhouette
and maintains a more dynamic relationship with it. Space position
by Norbert Kricke, has
the
point in every direction and thus controlled
set
piece (fig.
clear centre. Neither it.
to space
Sculpture (fig. 152), a steel
up a vehement, stormy yet
Walter Bodmer's calmer construction
ceptually to anything outside
more open
Static,
The American David Smith, on
is
carefully planned
is
at
it,
and
153) return towards each other without,
Bodmer nor Kricke
yet space-exploring,
it
relate their
work con-
exists for itself.
the other hand, intends his Australia
however vague and general
that
of
pronouncedly eccentric, the iron
(fig.
robust steel composition, to carry associations which, if accepted, entail a specific
looking
com-
same openness with bundles of intersecting rays
movement. While Kricke' s
however, forming a
is
154), a
way of
the terms of the definition. Basically, Australia
Why, then, should its forms do more than rhythm and movement, why should they signify or re-present as well?
not different from Bodmer's abstract piece.
set
up
a certain
There are elements in
this
composition that can be considered
as figurative, allusions to
instruments perhaps, levers or springs. These technological allusions the spectator to develop further,
though whether he will find guidance in the
title is
is
free
a different matter.
A parallel signifying intention might be discerned in the enveloping sweep of the work, a hieroglyph for the
wide open spaces of the
univocal and the scope for interpretation
is
Fifth Continent.
But the forms
are not
limited.
181
Max
22
Bill's
cussed so
far.
But
pronounced
so
plate
155) does not, strictly speaking,
(fig.
would be just
it
'otherness'.
is its
much
as
out of place anywhere
else in
works
my
dis-
selection,
not merely that the relatively thin white marble
It is
with twenty-two perforations disposed in a meander
sets itself off in its
mathemati-
conception from the world of nature (which, incidentally, does not prevent
cal
having a more convincing presence than its
into the series of
fit
many
a naturalist figure)
;
it is
it
from
different also in
execution, in the extreme simplicity of form and the complete absence of any individ-
The
ual 'handwriting'.
contrast
is
compares
particularly telling if one
Arp's Moon-like, hollowed out, ghostly
Both are
(fig. 127).
Bill's
22 with, say,
but Arp's composition
abstract,
'belongs' to nature; whereas Bill's square plate with the carefully plotted holes
body
foreign
in
it.
of
specific character
free play
This
is
way of
matical
thinking has, in spite of
made
colouring which cannot be Bill's
derogatory, only to bring out the
which
calculating invention replaces the
of the imagination and in which formal order achieves
Max
indeed creates symbols for our time.
results,
composition
is
slight in
its
a
least
not meant to be in the
this artistic enterprise, in
is
Bill
aesthetically satisfying
himself points out that a mathe-
apparent rationality, a certain ideological
fully explicit.
volume,
its
twenty-two holes serving neither to reveal
an interior nor to communicate with external space. The perforations are points in
a
rhythmic pattern developed two-dimensionally on the surface and the over-all impression is
one of flatness
also
in spite
of the
fact that the
work
clearly a plastic object.
is
The
constructivist sculptor can, like Bill, express himself in precisely calculated, perfectly
executed forms; he can also use what he finds ready formed to integrate order. This
is
the case with Ettore Colla
of clippings. The
interest to Colla; his finds.
their
He
aim
formal properties in order to realize.
rusty iron plates remain
elicit
what they
new
are.
last
characteristic
Dada
on the
embody
Gabo,
it
of the works
forebears, are
of
less
he discerns in what he
objects he assembles but studies
the elements of a significant pattern
which he
tubes, winches, telephone insulators or simply
Only, by virtue of what the
of screws and screw nuts
artist
to that
attest.
the paradox of non-objective sculpture
few examples have taken
have entered
Naum
all
which removes them from the domain of technology
fined compositions
new
has discovered
function and meaning - usually without any figurative
structive form, as details like the use
The
surprising,
shapes
in a
constructs figures and reliefs out
conjuring up their
new
The cooling
to be, they acquire a
reference -
who
to bring out the formal harmonies that
is
does not, therefore, impose
then proceeds to
them
medium and
this
142),
and the
fantastical, the bizarre
of other sculptors in
(fig.
it
me into
of form - con-
Colla's simple re-
made of
objects.
the territory of constructivist sculpture.
I
without mentioning the fathers of the movement, Antoine Pevsner and
as
my
ahistorical
approach
entitles
me
to
do
:
the
works
selected for dis-
cussion are intended neither to illustrate a process of evolution nor to be representative in
any way of the
art as
182
ceuvre
of any given
an entity that creates
its
artist.
My concern
own norms. Thus I
turn
is
first
with the individual work of to a
younger Constructivist,
Dane Robert Jacobsen who
the
example
forges frame-like shapes out of massive iron plate
made
frames can be
illustrated (fig. 156) the
Andre Volten's
Composition ig$g
(fig.
second encompasses
Construction with Crystal
of which the
158),
a private space,
(fig.
in the
to rotate about their axis
assume various positions in relation to each other. Stability and ize also
;
rhythm
static
and
character-
and Bernhard LuginbiihTs
157)
projects itself into general space while the
first
allowing only the intervals to communicate with
the exterior.
Ibram Lassaw, an American sculptor working
composing transparent architectonic of the
thickness
by the composition
space enclosed and filled
and
patterns with variations in the concentration
which produce
solid parts
in metal, creates sculptural space
correlative variations in the depth (fig. 159).
The
alloys used has a part to play in translating 'internal
Lassaw
Pevsner,
two of whose
rejects as passive static
He
ticals.
sion -
earlier
rhythms,
brass rods
it.
He as
than those of his followers. distinct
flat
surfaces
curved surfaces
is
together. His compositions,
They
society
;
I
speak of the tasks of sculpture
Hans Uhlmann's Rondo
(fig.
(figs.
16 and 88),
160)
which both
whose dynamic rhythm
present a varied play of light and
on the
take place
However, Pevsner's purpose
human
- of which
and the simple order of horizontals and ver-
is
surface
shall deal
not an exclusively
as a
(fig.
with
public
161)
is
this aspect
is
more complex
shadow which -
as
of the work but penetrates to artistic
perfection of his technique might suggest. His ultimate concern sculpture in
reality'
'emotional factor' or 'ideal substance', are far
from Rodin - does not
the interior.
and external
produces them by ranging linear elements in rapid succes-
which he welds
supposed to contain time
of the
natural colour of the metals
works have already been mentioned
postulates instead spatially active, that
annex space and shape
and
- into the language of sculpture.
a keen observer
is
by
is
one, as the refmed
with the function of
of the matter when
I
come
to
art.
conceived in a similar
theme and technique two dancing movements, one :
effected
spirit,
by the
torsion of the bundle of brass rods in the centre, the other, wider and
though
it
differs in
close 'steps'
and the
more sweeping, by
curved brass bands. Pevsner's brother, active constructions.
Naum He
Gabo, has pursued a
prefers transparent
parallel line
media
which
leads to spatially
to metal, so that his compositions
appear almost immaterial, surfaces and volumes carved out in space and consisting of it. His Spiral Theme
movement time.
But
is
for
(fig.
a variation
Gabo
V art pour Vart but
on
the general
skilfully contrived, multi-directional
an end in
itself as for
is
four-dimensional, because
of changes in science and society being striven it
for'.
spatial
forms active in
Pevsner. Neither wants
symbols of 'progress'. They look upon
realistic
of a world that
its
theme of constructivism:
this postulate is as little
tions as artistic equivalents 'essences
with
162), in plastic,
their spatial construc-
or, to use
Gabo's words,
Gabo's contention that constructivism
as is
introduces the element of time into sculpture, should also
be understood in the light of these preoccupations. However, Gabo takes time to be 183
both
real
and
illusionist
sional sculpture
The
movement, as well
followers are
ambitious than the
less
on
Constructivist ideas have caught
art.
living in
Buenos
in transparent compositions
social
planning. Such a to
order that
programme
man,
to find
is
constructivist
its
Brazilian
Mary
art
and envisages the integration of the
fullest
expression in architecture and town-
utilitarian technics
chromium-plated
is
the
by
the
(fig.
by
163)
harmony of movement
in space,
North American sculptor Jose de Rivera,
of the
experience
seems
(e.g. Brasilia).
through space in a simple rhythm. In
total
realization
the
non-
also characterizes Construction 8 (fig. 164) in
and perfect execution steel
infinite lines glide
function
This
rest.
its
and spherical forms are held in a tense equi-
circular
movement and
librium between
America
aluminium piece Sphere-Tension
which
Vieira in
which Kosice belongs goes
to
has precedents, but in South
the
is
developed Gabo's teaching
166) the possibilities inherent
(fig.
Madi group
have been undertaken with the greatest vigour Also
answer which he has recourse to
to
of plexiglass
of the work of
aesthetic function
new
arts in a
four-dimen-
South America where the rankness
Aires, has systematically
in his spatial structures. Ideologically too the
beyond the
calls
but use a similar vocabulary.
initiators,
particularly in
like a hubristic challenge to
Gyula Kosice,
and explores
rhythm, so that what he
not the exclusive domain of the constructivists.
is
of nature seems
as
his
production.
own
The
who makes
words: 'The prime
social
function,
the
communication of that experience.'*
The
integration of the
arts,
which
shall discuss further
I
on with examples, has been
taken up as a vocation by Andre Bloc who, apart from theoretical pronouncements and his
work
own
as a publicist, elaborates his
preference was for solid, compact
artistic
solutions
volume he has abandoned ;
metal rods, transparent honeycombs built into space.
forms thus created Bloc regards
the
works
I
it
Bloc's original
for airy constructions
task
have just discussed
Martin, for instance, whose Screw Mobile
may have
is
involved the use of technical pro-
shown here
tion called 'Artist against Machine'. Equilibrium and plasticien-technicien.
He
technical procedures in order to harness
symbols for our time but his
Kenneth
167),
took part in an exhibi-
movement
in space are the chief
(fig.
experiments with contemporary materials and
them
to his purpose,
also to exercise a direct influence
work. Martin has expounded
of a
arts.
cedures, they are intended as protests against the domination of the machine.
concern of the
of
The systems of basic geometrical
programmatic statements for the larger
as
world-transforming synthesis of the
Though
(fig. 165).
this in his lectures
sculpture and scientific research he has also put ;
it
by
which is not only
to create
the use that can be
made of
on the connection between mobile
into practice
by making mobiles
for a
139.
Makta Pan
children's hospital. Sculpture 53
After discussing spatial construction in sculpture relation
between sculpture and
* Twelve Americans,
184
ed.
Dorothy C.
architecture.
Miller,
New
York
it
would seem
However,
1956.
I
am
logical to turn to the
reserving this
problem for
:
Equilibrium, 1958
Ebony Height 13 H. Wise collection, Cleveland, Ohio,
Photo:
USA Ifert
140.
Etienne Beothy
Nocturno, 1956
Avodivc wood Photo: Author
Height 47'
141.
Karl Hartung
Sculpture, 1947
Mahogany Height
14
"
s ;
8
Photo: Gnilka, Berlin
142.
Magic Iron
Ettore Coll a Circle, 1958
Height 55"
Collection: Topazia Alliata
Photo: La Medusa,
Rome
143-
Umberto Milani Two-Front Sculpture No.
2,
1958
Bronze 24'
" s
.-;
26 3
"
'
4
Galleria del Milione,
Milan Photo Paolo Monti, Milan :
144-
Cesar
Petite
Tete de Radiateur, i960
Iron
Height
"
14'' s
Width
7
"
1
Galcric Claude Bernard, Paris
s
145-
Franco Garllli Figure Ema, 1958 Iron
Height 61"
__-
Al
147-
I
XAND1
1(
CAI mi)
The Whale, 1937 Stabile of sheet steel
Museum
of
Modern 1
Photo:
[46.
I.1.1
Aiii.o
CimiiDA
Terrosa, 1957
Iron
Breadth 22 Vi" Dr Bernhard Sprengel collection, Hanover
Photo Hans Wagner, Hanover :
Art,
1
[eight N7"
New
>onated by the
Museum
(Soielii
York artist
Sunami)
148.
Berto Lardera Cathedral
of Fain V, 1956
Iron and mosaic 52"
53
" ',
8
Photo: Author
149-
Nino Franchina Nike, 1958
Iron and brass
Height io6 1 / 4
Photo: Oscar Savio,
"
Rome
i.SO.
Luciano Minguzzi The Dragons, 1958 Iron and bronze Height 157V2" Photo: Author
Y
I5i.
Brigitte Meier-Denninghoff Wings, 1958 Height 70
Levcrkusen Municipal
Museum
" 8
Photo: Martin Matschinsky
On
permanent loan from the 'Kulturkreis'
152.
NOKBERT KRICKE
Space Sculpture, 1958 Stainless steel
III 1 /,"
x
78V
x 70
"
7
8
Leverkusen Municipality
Photo: Author
153.
Walter Bodmer
Sculpture, 1957/58
Iron 24 s
" 4
>:
58'
" 4
Photo: Author
1
IS4-
David Smith
Australia, 1951
Steel
Breadth io8 3 / 8 " Photo: Author
«T
155.
Max
Bill
22,1953/57 Marble Height 58 V/ Photo: Author
t
156.
Robert Jacobsen
Construction, 1950/54
Iron
iS 1; 8 "
x 20
"
l ,
2
x 20
1
,/'
Stcdelijk
Museum, Amsterdam Photo: Author
157.
Andre Voiten
Construction with Crystal, 1956 Steel Height 63" Photo: Peter Marcuse
—
I58.
BERNHAED LUGINBIJHL
Composition, 1959 Iron
i7 3
" /
4
X
l3 3 / 8 "
X
13V
Kunstmuseum, Berne Photo: Leonardo Bczzola, Berne
159-
Ibram Lassaw Counterpoint
Castle, 1957
Bronze and copper Height 39" Kootz Gallery,
New
York Photo: Auth
i6o.
Antoine Pevsner Oval Stcdclijk
Fresco, 1945
Brass
51
Museum, Amsterdam Photo: Author
" '
8
34
1
,"
x
13'
i6i.
Brass
59"
Hans Uhlmann
x
Rondo, 1958/59 3 " 35 / 8 X 31V2"
Photo: Gnilka, Berlin
i62.
Naum Gabo
Spiral
Theme, 1941
Plastic
Height 7
1
.,"
Museum
of
Modern
Art,
New York
Photo:
Museum
163.
Mary
Vieira
Sphere-Tension, 1956/5S
Photo: Galerie d'Art Modernc, Basle
Aluminium
i2 5 / 8 "
x 25V4" Floersheim
collection,
Chicago
i
c
>
s
.
Andre Bloc
Brass Sculpture, 1959
Height 27' Photo:
Ciillcs
" B
Ehrmann,
Bois-Colombes Seine
104.
Jose de Rivera
Constructions, 1954
by Mi^ Heinz Schulz
Photo:
Museum
Wrought chrome-nickel (Soichi
Sunami)
steel
Height 9 1 /*"
Museum
of
Modern
Art,
New York,
donated
1
66.
Gyula Kosice Sculpture, 1959
Plexiglass
Height 23°
Galeric Denise Rene, Paris 167.
Kenneth Martin Screw Mobile, 1959 Phosphor-bronze
Height 24 7 / 8
"
Photo: Adrian Flowers
i6S.
Hans Vehhulst Natural
Disaster, 1959
Bronze 9'
" s
x 23 s
„"
Photo:
BramWisman, Amsterdam
169.
Raoul Ubac
Slate Relief, 1954
170.
Emil Cimiotti Rocks and Clouds, 1959 Bronze I7 3 Ai" X I9 5 / S " X Photo:
Dr Wolfgang Salchow, Cologne
n
3
" /4
Private collection
171.
Jochen Hiltmann Crazy Vegetation, 1959
Stainless steel
Diameter SS 1 U" Schniewind
collection,
Neviges
xi
1
.J!
172.
Isamu Noguchi Night
Voy age,
1 948
York marble Length 45 V/'
Stable Gallery,
New
York Photo: Author
*73.
Josef Beuys Fettplastik, 1952
Photo: Eva Bcuys-Wurmbach
174-
Hans Arp To be
lost in the
woods, 1952 Bronze Three forms: large
Photo Etienne Bertrand Weill :
83
" ,
4
long,
medium
4
3 /4
",
small
"
5
3
/8
the
chapter where
last
somewhat unusual
will be treated in a larger context,
it
and turn
subject in the history of the art: landscape in sculpture
misapprehension that a parallel to naturalist landscape painting landscape.
terms
While
of the earth
face
a
to
or -
to avoid the
is
intended - sculpture as
is
the converse, the articulation of a landscape or a garden in sculptural
known from
is
what
first
the past, the introduction into sculpture of landscape and the sur-
own
in a general sense as motifs in their
right
a
is
new and
recent
phenomenon.
Not
that analogies
Henry Moore's and Barbara Hepworth's
treated (e.g. tions
'landscape figures', the composi-
of Giacometti, or the early works of Brigitte Meier-Denninghoff ). Hans Arp's
sculpture title
with landscape could not be found in some of the works already
To
shows,
be lost in the
it is
Verhulst, a
The landscape theme
ments.
(fig. 170).
symbol of the struggle of man is
Low
it
like a piece
brought out (fig.
168)
of
if it is
by
the
against the unleashed ele-
even more explicit in Emil Cimiotti's Rocks and Clouds
Rocks and clouds occur
pulpits in the
effectively
clear-cut cases such as the bronze Natural Disaster
Dutchman Hans
As the
174) has a different relationship to nature.
of the theme will be more
significance
from
illustrated
(fig.
intended to become part of a landscape, to merge into
But the
nature.
woods
as properties in
Baroque sculpture -
e.g. in
church
Countries or in Bernini's Ecstasy of St Teresa - but here for the
first
time they are made the chief and only subject of a sculptural composition. Cimiotti's
idiom
is
worked
Baroque, which explains perhaps in
Rome
for a
a
group of figures (compare
emerged from
piece has definitely
mass of rock are
few months. While some of
from
process of changing
set
why he was
attracted
this
theme when he
wax models
his
fig. 81) to a
metamorphosis. The
this
by
light,
are
in the
still
landscape, the bronze
broken clouds and the
out in effective contrasts of the compact and the open, of stability
and motion.
While Cimiotti up
discovers extraordinary landscapes in
in the forests of the Ardennes, remains
nature. His reliefs carved in slate
Rome, Raoul Ubac, who grew
wholly attached
as
169) transform, as K.
(fig.
an
artist
to the spectacle of
H. Goerres puts
it,
tree
and
from
the
rock, the archetypal experiences of his childhood, into heraldic signs.
Jochen Hiltmann's Crazy Vegetation first
(fig.
171; steel) appears like a landscape
days of Creation. Against the uniform pattern of the millstone, ready-made and thus
providing a welcome contrast, the mass of steel, burner,
is
beginning to
theme of the cess
piece, in
still
liquid
Voyage
(fig.
which 'dry' land
is
toured Playground
valleys
one
as a piece
infinite
expanse of waving
way
the
spirals.
by Hiltmann, Isamu Noguchi's Night
of cultivated nature. Ever since
his
Model for Con-
of 1940, Noguchi, modelling eminences and depressions, gentle
and precipitous conical mountains, has striven to unite
space in the
is
born out of primeval chaos by the double pro-
the cosmic event portrayed
172) strikes
the heat of the welding
formations. Evolution of the earth - that
set into hilly
of solidifying into shape and emerging from an
Compared with
from
that in nature the earth unites
solid
volume with open
with the sky to form a landscape. For 221
Noguchi, who
of Japanese extraction and familiar with Far Eastern art, nature is always
is
ordered nature, with a complex system of relationships,
garden of which the marble composition
is
as
appears in the Japanese
it
an epitome. Yet
if
one proceeds from the
assumption that nature and landscape, subject to constant transformation, by their very nature forbid the stiffening and solidifying of their form into stone, Josef Beuys'
more appropriate
Fettplastik (grease sculpture; fig. 173) appears a alter its consistency
under changing temperature. External
undergrowth, could justify us if
factors,
with Beuys and kindred
such
it
can
as the thick
in discussing this unusual sculpture in the present context,
much
only because of the contrasts with Noguchi. But however
role
material, for
artists (as in
Happenings),
it is
the content plays a
important to remember the
doubtfulness of unequivocal statement.
Apart from 'geological' preoccupations
K.F.Dahmen, Emil Schumacher and
Dubuffet,
modern
'landscape sculpture'
and Romantic landscape Ernst.
Another aspect
Louise Nevelson
who
is
art
is
predominant tendency in
others, the
There
a Surrealist one.
which can be observed,
illustrated in
of Jean
also present in the relief painting
The Voyage
is
an
affinity
between Surrealism of Max
for instance, in the Forests
(fig.
wood
176), a
composition by
has devised plastic symbols for expressing the irrational emotion
aroused by the experience of what in her case seems to be a townscape. She evokes far
more than search in
the conventional landscape, however, for she declares
life
has been for a
:
new seeing, a new image, a new insight. The dawns and
includes the object, but the in-between place.
world, the heavenly spheres, the places between land and sea
'My
total conscious
This search not only
the dusks.
The
.
.
On the other hand Arnaldo Pomodoro's metal relief The Land Surveyor's 177) presents an analysis
of
soil structure, calling to
mind
Table
as optional
for the
evoked by the nocturnal scene of Nevelson the richness of the :
invention, though expressed in objects
is
(fig.
geological cross-sections,
mineral deposits and landmarks. But these associations are just spectator as those
objective
.'
artist's
not confined to them and can suggest other,
non-objective correspondences as well. This applies also to Bernard Rosenthal's Riverrun
(fig.
175)
with their
These Lardera's
garden, artifact
-
at
once a bird's-eye view of fertile or parched earth and invented objects
own reality; not representations of earth but metaphorical equivalents for it. sculptural paraphrases of landscape may be followed, in conclusion, by Berto
ground composition The Hours and
its flat
and nature. Lardera's piece shows
at the
Days
(fig. 178). It is
part of a landscape
layers fitting into the pattern but maintaining the contrast
same time the
fact
of
its
between
that sculpture can not only represent landscape
but enter into landscape to become, through
while
the
its
being
otherness, an
set in
organon of interpretation,
landscape adds to
its
own
strength. 'The composition', says Lardera, 'can be arranged in various ways,
and thus
belongs to the seasons, in the best sense to the "moods" of the seasons and their
222
artistic it
effects.'
The problem
Ill
One more problem pose
it is
- after
category.
all
its
place in the
the majority of the examples discussed in this
But sculpture
is
by
of alienation, the
first
the
:
either as a
monument
;
monument
or
here of course,
can provide only a small selection of examples. Moreover, the discussion must
clearly
the
to that
relevant.
Sculpture appears in the public realm in one of two ways in combination with architecture. Let us consider
museum or the
book belong
tradition a public art and, after a period
problem of its function in society has again become
we
To
remains to be tackled, that of the purpose of modern sculpture.
not necessarily a reflection on sculpture that finds
private house
of purpose
be limited to works either commissioned
artist,
tion.
excluding, that
There
is
is,
works which owe
their
monuments or intended monumental
status to
as
such by
an improvisa-
nothing in the 20th century to compare with the vogue for monuments
that characterized the 19th.
Nor
blind us to the merits of such Calais (both,
as
it is
works
true, erected as
Meunier's Monument
can the tendency of that century to eclectic as
Auguste Rodin's Balzac and The Burghers of
monuments only
after the artist's death),
Labour, H.Lederer's Bismarck, in
to
'revivals'
Constantin
Hamburg, and Adolf von
Hildebrand's Wittelsbach Fountain - or, conversely, to the monstrosities of our time.
Both centuries have
here,
any more than
we
obelisk to the Atomium.
would repay It
aberrations to
show in this domain. They cannot be chronicled
can attempt to sketch the history of the
The
own
monument from
subject, especially the 19th-century 'national
the
monument',
detailed investigation.
has been said that our century, having tired of the type of symbolism traditionally
associated with public
monuments, has turned
its
back on the genre altogether. But the 223
of the old
rejection
like the project for
Van Doesburg bolic
gone hand
lias
in
hand with the emergence of the new
monument by H. Obrist, the models and
an abstract
or Picasso's projets pour mi monument are enough to
idiom has been
in process
ideas
show
:
examples
of Tatlm or
that a
new sym-
of elaboration. However, the public monument of our
time can no longer imitate Renaissance fountains and Baroque apotheoses or serve to tendglorify deserving individuals. Its sense must be wider and more spiritual. This new ency, already apparent in compositions like Parents Barlach's Giistrow
in
Mourning by Kathc Kollwitz,
Memorial (second cast in Cologne), and Rodin's Balzac, becomes
fully
of the younger generation of sculptors to express through
explicit in the attempts
meaning and destiny of our time - witness Le Corbusier's Monument Open Hand for Chandigarh or the international competitions for a monument of
abstract signs the
of the the
unknown
political prisoner
The most
celebrated public
Zadkine's Destroyed City
A
Rotterdam.
cry
rounded by the
made
its
monument of
palpable in bronze,
Auschwitz.
the post-war years
it rises
is,
no doubt, Ossip
memorial of the bombing of
in the midst
of a wide square sur-
buildings of the resurrected city. In a powerful
new
and
at
erected as a warning
(fig. 179),
sluices, basins
gesture, at once prayer
and for a memorial
and defence, the
figure, pierced
through in the middle, stretches
arms towards the sky from which in 1940 came death and destruction, and which
it
now entreats for a better future. The profoundly moving message of this monument can leave
no one
indifferent
appeal to humanity, thus
all
:
the thrust into space, fully in
the
more
telling because free
view from every
angle,
is
an
of resentment. Destroyed City has
become an adequate symbol of the new Rotterdam.
Henry Moore's created as
Upright Motives
(fig.
180)
which include the Glenkiln Cross were
uncommissioned monuments. They were photographed
in their
temporary
surroundings during an open-air exhibition. Since then, singly and in groups, they have
found a place in European and American museums. One of them, in Hanover, fulfils its
rightful function as a
They have been
monument
interpreted as
the Glenkiln Cross has been
modern
compared
Middle Ages. Analogies of this kind in
mind of the
cogency
as
three Crosses
primeval
in a public place.
are
variations
to the
of ancient symbols
Anglo-Saxon high
undoubtedly present
;
crosses
As with
all
great
in particular
of the early
they could even put one
on Golgotha. But Upright Motives can be
plastic forms.
;
seen with equal
works of art no one
interpretation
exhausts the variety of possible meanings.
Marino Marini has erected as a at
monument on
The Hague
central
so far
theme
(fig.
had only one commission for an
a specified
The work
expression with a particular emphasis
sum of his
a synthesis
is
on
in other compositions
-
exploration of what
of abstract architecture and
so as to provide a clear
is
a
figural
the structural and tectonic element -
tionship with the surrounding space and buildings.
224
be
His creation for the Bouwgelust settlement
181) can be considered as the
in his art.
pronounced than
site.
over-life-size rider to
and convincing
more rela-
Many modern monuments,
Utopias. Vladimir Tatlin's design for a
model
the
artist's
to invent
is
the Constructivists, remain
to the Revolution, Pevsner's sketches
centres, as well as the
more
recent Projected
by Constant, have not or not yet progressed beyond
182)
and have had no direct
stage
task
(fig.
memorial
town
for large sculptural complexes such as
Monument for Amsterdam
by
especially those designed
Constant said in 1958
social impact.
new techniques, and to use light,
tone,
movement and,
'The
:
in general,
every device that will influence the environment' and he added in i960, in connection ;
with an exhibition of his work art
related to
is
longer
in
life
Town
exist.
mean
planning will
respect.'
While Constant's work,
of social
life
he
as
is
town
himself aware ('our
life as all
we know it will no
forms of
game
Reg
Butler's
be erected in Berlin, seems
projected final version. Admitting of a naturalist
of
'A universal work of
is
in every
life
the science fiction
embodies no more than a preliminary outline of
architecture'),
Political Prisoner (fig. 183), to
combined with
at Essen:
interrelatedness
:
another bold venture in the same direction,
his ideas,
known
de Loo Gallery
aspects. In a unitary society,
all its
and urban
Van
at the
many
levels
of meaning,
Monument of an Un-
much
nearer to the
this abstract structure
group of figures has become a symbol of the overcoming
of persecution and the fear of it.
The models of Constant and
Butler postulate that the dimensions of the actual con-
struction shall be huge. In other words, sculpture
thing one can step into and walk through.
young Berlin
the
calls
sculptor,
itself become architecture,
A similarly monumental scale
Helmut Wolff,
for the
memorial
at
some-
envisaged by
is
Auschwitz
(fig. 184). It
for a composition of heavy, partly overhanging cubes of concrete with entrances
between them which are reduced, size
must
they penetrate into the 'architectural' mass, to the
as
of the human body -a reconstruction, arresting in
its
immediacy, of what
befell the
millions of victims.
Also architectural in design are the five coloured towers in reinforced concrete
by Matthias Goeritz
185), erected
Mexico
City.
function
to
However, they do not
up
The
a system
last
of axes
any inner space between them and
Eiffel
but the
no
practical purpose, they can
Tower, the
It
town
outside their
be entirely de-
new town. They thrust boldly into the countryside
two examples of sculpture
not only the it,
create
that relates settlement
verse: architecture as sculpture.
called
the entrance of the satellite
a purely plastic one. Serving
is
voted to signalizing the presence of a setting
mark
(fig.
is
and landscape.
as architecture
prompt one
a relatively widespread
earliest piece
to consider the con-
modern development:
of constructivist sculpture,
work of Frank Lloyd Wright,
Charles R. Mackintosh,
as
Pevsner has
Henry Van den
Velde, Bernhard Hoetger, Joseph Olbrich, Antonio Gaudi and Erich Mendelsohn as well as the very recent buildings of
Wachsmann, architecture here, a
is
all
belong to
this
not an entirely
few examples must
Hugh H. Stubbins,
category.
new
It is
Pier Luigi Nervi and
worth noting, though,
invention. Since the subject
suffice.
One of
the
most
is
Konrad
that plasticity in
too vast to be tackled
significant, to
my
mind,
is
the
225
Goetheanum at Dornach (fig.
1
86),
designed by Rudolf Steiner, an amateur and outsider'
by the
in architecture steadily ignored
historians
Steiner, the
of the art.
founder of anthro-
posophy, advocated 'organic architecture' for which he developed a formal idiom
modern
evidently akin to the so-called organic abstraction in
wooden Goetheanum was burned down, concrete (1925-28). This second edifice it
was not
made by
built like a house,
from
is
Steiner
in effect a gigantic piece
What is
a
model
more, the visually sturdy walls offer
by
this
technique.
being replaced by concrete for entirely practical reasons.
most impressive seen from the
from
inside out, so to speak, but enlarged
Steiner and cast in concrete.
in reinforced
of abstract sculpture:
outside; the magnificent
little
The Goetheanum
wood,
clearly conceived as an organic sculptural solid to be carved in
medium
When the first,
had another one erected
hint of the lightness of structure that can be achieved
was
sculpture.
The
the original
structure
is
at
its
setting, in the
midst of
respects akin to the
Goethe-
mountain
the Jura, enhancing the effect.
Le Corbusier's church
anum. Certain
at
Ronchamp
(fig.
features in other buildings
187)
is
in
many
by Le Corbusier, such
functional parts (e.g. chimneys), also recall Steiner's work. is
on the body of the
The emphasis
and an organic
structure both in a geometrical
organic form of
as the
sense,
at
Ronchamp
and sculptural
values are in evidence in the articulation of individual parts as well as in the over-all
conception which includes, no doubt, the integration of the edifice in the mountain scenery of the Jura. Finally,
one
may
classify as sculpture the
metres high, standing in an
artificial
lake
water tower
188) in stainless steel, 40
(fig.
which belongs
to the Technical Center built
One
expects water towers to be
by Eero
for General
Motors
at Detroit
aesthetically
among
the least satisfactory features of an industrial plant. Against this
expectation the effect of Saarinen' s piece design, sensitiveness to plastic resulted in a remarkable
Saarinen.
is all
form and
the
more
striking: a
a high standard
memorial to our technological
stands out against the flat facades
of glass,
steel
of age.
forms that are
rounded shape
its
stability offers
opposite end of the
at the
aesthetically valid.
In quite a different border territory of sculpture
designed by Isamu Noguchi for the stones, together plants,
form an
artistic
ments
artificial
172).
The
lightness
strikes a contrast to the strict pattern
into the
work of
art,
Noguchi's Garden
is
experiences
the Japanese
it
both
Its
Garden
(fig.
189)
natural and carved
escarpments and depressions, paths and
whole, a model of which (fig.
lies
unesco headquarters in Paris.
with watercourses,
marble piece Night Voyage
226
Its full,
When the wind blows through this wall of water, space and movement combine to
create plastic
man.
excellence have
artistic
and earthenware, while
another contrast to the foaming water spray devised by Calder lake.
combination of bold
we
have already seen in Noguchi's
and variety of the forms and move-
of the architecture. The spectator
as sculptural
form and
as
is
drawn
organized space.
sculpture in the widest sense, conceived as the environment
of
The
instances
of contemporary public monuments, of sculpture
of the sculptural articulation of landscape therefore, ideal cases
ship
we
have so
architecture.
The
call for a synthesis
voiced with growing vigour over the years but, in stage
extreme and,
fact, little
of the two
arts has
progress has been
been
made
of makeshift solutions and mutual misunderstandings. Modern
architecture tends to be self-sufficient
while modern sculpture seems the senior
far discussed are
and
without any direct bearing on the practical problem of the relation-
between sculpture and
beyond the
as architecture
- a heritage of its impassioned and
at times totally oblivious
of the
tasks
purist youth,
and requirements of
Thus, apart from a few early essays o£jugendstil inspiration, the rigorous
art.
functional surfaces devised
by modern
have been innocent of
architects
ment, sculptural or otherwise. Attempts to reverse
of the
date: the integration
arts has
instances, sculpture originally
been tackled
this
all
embellish-
trend are of very recent
at a practical level and, in certain
autonomous has been incorporated
an architectural
in
setting.
When dealing with ture,
we
member
the encounter between
modern
can establish certain general categories. In defining these that the
two
partners are
modern
sculpture and
autonomous and meet
it is
important to re-
- a
as equals
architec-
radically
new
departure in the history of their relationship for which the term 'architectural sculpture',
implying
The
as it
does the subordination of sculpture to architecture, is no longer adequate.
categories
I
shall use in discussing the instances to
poration), application (or addition)
combination). This
follow are integration (or incor-
and confrontation (whether by separation or by
only a very rudimentary system and
is
it
could easily be amplified. In
the case of integration, for example, one could distinguish between the question of
purely material or physical aspect and that of form and general conception; application
could be either decorative or 'signifying'; and confrontation either antithetical or
harmonizing.
One of the most Henry Moore's architect,
important achievements in integrated sculpture
relief for the
while keeping his
Bouwcentrum Wall
work
and ruined
Ins chisel.
cities, is
potentialities
Moore could work
The tense composition, evoking
more than mere ornament
;
it
can be realized in a simple brick wall
Relief in Concrete
(fig.
Rotterdam
191),
is
190).
mind,
Here the
shows what
when
start.
though he had a
artistic
and symbolic
a great sculptor intervenes.
made by Gunter-Ferdinand
co-ordinated from the
as
the walls of burnt-out houses
Ris for a school in Cologne,
likewise shows that the integration of sculpture and architecture the joint undertaking
(fig.
my
to
severely functional, thought of the sculptor and pro-
vided bulges in the fabric of the wall which
monolith under
in
is,
is
For Ris the wall
possible only is
when
not a background
or a passive support carrying the relief but the very fabric of it. Exploiting the technique
of concrete consists in
solid
casting,
he has produced wall and
relief in
one operation the sculptural part
an 'unfolding' of the wall surface which thus becomes a
;
spatial structure
of
volumes and shaped voids. The sturdy, rigorously geometrical projections and 227
seem
recessions
waken
to
tectural function.
the wall to
The same
makes from welded
life
their
it is
:
rhythm
that
makes
explicit
archi-
its
interplay of surfaces can be observed in the reliefs that Ris
sectional steel.
Function and ornament are also combined in the buttressing wall designed by Karl
Bad
Ehlers for a clinic in
garden
laid
Salzuflen
(fig. 192).
The purpose of the
wall
to shore
is
up
out on a higher level and to provide a transition to the terrain below.
plain structure
would have served
functional purpose equally well.
this
posed a free variation on
of a few basic shapes,
using concrete blocks with a red ground. His wall,
thus in
is
main
transposes the
it,
harmony with the
architectural
A
But Ehlers
discerned a sculptural clement in the clear, plastic articulation of the building and
It
the
com-
made up
building both formally and materially.
motif from the
vertical into the horizontal
and
inserts it in the landscape.
By
contrast, Spatial
Office at ViUingen,
Though
it
Wall
(fig.
by Otto Herbert Hajek
193), designed
for the
Revenue
both unfunctional and in formal opposition to the architecture.
is
fences in an area behind
the artist intends
it,
to be taken primarily as
it
an
autonomous piece of sculpture.
Hans Uhlmann's suspended construction of steel and
brass (fig. 194) in the
Library at Freiburg has a complex spatial articulation.
sity
surfaces
formed by the widely spaced rods has
same time,
it
enhances the spiral
rhythm of the architecture into
somewhat
a
movement of
a highly refined
the
The
Univer-
transparence of the
constricting effect but, at the
The work
stairs.
transposes the
idiom of its own.
The integration of disparate forms into one artistic whole is convincingly exemplified in the non-denominational chapel built
of Technology, with a
turret
by Eero Saarinen
and belfry by Theodore Roszak
above the eccentric lantern which illuminates the both
a 'signifying'
structure as a
and a functional
House of God while
integrated in the architecture,
role
:
it
at the
preserves
it
altar,
have
the Constructivists
laid
down
sculptural
art (Gesamtkunstwerk) lines,
.
as a belfry.
autonomy,
its
artistic
group in
Though
fully
transparence and edifice.
this
century
who
This was also the aim, though pursued
of Kurt Schwitters in
a fantastic interior filling the artist's entire house.
composition it
almost nondescript round
compact mass of the
more than any other
along entirely different, irrational
tained in
Roszak' s spatial composition has
same time serving its
202). Standing directly
for themselves as a cardinal postulate the unification of the arts in a
comprehensive work of
this
(fig.
identifies the sober,
differentiated articulation standing out against the It is
for the Massachussetts Institute
at
his
The remarkable and unique
once sculpture, painting and architecture -
'puts out' sculptural
MERzbau
is
(fig.
200),
feature
that the space con-
forms which develop from outside in and reduce the
usual spatial schema of verticals and horizontals to a wild congeries of shapes set at
kinds of angles. Schwitters continued on his composition over a
more
scrap
of various
sorts.
His
constructions of Louise Nevelson
228
of
spirit
seems to
(see fig. 176).
live
on
all
number of years adding
175.
Bernard Rosenthal
in the fantastic architectural Riverrun, 1959 Black aluminium 87" x 57^"
176.
Louise Nevelson The Voyage, 1952
(detail)
Wood,
painted white Photo: Author
!-•
Zini
V" (
177.
TT
Arnaldo Pomodoro
The Land Surveyor's Table 1958 Zinc, brass, copper and tin
94V2" x 53
V
Photo: Fcrruzzi, Venice
^»«MM
i
7 K.
Hi
Rio LarDBRA The Hours and the Days No.
i,
1958/59
Stainless steel
and iron
I
i'
6"
X
ll' 6"
Private collection
179-
Ossip Zadkine
The Destroyed
City, 195
153 Monument of Rotterdam Bronze Height
21' 4"
Photo: Author
i8o.
Henry Moore Upright Motives No.
I,
2 and
7,
1955/56 Bronze Height
c.
10'
—
11'
Photo: Author
181.
Equestrian
Marino Marini
Monument, 1958/59
The Hague, Bouwgelust
settlement
Bronze Height (without base)
16' 5"
Photo: Dienst voor Schone Kunsten der
Gcmeente s'Gravcnhage
J ^V>
« ^|
w
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.
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i82.
Constant
Projected
Monument
Photo: Jan Versnel, Amsterdam
for
Amsterdam, 1955 Iron wire Height 28 3 /s" Scale of model
J
:
25
183.
Monument
of an
Political Pris6ner,
1952
Design for a
Unknown
Reg Butler
Bronze wire, sheet metal and Height Photo:
F. L.
Kenett,
plaster
i7'/ 8
"
London
184.
Helmut Wolff Design (60 '
x
85' 4"
x
for an
Auschwitz Monument, 1958
Wood
Height 35 3 / 8 ", Length 51 Vs"> Depth 22" Intended for concrete
36' 1")
1S5.
The Square
Matthias Goeritz
of the Five Towers, 1957
Entrance to the
satellite
town,
Mexico City Reinforced concrete
Height
121',
Length 164'
Photo Marianne Goeritz :
I
1
l86.
Rudolf
Steiner Gocthcanum, Dornach near Basle, 1925/28 Reinforced concrete Height 121', Length 295', Breadth 276'
Photo: Author
187.
Le Corbusier The Pilgrim Church of Notrc-Dame du Haut, Ronchamp, 1950/55 North front with Photo: Author
side
towers Height 49'
iSS.
Eero Saarinen General Motors Co. Technical Center, Detroit, 1951/56
Water tower
of stainless steel
Height
c.
131'
Photo: Ezra Stoller
189.
Isamu Noguchi Japanese Garden, 1958
UNESCO
Building, Paris Photo: Author
sa^n^H
J
igo.
Henry Moore Wall Photo: Author
Relief at the
Bouwccntrum, Rotterdam, 1955 (Arch. C.
W.
Boks) Brick Height
c.
28' 3",
Length
63'
One
any design organically linked with architecture must
201). Albers maintains that
itself
than Josef
Harvard University by Gropius
Albers' composition in the Graduate Center built for (fig.
work
could hardly imagine a stronger contrast to Schwitter's
be architectural in structure, and he has used here the same materials and methods His wall
as the builder.
bonding
is
is
of headers and
a simple alternation
effect consists in a pattern
and without any additional colouring. The
in brick, flat
stretchers
the specifically sculptural
;
of defined voids obtained by omitting a number of bricks in
the facing courses. Against the horizontal emphasis of the brickwork the composition
up
sets
me
a vertical accent. 'For
'perhaps structural growth.
the composition represents growth,' says the
have called
I
it
"America".'
Two large reliefs in Brazil wood have been produced Hans Arp
(fig.
199). Instead
of organic forms which the
artist
patiently varied until he obtained perfect compositional
rhythm communicate themselves
reliefs,
and
their balanced, as
Harry Bertoia took into account various
The
ranged in
The
a steel framework.
natural,
six tiers
New York bank (fig.
possibilities offered
wall, also called space-divider,
oration with the architects, Skidmore, steel plates
were
it
to the space in front.
In designing a screen wall to stand behind the counter of a
angular
same establishment by
for the
of Albers' architectural structure we have here a constellation
harmony. The perfection of the two
linked with architecture.
artist,
Owings and
Merrill.
by
sculpture
was put up It
consists
198),
when
it is
in close collab-
of roughly
rect-
above and behind each other, the whole carried by
regular pattern so obtained
is
interrupted
projecting solids. Alloys have been soldered to the plates to give
gold and darker bronze tones contribute to the overall
by
discoid shapes
them
spatial effect
:
colour.
The
the wall
and
light
becomes
itself sculptural space.
The function of the wall is to special purpose,
clearly visible
two
it
implies the whole. Moreover,
from the
practical tasks
screening wall
is
street, it acts as
its
But while it colour makes
an
essential
component of
work of sculpture
more numerous than attempts
in
its
Elvira in
Munich (fig.
low facade.
August
It
has
Endell's stucco relief, 196).
own
at least
and architecture, whether
works being applied on
no longer
buildings, not
dominant one.
A
good
extant, for the photographic studio
A huge, overpowering Jugendstil arabesque sweeps across the the building,
proclaims arbitrarily the primacy of ornament.
by
it fulfils
that,
right.
to unite sculpture
no organic connection with
architects, repelled
conspicuous so
artistic integrity. Bertoia's
necessarily in a subordinate role, indeed as often as not in a is
it
one part for a
the interior architectural composition
its
materially or formally, are instances of carved
example
separates
an instrument of publicity. Thus
without surrendering anything of
and, at the same time, a
Far
divide the interior.
It is
makes no concession
understandable, then, that
to
it
and
modern
the Jugendstil, turned against the ornamental and finally against
any collaboration with painters or sculptors, unmindful of what they had learnt from either discipline.
245
mma
It is still
specific building.
Way
Two
in
from the
exceptional today for a piece of sculpture to be intended
An
example
the large steel relief Flachenbahn
is
Planes) (fig. 197) designed
senkirchen (architects
:
by Norbert Kricke
zweiEbenen
in
new
for the
Though added
to the building as an
in the general conception
:
by
autonomous work of art, the
double movement to the
its
to the decora-
also contributed.
relief serves a
right,
{Surface
theatre at Gel-
W.Ruhnau, Ortwin Rave and Max von Hausen),
which R.Adams, P.Dierkes, Y.Klein and J.Tinguely have
tion of
start for a
purpose
stresses the link
it
between the projecting studio and the main structure while counteracting the weight of the large, dark wall to
winch it
is
attached. In spite of its vast dimensions the composition
has an effect of lightness and gentle free-standing pieces aggressiveness. Seen
genuine
offer a
prets
and
enrich
it
(fig.
152),
from a
movement. As
Kricke has restrained his dynamism here to avoid an
distance, the rails are a distinctive sign
Conceived
plastic experience.
articulates the various parts
further in the near future
Herbert Ferber's
relief for the
by providing
Synagogue
as
static
one
But
it is
whole. Kricke
to
is
effects.
New
Jersey
195) also
(fig.
primarily a symbol and
of the building. With the architecture
to the religious significance
they
the relief inter-
spirit,
artistic
fountain
in Millburn,
at close quarters
;
an architectural
in
of the structure
takes into account the architectural setting. is
of his
against the restless thrustings
its
reference
enough
it is
for
it
to achieve a modus vivendi.
In the examples discussed so far sculpture applied
on buildings was
either to their architectural character or to their purpose. Costantino
thing different
:
the
whole point of his monochrome
showroom
a wall in the Olivetti also
in
New
York
(fig.
purpose to 'persuade' people to buy. This
its
the exaltedness of
art.
But
surely there need be
well as beautiful provided that
Nivola has the
Italian's
its
is
no
positively related
Nivola does some-
relief covering the entire surface
203)
is
to provide a contrast.
offence if a
work of art
usefulness does not impair the truth
unerring sense for good decoration. Here
and varied but compact and
due not
is
useful as
of its beauty. consists
it
of re-
make up a
demarcated composition. The compactness
is
least to the fact that Nivola forgoes strong plastic effects and gives his relief little
depth.
The composition with
tone.
must not
It
clearly
It is
unusual and seems to offend against
curring patterns, technological symbols and free vegetal forms which together rich
of
distract
and the hand-made,
;
its
'intimate'
forms and discreet allusions
is
reserved in
the coarse grain of its texture, and suggestions of the primeval
refer the
onlooker to the opposite - the neat, precise forms of
industrial products.
The
confrontation of sculpture and architecture, which
main category
for considering the relationship
most frequently exemplified. In
this
I
have suggested
between the two
arts, is
type of relationship, sculpture
is
architecture either materially or structurally but merely accompanies identification or as ornament.
or
it
246
A piece
of sculpture can
also
as the third
the one to be
not linked to it
as a sign
of
be a measure of comparison
can mediate in establishing contact with space and with man.
Its relative
position
may, but need advantage but
not, be subordinate it
may
:
may
it
serve to set off
main
equally well find itself in the
its
architectural partner to
role, particularly if it itself
combines sculptural with architectural forms - witness the well-known screening wall carved by Henry
Moore
for the
Time and
In the case of Wotruba's marble figure ner's
(fig.
Municipal Hall in Vienna, the balance
compact column
vis-a-vis
shaft
by
Stele (fig. 205)
it
Life building in
is
204) standing over against Roland Rai-
even.
it:
The
open
bold,
structure
and the
complete and define one another by their opposition. Granite
Hamburg
the
Hans Kock, has likewise an
sculptor,
whose horizontal ordinance
it
by
counterpoints
opposes a free plastic variability to the uniform
facing
London.
series
architectural
Moreover
a vertical accent.
of gridded surfaces in the wall
the manifold alternation of projections and depressions, inclinations and breaks,
which makes manifest the
gives full scope to the operation of light
negative forms.
The same
principle, applied to the interpenetration
shaped voids, can be observed in
park theatre
at
Henri-Georges the architecture
Grenchen.
On
Max Bill's
granite Construction
and
positive
of solid forms and 206) in front of the
(fig.
the other hand, the composition
stele's
(fig.
207) designed
by
Adam for the square in front of the new museum in Le Havre challenges by
vast dimensions.
its
lines the light, pavilion-like character
Its
massive, even though perforated, bulk under-
of the building while
and the dynamism of its front wedge thrusting forward contrast to the calm,
flat
its
determined orientation
like a ship's
prow, mark a sharp
ordinance of the museum.
Apart from the university town of Caracas, the most comprehensive, and the most interesting,
example of an attempted
the one to be seen at the ble has already
badly placed
as
has carved for the Reclining Figure
Silhouette, a reference
on
art
the
and architecture
is
undoubtedly
Noguchi's garden in
this
ensem-
As regards sculpture stricto sensu, apart from the in composition those at the
Harvard Uni-
by Henry Moore and Alexander
199), the contributions
(fig.
Calder must be singled out
monumental
(fig. 189).
by Hans Arp resembling
versity Graduate Center
Moore
of
unesco headquarters in Paris.
been mentioned
reliefs
synthesis
being especially noteworthy.
wide square (fig.
in front
of the facade in the avenue Suffren a
210) in travertine.
one hand to
its
should be seen. For the figure, in spite of
sometimes called Reclining
way it
formal motif and on the other to the
its
transparence and hence as negating gravity.
It is
It
enormous mass, has a
view
is
conceived in terms of
to offer
from every
side.
The
spectator looks through the perforations and catches a glimpse of the lively filigree of the
unesco
facade
whose horizontal
sees the trees in the
lines
accord with the main emphasis of the figure, or
park with the bizarre contours of the old houses behind them
explores the interior and observes the
two-fold penetrability
is
life
of forms within the sculptured
a constituent element in the
meaning of the
;
edifice.
figure.
or he
This
Moore
has
here again tackled Ins theme of mass and void, internal and external forms, and
com-
posed a magnificent variation. Relaxed calm and powerful movement, rhythm and
static
balance are brought into play in a masterly fashion - truly an uninterrupted sequence of
247
^m
what Henri Laurens architecture behind
calls
'plastic
the
relating
autonomous work
hall. It requires this
conference
calm background 'stabile'
as it
is
itself
perpetually in
- the black rods and
out far into space forming delightful intersections and overlappings
changing angles with the steeply a kindred contemporary in
the
the 209) stands in front of a travertine-faced wall of
(fig.
motion. Carried on a tripod - a typical Calder
fits
to
it.
Alexander Calder's Mobile
unesco
events'
spirit.
with the architecture
rising skyline
at
sails strike
constantly
of Nervi's concrete structure conceived in
Hans Arp's Colonne
as a spiritually related
a elements interchangeables (fig. 208)
partner of equal status
;
it is
formally
and yet in harmony with the building. The sculptor replies to the horiof the architecture with the many gradations of his rising column. The
self-sufficient,
zontal lines
of the building, industrially produced and functional,
structure
functional, interchangeable elements
and architecture
programme as
as
in point
- has for long been a part of Antoine Pevsner's
for the integration of the arts. Pevsner does not
Laurens and Lipchitz did
free
of the sculpture. The confrontation of sculpture
the basis of the relationship between sculpture and architecture - the
few examples have been cases
last
at the Paris
World
only once and only
;
his role as
must be an
an afterthought
:
active one. This in 1956
under the
(fig.
211) in front of the Technical Center of General
with the
site it
But the need
(1946), erected
No
is
impressive
by
relieves the flat facade
agreeably from the
as a
while the
static quality
and in
Naum
But
itself.
as solid
movement of its
much by
the pres-
made of
their unremitting flatness calls
volume and
of its partner. In the immediacy and environment, Pevsner's
enterprise.
The
boldest and
was there
to
articulated space,
free reciprocity
spatial construction
of
holds
most forward-looking of
between sculpture and architecture occurred in Europe a few (fig.
Bijenkorf in Rotterdam, built by Marcel Breuer.
It is
in Constructivism the ultima ratio
often fruitless preparatory
work
nearest to fulfilling the task.
248
as
surfaces developing in space differs
Gabo's Rotterdam Construction
:
in Detroit thus providing
a rare chance, Pevsner's composition
this particular
symbol of human
these free encounters
years ago
Motors
o£Bird Soaring
complements and enhances rather than contradicts the
vertical ascent
call. Its
by
determined horizontals of the building. Similarly,
own
been realized
doubt, the abstract beauty of the transparent walls
for a plastic counterpart and,
its
new name
mutual and the architecture stands to gain just
is
frames, glass and ceramic
this relationship,
has, so far,
deserves.
ence of Pevsner's piece.
answer the
dream
Eero Saarinen had an enlarged bronze
of Pevsner's Column of Victory
it
to decorate buildings,
Exhibition of 1937, but to bring about a
cast
steel
want
encounter in which the task of the sculptor would be to mediate between built-up
space and free space
it
answered by the non-
heightened to an imaginative play of interrelations.
is
Independence
is
of 20th-century
212) for the department store
De
my last example - not because I see
art
but because, after long years of
for the integration of the arts, Gabo's piece
comes
To
devise an adequate sculptural counterpart to the department store
if farsighted,
was a
difficult,
commission. Apart from the basic problem of harmony and of accommoda-
were
ting the piece in the street, there
method of erection. The work, weather-proof.
The
vegetable kingdom.
took a tree
ture and artistic expression.
The
;
concrete faced with black marble
which shoot up
full-height
to
be light yet stable and
he found the answer to
all
these
as his
house
(fig.
model and
213),
this
roots of his 'tree' are
of the building
crete foundation
;
and the
had
as tall as the
artist said later that
He
technical ones connected with materials
from them the stem
problems in the
choice determined both struc-
embedded
in the reinforced con-
springs the double stem in pre-stressed
splits
up
into four double branches in steel
and come together to form the
crest
;
the thin transversal
bars reinforcing the structure are to be understood as smaller branches or twigs
piece inside repeats the
theme on
;
the
a smaller scale.
Transparent, open to space and predominantly vertical, the composition stands out against the is
compact horizontal mass of the building. The
thus an antithetical one.
Whether Gabo's construction
relationship
is
taken as a campanile, a
for publicity, a tree or a simile for the bridges and cranes of analysis, a
matter of individual
interpretations
is
taste
is
would be
rash to suggest
in the fifteen years since the last
one another.
by itself would have been incomplete
:
the presence
it is
this
wholeness in duality which
on
the strength of these
few
successful instances that the
arts is
war
already
upon
us.
But
there can be
the architect and the sculptor have
If they are to fulfil their task
time, they cannot dispense with one another
autonomy of the
in the last
disciplines possible.
golden age of the reunion of the
for
is,
and judgment. But, transcending these personal
necessary to the identity of the other, and
makes union of the two It
Rotterdam
pillar
the fact that here the confrontation of sculpture and architecture has
resulted in a genuine synthesis. Either
of one
between the two
;
no doubt
begun
that
to be ripe
of giving monumental expression to our
nor can either dispense with respect for the
other's art.
249
IV
Form and
The previous
space: variations 1967
chapters
were written while Tachism and
Europe and Abstract Expressionism determined
my
in the
United
main choice of subject and
informel' flourished in
These trends, now past history,
States.
illustration.
'art
The
principal art forms of that
time have since been driven back by the powerful onslaught of new movements tendencies have gained a
new lease of life and found
of sculptors supersede one another
at a
more
their place again.
effected a significant 'Reality',
reflect
;
it is
New generations new
sculpture of
discussed throughout the world. Sculpture has
kind of relationship with the reality of our environment. senses.
Pop
sculpture and, in particular, environ-
banal or disturbing events from everyday reality; the introduc-
reality.
exclusive product
by
now
modern technology, formerly scorned
another kind of
side
new
is
of course, has a variety of
mental sculpture, tion of
States
old
rapid pace than ever, further increasing the
variety of art forms. Geographically, too, the accent has shifted; the
England and the United
;
Art
is
in art, also constitutes a recourse to
offering the spectator
taking into account the
and potential consumer a of contemporary
realities
life.
Side
less
by
with the unique work, or the work available only in the limited edition dictated the bronze cast,
we now
multiplied in unprecedented
find the object that can be industrially produced and
numbers and,
as a result,
is
on
sale in
department
stores.
Synthetic materials are in part responsible for this development; since they can be treated in a variety of ways they stone, iron
compete with the
sculptor's traditional materials, such as
and bronze. They not only extend the formal
possibilities,
but also
reproduction and contribute towards reintroducing colour into sculpture. or polychrome sculpture, the
250
latter a recent
facilitate
Monochrome
innovation, has lifted the ancient taboo of
appropriate to
'art
which and
in turn
its
material'
abandoning the traditional
is
of two-dimensional representation
rules
by the frame. Never before have painting and sculpture
pictorial space dictated
come
coloured volume, sculpture can vie with painting,
as a
;
which
so close. In sculpture, colour,
assumes a
number of
affects the
apparent form and
functions
:
usually intensive
is
and non-associative,
can structure the work, divide or unite
it
well as the solidity of the volume; not
size, as
it.
Colour
least, it
helps
determine the reality or unreality of the object. Since the colour can be altered, the sculptor can use
it
to adapt his
work
to
its
environment or
tt/isolate
Indeed,
it.
by
a
change of colour, he can entirely change the form. In the formal context, the revival of geometry
forms. This in
itself
evident in the reduction to simple
would not be an overwhelming novelty but
dimensions of 'minimal'
art
or
'ABC'
they no longer serve
art
as
at the
same time the
Man is no their own standard:
have been enormously increased.
new primary structures
longer the measure of all things. The self-sufficient,
is
mere
dictate
vehicles for symbolic or associative
mean-
ings.
The
constant 20th-century
phenomenon of
the antithesis between these reduced
or minimal forms, and expressionistic, Constructivist or free space-sculpture larly
conspicuous in the immediate present.
Surrealist abstraction evidently
formal hygiene of Op realistic figures artifice.
a particularly
and objects of Pop and post-Pop
Machines make
art
and
particu-
or shocking objects of post-
provoked the purism of the minimalists and the cool
Hard edge,
art.
The absurd
is
are art.
which
art,
Movement
'artificial'
form, contrasts with the
in turn translates reality into
can equally well be an expression of
change and represent continuity. Indeed, the situation in sculpture has never been controversial as
it is
in the 1960s.
Many of these trends claims that
it
have appeared in succession, and each respective trend in turn
has rendered the others superfluous, or at least superseded them, so that in
comparison they are no longer unique. The innovators consider each a distinct phase
who
as
of an evolutionary development. The ordinary
can scarcely register the different phases
as intervals
porary forms, whose unity, paradoxically, consists of the cies are divergent.
new
spectator,
of time,
sees
trend as
however,
only contem-
fact that the individual
tenden-
So instead of concerning ourselves with the question of chronological
developments since 1959,
we
will try to relate the criteria established in the preceding
chapters to the situation in 1967.
With
respect to the
problem of form,
basic forms, such as the sphere, the cylinder latest
developments. In
tally related
would be
:
fact,
'kernel sculpture', since
it
and the cube, has not been superseded by the
the term 'primary structure' implies something
forms of an original kind, although in a more limited
difficult to find
can be reduced to
an avant-garde sculptor
simple marble forms as those of Brancusi
and polyester. However, looking
at
who
(see fig. 1).
still
Modern
chisels
sense.
fundamen-
However,
it
and polishes such
sculptors prefer fibreglass
William Tucker's Four Part
Sculpture
No. 4
(fig.
251
23
1),
why
becomes understandable
it
homage
to Brancusi, the
young
the
sculptors of today
grand master of 20th-century sculpture.
Column or The Beginning of the World encourage them
is
much
time the base. Brancusi considered :
of the sculpture and
a part
The
'actual' sculpture.
that proportions
The weight of 231) or
also
Donald Judd's
on
(fig.
239)
works
void
is
an
(fig.
Forms of 195 1
214),
one of
(fig. 5)
new
greater.
:
by
the
this
base, sculpture
Although
now
it is
not always
would be more
it
The compact volumes of Tucker's do not appear massive and heavy;
proves that
Edward Higgins
it is
impene-
dimension, although the sculptor's task of relating the
Comparison of Henry Moore's Atom
on
this
an inexhaustible motif. In Atom
it is
architectural
(fig.
Piece
of
theme, with the Internal-External
forms into an
also
Both
216), in different ways.
Lee Bontecou spans canvas over welded
Piece,
Moore
has
artistic unity.
steel
concern Lee Bontecou artists
combine
dispar-
frames to form relief con-
of tense corporeality whose gaping holes have a peculiar
in Higgins'
the
contemporary sculpture often
air,
The problems of opening up volume and of inner form ate materials
from
on every other level. This presupposes
certainly
his last variations
merged anthropomorphic and
225) and
the base
of their formal existence. The problem of inner and
essential part
has not yet been finally solved.
structions
its
also
the other hand, the visual forms alone create this impression.
outer form thus takes on a
(fig.
distinct
geometric forms introduce hollowness, implying that although
trable, the
1964-67
Freed from
much
sculpture has also changed.
work
an example) have solved
One could accuse it of megalomania; that man is no longer its measure.
in Brancusi's sculptures,
The new
component,
space.
accurate to say, again,
two
own level - but
is
base.
have changed, and become
immense
indispensable. In his
it
indeed ever - intended to stand in the open
requires
(fig.
own efforts. They have, in
in their
a functional
it is
sculptors of today (Tucker
confronts the spectator at his
if
yet, since
of dispensing altogether with the
drastic step
-
such as Endless
found the solution to an age-old sculptural problem to which Brancusi
addition,
devoted
Works
pay particular
effect
of suction;
work, quasi-technical forms in simple arrangements determine the external
appearance, but he carries over the play of form-in-form to the material level
hard pincer-like
steel
Berrocal's Samson
forms grip (fig.
softer
by
letting
rounded forms made of epoxy.
215) also deals, in a general sense, with the
and outer form; the inner forms appear only
if the figure
is
problem of inner
taken apart. Like a kind of
three-dimensional puzzle, Samson can be dismantled into ten building bricks and reassembled. Each piece has
its
own
sculptor's perfect technical control
formal value and
and an articulated
analytical 'sculptural thought'. Berrocal adds the
inner and outer
form
since
everyone
who
'sign in space', because
252
both evidence of the Spanish
plastic
invention demonstrating his
dimension of time to the concept of
understands the sculpture can himself repeat
the process of dismantling and reassembling
Although one could include Higgin's
is
191.
Gunter-Ferdinand
Relief in Concrete
]
(detail), ig
Hildegardis Gymnasii
j
Colog it.
(Arch. Berner and Jaco'j
untitled sculpture in the formal category
of its reduction of solid volume,
this still
of the
does not really agree
27' 3"x37'|
Dr Wolfgang
Salcki
Colog
»^-—
I9J.
I 192.
Karl Ehlers
Buttressing Wall, 1957
LVA
Clinic,
Bad
Salzuflen (Arch. Deilmann)
Concrete Length 98' 6" Photo: Author
193-
Otto Herbert Hajek 6' io 5 / " 8
x
17' 1"
x
Spatial Wall, 1959
2' ii
Revenue
Office, Villingcn (Arch. Carlfred Mutschler,
Mannheim) Moulded concrete
"
3 /8
1.
1
I 1 1
«£NB
194-
Hans Uhimann Suspended Brass and
chrome
steel
c. 5'
Sculpture, 1957 3"
x
9' 10"
x
4'
Staircase in the University Library, Freiburg (Arch.
11" Photo: Author
Horst Linde and Hornschuh)
195.
Herbert Ferber Relief on
the B'nai Israel Synagogue, 1952
Millburn,
New
York
(Arch. P.
Goodman) Lead on copper
12'
x
8'
196.
August Endeix Photo Marburg
Relief in the photographic studio Elvira, Munich, 1898 (executed
by Joseph Hartwig) Stucco
23'
x
42' 8"
197-
Norbert Kricke Surface Steel
Way
in
Two
Planes, 1957/59
Theatre
Length ill' 7* Photo: Alfred Nagcl, Gelsenkirchen
at
Gelsenkirchen (Arch.
W.
Ruhnau, O. Rave, M.
v.
Hansen)
198.
Harry Bertoia Steel
and
alloys
Screen Wall
Height
i6',
Manufacturers Trust Company,
Length 70' Photo: Ezra Stoller
New
York
(Arch. Skidmore,
Owings and
Merrill)
199-
Hans Akp Wall
Relief, 1950
(Arch. Walter Gropius and
Harvard University Graduate Center
The
Architects Collaborative), Cambridge, Mass.
Redwood
Photo: Fred Stone
:;:.
200.
Kurt Schwitters
MERZbau, begun
1920 Hanover
(destroyed 1943)
Photo: Landesgalerie Hanover
201.
Josef Albers
Partition Wall, 1950
Brick
Harvard University Graduate Center (Arch. Walter Gropius and
The
Architects Collaborative)
Cambridge, Mass. Photo: Walter R. Fleischer
202.
Theodore Roszak Turret and (Arch. Eero Saarinen)
belfry, 1955
Chapel of the Massachusetts
Aluminium Photo: Author
Institute of
Technology, Boston
203.
Costantino Nivola Photo: Hans Nauuith,
Relief Wall, 1953
Olivetti
showroom,
New
York (Arch.
Peressutti,
Rogers and Belgiojoso)
New York
tf
Figun
Mitbl
"
204-
Fritz
Wotruba
Figure, 1959
Marble
Height
1
1
s
In front of the Municipal Hall, Vienna
(Arch.
Roland Rainer)
205.
Hans Kock
Granite
stele,
1957 58
Primary School
at
Hamburg-Niendorf Height 128" Photo: Kay, Hamburg
^sEGaam
hen. Switzerland
Carved from Baveno
granite, 1957 58
Diameter 71"
», H e „,- Ge o,« A™, 5
s„, P „, re
i„
ta ol Le „,mv Mu „
,
D„ is „
, 9i4to]
comp|oKd
is6]
CoiKreK Hc
.
]|t
^
^^
^ ^ ^
208.
Hans Arp
Coloiine a elements interchangeables, 1961
Concrete Allgemeine
Gewerbeschule Basle (Architect H. Baur)
Photo Maria Netter :
:o9-
Alexandeb Calder Mobile, 1959 By
the
UNESCO
Conference Building, Paris
^^i
(Arch. Pier Luigi Nervi)
210.
**< •
\
Henry Moore
Reclining Figure, 1957/58
Roman
travertine
In front of the
Length
16' 5"
UNESCO
Genera] Secretariat building Paris (Arch.
Marcel Brcucr, Pier Luigi Nervi
Bernard Zehrfuss)
2ii.
Antoine Pevsner Bird Soaring, 1956 General Motors Co. Technical Center, Detroit (Arch. Eero Saarinen) c. 16' 5" (Enlarged version of the 'Column of Victory' of 1946)
Bronze Height
"'fan 212.
Naum Gabo Concrete,
Rotterdam Construction, I954'57
steel
and bronze wire Height
85'
In front of the
Photo: Author
'De Bijenkorf store in Rotterdam (Arch. Marcel Breuer)
with the concepts described and
illustrated in
Chapter One, for
Among
sive gesture, the dramatic declamation.
other
seek a comparable shrinking of bodily substance to
where substance
fact,
ment
no more than hinted
is
bert Kricke, in his
new
too,
is
would be vain
it
itself.
to
extreme form, to the point, in
Among
European
'flowing sculptures', has taken this idea to
But the general tendency Interest in
its
lacks the freely expres-
serving as a gesture or trace of
at,
beyond
in space that suggests something
artists,
it
its
move-
sculptors,
Nor-
logical conclusion.
to increase the bodily substance again.
mobile sculpture has increased. Apart from George Rickey, other, younger
inventors of mobile sculpture should be mentioned, although, particularly in their case,
reproduction can give only a vague idea of their actual appearance. Classical mobiles
were pass
set in
from
motion by draughts of
or mechanical tremors the tendency ;
deliberately incomplete kinetics,
and even beyond to the anical
air
motion per
artistic
which mock the machine,
examination of kinematics, that
it is
tempting to stop classifying the
Dada, Pop
art
to
to exact kinetics,
the beauty of mech-
'relief ' as
become more and more
a separate category.
the found or chosen object, whether isolated as a 'ready-made' or as the
assemblage, has
is
se.
Since the frontiers between painting and sculpture have indistinct,
is,
now
become an unusually popular
and similar
styles, as
shown by
organized by William C. Seitz in the
art
form through
the
However,
component of an
medium of neo-
the exhibition 'The Art of Assemblage',
Museum
of Modern Art in 1961, and numerous
other demonstrations by the 'objecteurs'. After this brief recapitulation of a typology of modern sculpture,
problem of meaning.
Two
aspects described earlier
let
us turn to the
much
have become
clearer: the
multiple relationship to reality, expressed in anthropomorphic forms or in the forms of the trivial everyday world; and the rigorous renunciation of representational function. In
Henry Moore's Atom
Piece (fig. 214)
structure can be seen in the skull-like shape. In spite abstraction, the
human
Moore's sculpture. ever get far
and human
the thing that
Marlborough
whose
Gallery,
all
:
'I
even
an anthropomorphic
still
fundamentals of Henry
don't think that
sculpture
London
associative or
of his recent tendency to return to
relationships are
A few years ago he declared
away from
(catalogue of the
Berrocal,
scale
any
we
shall,
based on: the
is
or should,
human body'
1965).
career began only after the highpoint of abstract informalism, takes
He shows the human figure as archaic torso (fig. 215) or as a its abstract components. He combines the various techniques
an even more decisive stand. bust, in strange contrast to
of abstraction, assemblage and construction into a synthesis which ancient aims of sculpture - to recreate the
Edward Higgins, whose 213.
fulfils
one of the
image of man.
constructions with their effect of alienation
were discussed
Naum Gabo earlier,
Detail of the
Rotterdam Construction Photo: Author
leave it
it
gave no
title
to his sculpture
(fig.
216) of welded steel and epoxy, perhaps to
equivocal, perhaps to avoid any unnecessary explanations of the obvious.
seems clear that the construction of flat and curved
steel plates,
Yet
which can be opened or 277
by
closed
human
hinges, represents a
robot, or at least an animated object with sexual
connotations, like the solid steel figures
by the Austrian
Rudolf Hoflehner (fig.
artist
66).
Hoflehner emphasizes erotic impulse and Higgins the sexual apparatus; Ernest Trova's
human
figures
(fig.
217),
aggregates instead of arms. These 'mechanomorphic' forms
Study: Falling
Man
from without and then can be interpreted
as
(L.
Alloway) suggest astro-
of voluntary movement,
nautical puppets, firmly fixed in a spatial system, incapable
receive their orders
furnished with technical
faceless, sexless beings,
however, are
who
act according to a prescribed plan. Trova's
showing man
as function, as a chess piece, part
of a superimposed mechanism, and certainly incapable of free
The sameness of the
will.
figures reveals their industrial provenance; only the medical instruments attached to
them
distinguish the
anonymous
figurines according to their individual functions.
The field of action of Marisol's Pop is
sculpture ironically entitled The Dealers
equally restricted. Eleven figures are each boxed
of furniture they can be
breasts articulated, other features only indicated. Like pieces
moved
together, stacked
objects; but at the
up or
same time,
as
box-figures can be manipulated like
The
shifted about.
218)
hands and
their faces, legs,
in,
(fig.
implied by the perhaps autobiographical
title,
the figures
themselves can manipulate, and their different organs determine their orientation in
witty fashion. This Surrealist joke-sculpture represents a whole armoury of proverbial
wisdom. Realistic
and
Porte (fig. 219).
surrealistic
elements also inform Jean Ipousteguy's
The anatomy of the nude male
from
figure seen
Homme
the rear
pcussant
is
la
accurately
observed and reproduced; the torn, scarcely stitched-up epidermis and the robot-like stride
appear unreal. Another
the dog's head.
turvy the :
But
man is
despite these appearances
striding
why the man
should push open the door
the evident gathering of strength,
muscular. Perhaps Ipousteguy achieve a
new
was almost
He
:
of comforting
through the closed door
dog's head emerges from the door as though
der
the setting the swing door with
realistic feature is
is
why
the
trying to
as
though
were not
it
when he
man
show
reality, it
solid.
everything
but gradually he recovered
recovered his tracks. Western
man
The
spectator
can step through
it
word had been able to
enter.
topsy-
may won-
like air,
why
should be so energetic, so athletic and that
man overcomes
space and time to
'One day
his
memory. He checked
man
equipment.
Ins
reached the point at which he represented the
source of all his myths since antiquity: the organization of a space and a time the
is
and
were not there and the
poetic dimension, as he implies in the following words:
extinct,
slats
Today action is
recapturing the word.
.' .
.
which only
(catalogue of
Museum Leverkusen, 1965-66). George Segal's Woman in Doorway of 1965 (fig. 220) portrays a comparable situation: a woman is opening the door; she is hiding, expectantly or patiently, behind the wing of
the Stadtisches
the door, peering at the person entering, with first
sight there seems nothing
occurrence, as
when
the
odd about
whom
the spectator
this situation, it
postman or milkman
rings the bell.
must
identify.
At
seems a normal everyday
The
setting
- shabby doors
278
.
with peeling paintwork, the familiar;
peian
and yet the
bronze
is
The
plaster, usually the
man suddenly
stiffens in
the middle of his ordin-
preparatory step in sculpture before the definitive
here becomes the necessary material for rendering the
caste,
remote from
life
'What
again.
is
W. A.L. Beeren spoke of a 'Pom-
mysterious and strange.
presumably meaning that
effect',
ary doings.
effect
the dark background, the cheap doormats -
stairs in
me
interests
a series
is
life-like female figure
of shocks and encounters that a
person can have moving through space around several objects placed in careful relationship', said Segal, referring to the artistic
aims of his environmental sculpture, in which he
confronts the real and the unreal. Segal's environmental sculpture belongs to still
in plaster
form and not bronze,
carries
Pop
TheHead (or Die Lust an Adam)
The
artist
large garden decoration
with
221), but the links
(fig.
his painting are closer.
Dada
somewhat reminiscent of an
it is
by Hans Arp
(fig.
with no
embellishment. This relief proves in
later its
222), the
first
relief,
which
preserved in
is still
many ways
method of construction by means of visible
art.
of painted sheet
has in fact hugely magnified one of his pictorial motifs and transposed
solid three-dimensional object. Stylistically
trends, in
Ipousteguy's sculpture, although
Europeanized echoes of American Pop
One could perhaps say the same of Horst Antes' steel,
art.
to be a
its
into a
it
early relief
original
form
key to present-day
screws, as well as the 'crudity'
of its contours and painting.
Hans Arp have become
is
one of the Old Masters of modern
'actual' for the
and the objects of the
coming
younger
sculptors.
Surrealist painters,
Porte-bouteilles (fig. 223).
The
early
and the 1964 edition of eight signed and numbered
object
which Duchamp chose and
since today
it
as irrelevant, are
'chosen' for an art exhibition, the bottle
dryer was an object found by the thousands. Fifty years later
if there is
replicas
it
had
was out of circulation to be specially
established as an objet d'art, at will
from
it is
a mass
nevertheless misleading
of identical
time has intervened in the original purpose, not by covering the thing
by
made,
nothing wrong with the reproduction of an
can no longer be selected
patina of history, but
his ceuvre
Marcel Duchamp's ready-made of 1914,
is
At the time when it was
or rather reproduced. Even
of
work of Alberto Giacometti
which were often dismissed
A typical example
to the fore again.
art; individual aspects
restricting the idea,
which points
objects. itself
Here
with the
to the thing, to an historical
dimension. All
Duchamp's works question
the fundamental concept of art; yet this does not
exclude them from being works of ironical relationship to the
art.
Claes Oldenburg does not have this critico-
work of art and
the creative idea.
tion that his enlarged, soft objects like Raisin Bread: 5 are art, cal
and explains 'My
approach to
form
in space.'
:
art
and
art
is
a play
between actual and
reality itself, as a
And he
adds
slices
He starts from the assumpand end, 42
artificial,
raisins (fig. 224),
therefore an analyti-
by-product of the investigation and discovery of
this description
of the creative process:
'I
wish to be
like
nature - creative but unphilosophical, mindless, machine-like.' This comparison
is
279
;
misleading, for Oldenburg
of the younger American
one of the most thoughtful and philosophic
certainly
is
graphy of our consumer world in
his
he models by
is
of
his objects to give
of
alters the relations
man
of Gulliver on
In recent years
American
much of the
determines
was
arbitrary, as
common artistic
preclude using a miniature its
fascination
technology the steel
on
we undergo
experiences
and meaning of a work of art. The enlargement
in earlier sculpture, in the stages
These
scale.
from
artists
is
size
not
the bozetto to the
plan the proportions
and expressive value. Certain techniques would, of course, Lee Bontecou's
scale.
a smaller scale,
and would
openings of jet motors)
[vide the
more or
and sculptors have given ample proof that
working model and then to the monumental beforehand for their
a
his travels.
painters
effect
them
to his environment, and
confronted by his Raisin Bread or his enormous light switches, similar to those
of the sculptural pro-
a curious reversal
stuffing the tailored shells
firm consistency. Thus, he
less
he has compiled an icono-
art,
works, winch are the more hard-hitting the softer
Oldenburg has fashioned them. His method cess:
from Pop
sculptors. Starting
framework would, on a smaller
relief construction (fig. 225)
lose ;
its
reference to the
would
lose
modes of modern
the brutality of the canvas stretched over
merely look
scale,
like a dainty piece
of
handiwork.
David Smith's Cubi
(fig.
226) are also
their geometrical character, the cubic
on an enormous
and
scale,
forms
cylindrical
but in
of this and
spite
convey the idea of
still
sculpture as the measure of man. Smith's Cubi usually have built-in pedestals supporting
the juggling act of the brightly polished elements.
Constructivism and thede
show
tions
Stijl
movement (w figs.
a greater freedom of
stay in the
encounter which
obvious space.
is
links, for
form and a gain
been discussed
States in
European
in self-assurance, expressed in the scale.
1959 Anthony Caro met David Smith - an
often cited as the origin of Caro's
new
style.
The two
artists
have
both are concerned with making objects into form-structures in
Even Smith's
space; in the case
United
early
14 and 18) these solid spatial construc-
choice and treatment of the material as well as in the
During a
Compared with
early linear
works
(see fig.
154) portray the emphatic gesture in
of Caro, whose expressive modelled works of the 1950s have already
(see p. 44), this
development was abrupt, but immediately led to a per-
sonal style. Caro's sculptures are
no longer
related to architecture
since they are conceived in loose disparate combinations
of support and load, they need no volume. His corporeal, but their effect
is
light
steel
and they need no base
of form and not on the principle
beams, plates and bands are solid and
and incorporeal. They evoke something of the rapid
play of ideas, of loose word-combinations, relations and correlations. In David Smith's
human action is not entirely absent; Caro, however, sternly any association. His work is abstract in the strict sense of the term. Not even
sculpture the relation to
renounces the colour (fig.
280
228)
it
is
associative;
it
assembles and subdivides, and above
serves to sharpen the distinction
between
art
all,
and nature.
as in
Prima Luce
;
Eduardo Paolozzi, on the other hand, whose earher conglomerate sculpture
we have
already discussed, remains within the realm of the figurative in his
aluminium
sculptures
associations.
tures
The
(fig.
227). His technological
(fig.
more
96)
recent
forms combine organic and inorganic
nature of the material plays an important part in the non-static struc-
which Paolozzi
likes to use in his
Pop
paradoxical
aluminium and the high shine of chromium-plated
The matt glow of
sculpture.
concretize his dreams of
steel serve to
the objects of man's environment.
Paolozzi like
an isolated figure
is
who
Anthony Caro. However, even
teachings developed independently.
common aim by
can stimulate others but does not form a school the
young English
It is less
style that links teacher
assimilated Caro's
and pupils than the
to let sculpture begin again at 'zero hour'. Phillip King, for example,
contrast with Caro, does not exclude corporeal
His sculpture Through object that
who
artists
(fig.
229),
made of plastics,
would dominate any
is
volume from
more than life-size and
King cut
interior.
his artistic
programme. expansive, an
the cone in regular sections; the
whose
parabolas of the lines of intersection encounter a system of steps at the base, rectangular arrangement contrasts with the taut curves of the conical
them. The chromatic scheme of Through
also relies
green, the intersected surfaces a dull red.
Form and
there are
no
Among quoted
the
many major
pupils of Caro
of sculpture
we may is
material, fibreglass, in his Four Part Sculpture
at will.
it
idea are in a direct relationship; for intellectual speculation,
fact.
as saying that the 'idea'
value, since
contrast: outer surface a dark
no room
distractions such as associations,
simply a sculptural
on
form above
alone makes
it
single out
more important than the No. 4
(fig.
23
1)
who
William Tucker, material.
is
But the
has considerable expressive
possible to arrange gigantic, relatively hght-weight bodies
Tucker's sculptures consists of four equal cylinders arranged cross- wise; but
although they are in the form of huge columns, they evoke no architectural or Cyclopean associations.
Their theme
is
the ordering of identical sculptural bodies,
rearranged, so that a totally different effect trated version It is
is
also
be
the spatio-dynamic order of our illus-
achieved.
interesting to
steel sculpture
from
which can
by
the
compare the works of the two English
German
artist
Erich Hauser
basically geometrical, a cylinder such as those
(fig.
230).
sculptors with a similar
Here again the shape
Tucker takes from the
arsenal
is
of basic
forms. Hauser's sculpture also has an incision, like King's Through. Yet Hauser
is
not
concerned with the regular articulation of a volume, but with the expressive value
of the
incisions which, so to speak,
'wound' the cylinder. In Hauser's early
sculptures there are similar formal motifs, as
in 'dangerous' situations. related works,
To
one could say
when he
distinguish these
steel
poises crystalline-shaped
volumes
contemporary and in some
respects
that Hauser's sculpture has
more of an emotional
than that of King or Tucker. Tucker's sculpture could be described
effect
as 'conceptual'
King's objects are also presented as basic shapes without modification but Hauser, in the ;
281
makes use of technical and handicraft methods, which
process of creation,
part in the final realization of the
work,
in a sense, as counterpoints to the steel.
'making', the process of creation,
The
very important to Hauser; but in the
is
of the American sculptor and theoretician Robert Morris 232).
Unlike
many of the
effects: it
light
is
is
from within.
It
certain intellectual
Olymp such
as this
233), also started
its
own
pure geometric form. Morris aims
this
American concept of 'primary
who on
it
'non-
with the
Haese's poetic invention
art,
in the old-fashioned
sculpture and one of
its
balls
of the
After his early lanceolate mobiles, Rickey
whose
But the most ingenious
weave
his
own thoughts
aspect of
around
it.
and theoretician George Rickey.
artist
now
is
concerned with 'kinetic planes'
rolling see-saw
motion
reflects the light
and
new relations. Rickey does not exclude associations,
do not imitate nature
like plants
title itself
to the slightest breath, leads us to kinetic
main exponents, the
brings the geometric forms into ever
The
within spheres, vibrating in a framework of hair-
which responds
234) of polished refined steel
way.
associations are not forbidden here.
that each spectator can
is
Haese's construction,
sometimes look
as in the case
contrast with the
by hand
thin wires, can be interpreted as a heavenly hierarchy.
I
sculpture
By
of minimal
'Though
A
of craftsmen and
rows of sliining
indicates that the
:
a
principle exploit the higher technical standards
has to be built-up
puritanical school
writing
at a
structures'
with mass-produced, basic geometric forms.
cannot just be conceived and then executed by others,
'fabricators'
(fig.
by
a European contemporary of Morris. Giinter Haese, in his construction
(fig.
factories;
the centre, the cuts emphasized
demands.
compare
interesting to
work of
down
specific
- something which everyone can understand but which yet
intimate, public quality'
It is
(fig.
evokes no associations. Minimal sculpture does not try to express
anything beyond the value of
makes
part
little
with no
fibreglass, a material
made of grey
a large ring, bisected vertically
plays very
it
work
English sculpture, he even renounces
new
exponents of the
colour. His untitled sculpture
play their
still
I
am
aware of resemblances.
or clouds or waves,
it is
If
my sculptures
because they respond to the same
laws of motion and follow the same mechanical principles.' (Rickey, 16 years of Kinetic Sculpture,
The
Corcoran Gallery, Washington D.C.,
spread of kinetic sculpture, with
recollections as Laszlo
of those
isolated forebears
its
1966.)
manifold light
who were
recognized only posthumously, such
Moholy-Nagy, whose Light-Space-Modulator
1922 and 1930,
is
preserved in the Busch-Reisinger
a prototype of kinetic art. In the fluctuating light
effects, necessarily leads to
(fig.
235), constructed
Museum
of Harvard University
of over one hundred
instrument projects moving pictures on to the surrounding walls. justified
and
logical to include
trends, particularly since
Schoffer
(see fig.
15),
Moholy-Nagy's
many
artists
last
work in
two
have been directly influenced by
cussed in connection with a previous
282
of the
kinetic
work
(fig. 22),
between as
electric bulbs, the
It
therefore seems
this discussion
of today's
generations, such as Nicolas it.
Jean Tinguely, already
dis-
often turns to contradiction and
paradox, witness his phrase, 'Le dcfinitif
mockery as
New
a
of pure
after periods
mechanized Happenings (auto-destructive machines such
(machines a dessincr),
Hommage
Yet
c'est le provisoire'.
York) and
immense sound-producing machines
(Eureka), his artistic
production has recently become more firm in execution and functioning. Instead of being a kind of junk
which
art',
playful and playing art-machines, such as greater mechanical precision.
The
Le Rotozaza No.
basic principles
to
from
the drudgery of 'usefulness'
by planned
(fig.
his
now
236),
artist,
on
display
one
the
irregularity or unaccountability, continues
of kinetic
mouvement
partout et tou-
art.
Invention and precision also characterize the kinetic sculptures of Pol Bury,
works mainly with wood, concealing the motor impulse. In illusion
new
the other hand to free the machine
to be valid. His declaration 'L'unique chose stable c'est le jours' can be taken as the leitmotive
l
of this imaginative
develop form by means of motion, and on
hand
of perfectionism,
ironically questions the idea
of the movement of balls on inclined planes
is
who
his sculpture (fig. 237) the
heightened by the actual move-
ment of the motor. Tinguely and Pol Bury are experienced technicians hand. But some
who
produce only the idea leaving the execution to others. This
artists
by
believe in doing things is
not
a recent innovation, since few sculptors in the past cast their bronzes themselves and
many
'praticiens'
An
early
trially
factor
have
artists
that the
is
example
produced is
their 'praticiens'.
is
former intend
plexiglass columns.
pressed
is
opening on top and then its
trickle
point of depature.
between the
difference
their designs for
Norbert Kricke's Wasserwald
the water that
return to
The
'fabricators'
mass production from the outset.
(fig.
Yet the cylinder
is
238), constructed
down
from indus-
secondary here; the
up through the transparent columns back
and the
essential
to overflow at the
the outside wall, like a sparkling veil, to
The columns of water
in their architectural setting. Kricke's Wasserwald
is
stand 'dry-footed', so to speak,
composed of
identical geometric
forms, but the disposition of the columns follows a free, irregular rhythm. Donald
Judd even omits
these contingencies: his predictably untitled metal boxes
manufactured by metal-workers and are absolutely
hang beside one another
in a simple
row as
identical.
The four
(fig.
239), are
industrial units
'quantitative structures' (L. Alio way), free
of
association or aesthetic embellishment. Judd
is
concerned with the coherent realization
of the idea of a preconceived sculpture which
is
mass-produced.
all
Louise Nevelson,
from
who
prefabricated parts,
the difference that she materials to
form
precision; the
technological visation,
it
has
from the
start
works on the same
now
effects.
principle in her recent ensembles, but with
assembles newly-manufactured synthetics instead of used
a transparent architecture
charm of
assembled her environmental sculpture
the old-fashioned
(fig.
240).
Her
inventions thus have a cool
metamorphosed bric-a-brac
gives
way
to
Although the mechanical process precludes hand-work and impro-
does not entail an absence of thematic references; the dream world of the
imagination
is
preserved in the material. 283
Mass-produced forms figured
Kcmeny's
repertoire for
proportions in one of the
They assumed monumental
fig. 29).
who
in Zoltan
last
241), a building providing
(fig.
collaboration between architects and sculptors. profiles
of varying
omous but artist,
points
who
declared:
'I
which
the elements
I
itself. Its
do not
other examples of successful
Kemeny's
relief consists
of rectangular
a
setting
also time, space, light.'
is
of the location. The
formal vocabulary, adapting
harmony between
of the all
grasp visually - with or without an electronic microscope -
Kemeny's and
part of the architecture, not just a decoration but also as an interpretation
his
not auton-
between technical elements and nature;
represent the reality of nature for me. Nature
of the architectonic
is
associative character reflects the philosophy
differentiate
artist,
und Sozialwissen-
geometric structure which, however,
size; thus it has a
beyond
many
years (see
works by the
died in 1965, the mural relief in the Hochschule fur Wirtschafts-
schaften at St Gallen
many
it
artist deliberately restricted
to the language
relief is
reflection
the variety of
of the architecture in order to achieve
the sculpture and the architecture.
This work, together with Norbert Kricke's Wasserwald, reintroduces the problem
of purpose which was discussed
at
length in Chapter Three and which need not be elab-
new developments in the relationship between The additional examples we have given of the collaboration
orated on here, since there have been few sculpture and architecture.
between the two
have not, therefore, been
arts
classified in a particular
category but are
discussed in the context of their formal qualities and intrinsic significance. This applies also to a
remarkable monument, Eduardo Chillida's powerful pink granite sculpture,
Ahesti Gogora I7 (fig. 242), in the garden
other genuinely
monumental work,
of the
it
Museum of Fine Arts, Houston. Like every
combines architectural and sculptural values;
as a spatially
conceived and executed work, Ahesti Gogora
The mighty
granite blocks,
suspended by a giant
fist,
some of them poised
V
belongs to both
in hazardous balance as
correspond with the cut-out hollows and give the
arts.
though
effect
of the
dialogue between negatif-vide and positif-plein which Chillida considers the ideal of sculpture in space. Chillida's
forms have precise contours, independent of the material or
scale,
and a
geometric clarity - formal qualities which link Chillida with more recent sculptors. Yet it
would be
far-fetched to describe his angular definitions
'hard-edge' sculpture. (fig.
The term could then also be
243), Giinter-Ferdinand Ris (fig. 244)
hard-edge
is
certainly a
form of artistic
or secondary one. In Chillida's
forms in space and in the same ;
work
way
of
surfaces
applied to the
(fig.
245).
Although
we cannot say whether it is a primary
the prime element
the spatial
as
works of Edgar Negret
and Alexander Calder
expression,
and volumes
is
the dialogue between the
dynamism and
the tension between
open
curved surfaces determine the expressive values of the black, riveted, aluminium sculptures
(fig.
243) of the
refers to a spatial
concept;
Columbian it is
The
title
Navigator also
an allusion that can be understood metaphysically or
symbol of modern technology. 284
sculptor Edgar Negret.
as a
;i4-
Henry Moore Atom Fine Art Ltd.,
London
Piece, 1967
Bronze Memorial
to
Nuclear Energy, University of Chicago Height 108* Photo: Marlborough
V.
* *
lit
(
:..'•'
[criel
215-
Miguel Berrocal
Samson, 1963
n
Bronze
8 5/g"
Galcrie
Thomas, Municli
216.
X
3
/8
"
X 43
Edward Higgins Untitled, 1967
Welded
and epoxy X 35" x 12"
steel
35"
(closed)
Leo
Castelli Gallery
New
York
•i
7
.
Ernest Trova Study: Falling
The Pace
Gallery.
New York
Man
(Venice Landscape), .965,66 Satin
Photo: Ferdinand Boesch,
New
finish, silicone
bronze 90" X 168" X 72"
York
-
2iS.
Escobar Marisol The Dealers (u Figures), 1965/66 Mixed media 74" X 74" x 47" Courtesy Sidney Photo: Geoffrey Clements,
New
Janis Gallery,
New
York
York
1
2i9-
Jean Ipousteguy
Homme
poussant
la
porte
1966 Plasler for
bronze
Height 78 3 /i", Width 50 3
Depth 49V4" Galerie Claude Bernard Paris
,
(
220.
George Segal
Woman
in
doorway 1965
Plaster
65" x
tedclij k
and
19V
wood
x 18V2"
Door 94 Vj" X 47V4" Museum, Amsterdam Photo:
Museum
ii.
Horst Antes The Head
(or
Die Lust an Adam), 1967 Painted sheet
steel
82 5 / 8 " X 98 3 / 8 " X 19 5 .'„"
Photo: Author
222.
Hans Arp
First
DADA-Relief 1916
(formerly collection Jollos)
,
Painted
wood
9
1
.,"
X
7'/ 8 "
Collection Marguerite Arp-Hagenbach
223.
Marcel Duchamp
Porte-bouteillcs
1914/1964
Ready-Made Height Galleria Schwarz,
Photo: Bacci
25 1 / l
Milan
Attilio,
Milan
"
24.
Claes Oldenburg Raisin Bread: Courtesy Sidney Janis Gallery,
5 Slices
New
and End, 42 Raisins, 1966 Canvas,
York Photo: Geoffrey Clements,
glue, Liquitex
New York
46" x 40"
X 96"
225.
Lhe Bontecou Untitled,
Photo Leo :
1 9 62
Castelli Gallery,
Welded
New
York
Steel
and canvas 65" x in" x 20" Collection
Mr
and Mrs Seymout Schweber
226.
David Smith Cubi
XX 2 —29 — 64
Stainless steel
Height
no 3 //'
Photo: Marlborough Fine Art
Ltd.,
London
K^zr
227.
Eduardo Paolozzi Medea,
1964 Aluminium Si
"
1
s
X 72" x 44
"
;
/8
Photo: Author
228.
Anthony Caro Prima
Luce, i960 Steel painted yellow 78 s /!* X ij 3 // X 3i ! ,V' Collection
Photo: Kasmin Ltd, London
Max Wassermarm USA
229.
Phillip
King Through, 1965
Plastic
84 1 //
x 132V4" X 108V4"
Gallcria dell' Arietc,
Milan Photo: Author
230.
Erich Hauser Steel 3/67, 1967 Stainless steel
Height 78" Width 15" Depth 11%*
Photo Bruno Krupp, Freiburg :
i.
Br.
^*^^-
231.
William Tucker Four Photo: Author
part sculpture
No.
4,
1 1966 Fibreglass Four parts each 90
:
" a
x
i8\' 8 "
Galcrie
Rudolf Zwirncr, Cologne
232.
Robert Morris New York
Untitled, 1965
Grey
fibrcglass
with light 24" x 96" diameter Collection
Dwan
Gallery Photo: Leo Castelli Gallery,
<
233-
Gunter Haese Olymp, 1967
Brass wire and screen
33
W'
X -7'
s"
•
23 s/s*
The Solomon R. Guggenheim Museum,
New
York
234-
George Rickey
Six Squares,
One
Rectangle, 1967 Stainless
steel
32" x 16"
x 23" Photo: John D.
Schiff,
New
York
*
236.
235.
Jean Ting uely Lc Rotozaza No.
Laszlo
Moholy-Nagy
Light-Space Modulator (Lichtrequisit)
1922/30 Metal, glass and motor
Height 59 1 //, Width 27 Busch-Reisinger
1
,"
Museum
Harvard University, Cambridge, Mass. Photo:
Museum
1,
1967
Iron,
wood, motor
Galerie Jolas, Paris Photo:
Andre Morain,
Paris
237-
Poi Bury
iS balls
on
12 planes
forming
a
zigzag, 1966
4S 1
,"
X 21 5
" 8
X
y
.'„"
Galcrie Francoise Mayer, Brussels
238.
Norbert Kricke Water
forest Design, 1956
Executed
1954.
Rheinischc Girozentrale Diisseldorf (Architect H. Thoma)
13 Plexiglass
columns Height n8Vs", Diameter 15 3 / 4
Photo: Inge Goctz-Bauer, Diisseldorf
"
139-
Donald Judd Photo: Leo
Untitled, 1965
Castelli Gallery,
Galvanized iron and aluminium 33"
X
141'
X
30"
Collection Philip Johnson
New York
240.
Model
for
Louise Nevelson
Atmosphere and Environment, Ice Palace,
1967
X 12* New York
Clear weatherproof plastic 24" x 26"
Pace Gallery,
Photo: Ferdinand Bocsch,
New
York
mm^m*mmm^
-J " J
In Ris' Bonner Relief (fig. 244) the hard-edge as earlier
works
(see fig.
191) show, this also
form. But even in his case
I
incisions
More
movements
in space
and indentations, and
We have
emphasized by the absence of depth;
conforms to
Ris' personal
vocabulary of
tend to consider the sharp intersecting lines of the animated
surfaces a secondary feature.
interlocking of
is
an expression of
decisive as
and the sweeping rhythm which
unifies all the details into a sculptural
repeatedly returned to the fact that the
new
value are the
artistic
flashes across the
whole.
sculpture
is
conceived on a
considerably larger scale than before, a development which certainly derives in part
from
the
work of Alexander
monumental urban
scale
which
tive architecture
relates
them
(fig.
245).
do not lose touch with man; by
whose extensive
arcades
their
Du
Festival dei
qualities.
in spite
The
a tendency to the
of their monumentality
dimensions they become a figura-
man can walk or,
Perhaps the biomorphic character of his gigantic
do not assume super-human
But
shown
whether a landscape or an
to their environment,
the Gates of Spoleto
district, as in
Calder's stabiles
Calder. His stabiles have long
as in Spoleto, drive
through.
stabiles contributes to the fact that
they
Gates of Spoleto was exhibited in 1962 in the
Mondi, when the whole town was transformed
into a fascinating
ensemble of modern sculpture and architecture of very different eras (Etruscan to the present). Calder's stabile served a dual function:
urban
axis;
became an
and
as 'free architecture' it
aesthetic
critically, to
it.
I
do not want
sculptures' challenge to us to
problem of purpose,
this
it
a conspicuous 'sign'
summoned man
to generalize
change our
life
anew and
scale.
forming an
The 'monument'
to observe his environment
from the Spoleto
and environment
would appear an important
generation of sculptors poses
241.
was
served as an architectural
and moral authority;
improve
it
is
a
solution to the
success; but if
new answer problem
to the
that each
has to answer anew.
ZOLTAN KEMENY
Brass 9'ioJ" x 13 'i|" relief 1963 Hochschule fur Wirtschafts- und Sozialwissenschaften
Mural
St Gallen, Switzerland
(Architect: Forderer,
Otto
Photo: Gross, St Gallen
&
Zwiinpfer)
3*3
V
Closing remarks: form and space
Books on
art
have the unfortunate tendency to sum up and draw conclusions. They
however
treat their subject matter,
longing to the
This attempt to draw a line across what
past.
and daily renewal
recent in date - and in this
is
a kind
what
the
works
and is
most
cases
it is
discussed in the
stands out
ideas,
anyhow be eschewed
of constant flux
wrong. All
that can
because like most drugs
be done
is
it
to recapitulate briefly
book have revealed about modern
is
sculpture under the
the fertility of formal invention, the abundance of artistic forces
and the appearance of new materials and techniques. This richness - which
not to be taken quantitatively
;
the examples
tion - seems to refute the despairing assertion
Arturo Martini, that sculpture painting.
in a state
recent - as be-
of form, meaning and purpose.
three headings
What
in
:
it is
of vivisection that even an 'outlook on the future' cannot
render painless. Such an anaesthetic must has a side effect
is
book
is
I
have assembled are only a small
made by
a 'dead language'
selec-
the sculptor turned apostate,
and that the future belongs only to
The means of sculptural expression are today more varied, more comprehensive
and more communicative than ever before. Indeed the flourishing condition of modern sculpture has vivified the sculpture of the past,
works teach us For
this
whose various
aspects
and periods modern
to appreciate.
manifold growth there can be no
common
denominator, though a few
general definitions have been attempted of which the one formulated strikes
often
me
as the
enough
:
most adequate.
'Sculpture
with hollows and 314
is
It
has often been quoted but
essentially
solid parts,
it
by Henri Laurens
can never be quoted
occupation of space, construction of an object
mass and void,
their variations
and reciprocal tensions
and
finally their equilibrium.'
aspects
of modern sculpture
;
Yet even
after
the fruit of his experience alone. dualities
all
the
one artist and
is
has to be considered besides are the antithetical
of rest and motion, weight and weightlessness, the statuesque and the mobile,
The
used to be thought of as character-
qualities that
of all sculpture - permanence, compact mass, exclusion of space, sculpture
tially statuary
the
of accounting for
represents the standpoint of only
What
the permanent and the transitory. istic
all, it
this definition falls short
- have today
lost their absolute validity
and coexist with
as essen-
their opposites
on
same footing of partial justification. It
seems, therefore,
in the variety
of
more
plastic
In
it
idiom and in the oppositions between compact materiality
and disembodied space - to
Western
to the point to look for unity in multiplicity, to discern
see
it,
in a
word,
as dialectical
unity which, in the best
tradition, ensures continuity in change.
modern
sculpture there has been
no
'return' to the object or to naturalistic repre-
sentation for the simple reason that sculptors have never ceased to shape objects and figures
and because sculpture has never entirely
are there rules forbidding sculptors unusual
or floating forms. That
Space
:
living tradition
is
why
I
lost its coefficient
of reality. But neither
and exciting inventions of spatial or moving
have given
my
inquiry the double
and bold renewal are the two forces
title
of Form and
that inspire the sculpture
our time.
^^^mmmmrn
**>
of
242.
Eduardo Chillida Photo:
Abcsti
Gogora V, 1966 Granite
Museum
mmmm
14'
11V2" X 18' 5" X
14' 'A,"
The Museum
of Fine Arts,
Houston
243-
Edgar Negret Navigator, 1964 Black
paint on aluminium
22V2" *
2 6"
X 16V2" Photo: Bruce
Scott,
London
244-
Gunter Ferdinand Ris Bonner
Relief, 1966
Photo: Schafgans, Bonn
''
Chromium-plated bronze 11" X 37 3 / 4 " X
2"
Rheinisches Landesmuseum,
Bonn
245-
Alexander Calder The Gates
of Spoleto, 1962
Steel
Height 65' 7 ", >Width 45' n", Depth 45' 11" Photo: Author
Biographical index of artists
The
biographical notes are confined to the most important dates. For
further information the reader
no claim
is
referred to the literature cited; this lays
to completeness; preference has been given to
monographs.
ALBERS, JOSEF Born 1888, Bottrop, Westphalia. 1920-1923 studied at the Bauhaus in Weimar. 193 3-1939 taught at the Blackmountain College in North Carolina,
ADAM, HENRI-GEORGES Born
1904, Paris.
At
first
painter and designer, since 1940 also sculptor.
1967 died in Lannion, Bretagne. Lit.:
Museum,
Stedelijk
no. 132.
Better Lit.:
Amsterdam.
Catalogus
der
Adam.
New
as painter
Haven, Connecticut. Lives in and graphic
New
Haven.
artist.
Galerie Denise Rene, Paris. Exhibition Catalogue
with
texts
by
Grohmann and Franz Roh. Oct.-
Nov. 1957 G.C.Argan. Albers. Milan, Toninelli, 1962 New Haven, Yale University
11, 1961
Jean Cassou.
known
Since 1950 Director of the Department of Design at
Josef Albers, Hans Arp, Will
tentoonstelling
May-June 1950
Quadrum
USA.
Yale University,
Brussels, Palais des Beaux-Arts, 1962
Josef Albers. Interaction of Colour.
Figs. 2, 207; pp. 12, 13,
247
Press, 1963 Fig. 201
p.
;
245
ADAMS, ROBERT Born 1917, Northampton. Teaches at the Central School of Arts and Crafts in London. Lives in Hampstead. Lit.
:
Gakrie Parnass, Wuppertal. Folio for the exhibition with foreword
by John A. Thwaites and
XXXI Biennale Venice
text
by
the
ANTES, HORST Born
April 1957
ig62. British Pavilion. Exhibition Catalogue
Robertson/ Russell/ Snowdon. Private
pp. 98
artist.
View. London, Nelson, 1965,
f.
177.246
ceramic sculpture. 1966 exhibition in the
1906, Zurich.
Began
as self-taught sculptor in
1936. Lives in
Charles Lienhard, Zurich. Exhibition Catalogue Aesch-
steel.
Lives
Schauberg, 1963
Herbert Pee. Ausstellungskatalog des
Eduard
Hans Aeschbacher. Einleitung von Hans Fischli, Vorwort von Michel Seuphor. Neuchatel, Editions du Griffon, 1959
artist, also
pavilion of the Venice
Carl Linfert. 'Horst Antes' in Junge Kiinstler 63/64. Cologne,
DuMont
Russikon near Zurich.
Galerie
German
Biennale 33 unesco prize. 1967 painted sculptures in sheet in Karlsruhe. Lit.:
AESCHBACHER, HANS
Lit.:
the Bergstrasse. 1957-1960 studied at the
;
Fig. 125; pp.
Born
Heppenheim on
1936,
Karlsruhe Kunstakademie. Principally a painter and graphic
pavilion.
Trier.
Horst
Antes.
Museums Ulm,
Exhibition
1963
Catalogue.
German
XXXIII. Venice, Biennale, 1966
Klaus Gallwitz. Lustgarten mit 7
Monumenten
der Liiste oder
Garten des Malers. Karlsruhe anlasslich der Bundesgartenschau, Badischer Kunstverein, 1967
bacher. Sept.-Oct. 1963 Fig. 44; P- 83,
Fig. 221
;
p.
279
323
ANTHOONS, WILLY
BAKIC, VOJN
Bom
Born
1911, Malines, Belgium. Studied architecture and sculpture in
Has been
Brussels.
(Monographies de Gakrie Appel
De
Willy Anthoons. Antwerp,
Michel Seuplwr.
Lit.:
1915, Bjelovar, Croatia. Studied in Zagreb. 1956 took part in the
Venice Bicnnale. Lives in Zagreb.
living in Paris since 1948. Sikkel,
1954
Gradska Galerija Suvrcmene Umjetnosti, Zagreb. Exhibition Cata-
Lit.:
& Fertsch,
May
logues.
l'Art Beige)
1958 and May-June 1964 Fig. 124; p. 177
Frankfurt-ou-Main. Exhibition Catalogue
Anthoons, 1966 Fig. 126; p. 177
BARLACH, ERNST
ARCHIPENKO, ALEXANDER 1887, Kiev. 1902-1905 studied painting and sculpture in Kiev,
Born
1906-1908 in Moscow. 1908 tion in
Germany. 1912
paintings'.
taught
at
settled in Paris.
1910
first
one-man exhibi-
started an art school in Paris. 1914 first 'sculpture-
1921-1931 in Berlin then emigrated to USA. 1935-1936 State University. 1937 founded an art school in
Washington
New
Chicago. 1939 in
York. Lived in Woodstock. 1964 died
in
New
York. Erich
Lit.:
Wicsc. Alexander Archipenko. Leipzig, Klinkhardt
und
Biermann, 1923 (Junge Kunst Bd. 40) Landesmuseum Darmstadt u. a. Ausstellungskatalog mit Einfiihrung
von Erich Wiese und Texten
1870, Wedel, Holstein. 1888-1891 studied in
Born
des Kiinstlers. 1955
New York
Alexander Archipenko. Fifty Creative Years.
at the
Dresden Academy,
1
Hamburg, 1891-1895
895-1 896 at the Academie Julian in Paris.
1897-1901 sojourns in Paris, Hamburg and Berlin. 1901-1904 in Wedel. 1904-1905 taught pottery-making in Hohr, Westerwald then, till 1906, in Berlin. 1906 trip to Russia. 1907 in Berlin. 1909 at the Villa Romana, Florence. 1910 settled in Gustrow, Mecklenburg. 1919 elected to the
Akademie der Kiinste, Berlin. 1924 Kleist Prize. 1925 honorary member of the Munich Akademie der Kiinste. 1933 decorated with the Order Pour le merite. 1936 honorary member of the Vienna Secession. 1938 381 works by Barlach, classified as 'decadent
art',
Lit.:
WolfStubbe, Ernst Barlach: Plastik. Munich, Piper, 1959
i960 Friedrich
Fig. 24; pp. 13, 31
Das plastische Werk, WerkHamburg, Hauswedell, i960
Ernst Barlach:
Schult,
verzeichnis Bd.
I,
ARMITAGE, KENNETH 1946-1955 taught
Modern
Bath Academy of Art. Lives
at the
New
Peter Selz,
:
Fig. 33, pp. 43. 224
1916, Leeds. 1937-1939 studied at the Slade School in London.
Born
Lit.
Images of Man,
New
in
London.
York, The
BEOTHY, FLTIENNE
Museum of
Art, 1959
i960
New London Gallery.
travel across Europe.
Exhibition Catalogue, April 1965 Lit.:
Fig. 53
ARP,
HANS
;
in Berlin. 1914 meets
Max Ernst
Zurich. 1916
Dada period
marries Sophie Tauber. 1926
Meudon and
Carola Giedion-Welcker.
From
settles in
Meudon
BERROCAL, MIGUEL Born 1933
Algaidas (Malaga),
in
Open
courses at the San Fernando art school and the
near Paris. 1940-1941
Ferrant.
school of graphic
living since
art.
pieres (Seine-et-Oise) Lit.:
Stuttgart, Hatje, 1958
Studied mathematics and
Spain.
chemistry in Madrid and architecture and sculpture under Angel
Had been
Solduno. 1966 died in Basle.
Hans Arp.
f-
191 1 con-
begins. 1919-1920 in Cologne. 1922
Museum of Modern
Denys
by
From
1952 spent five years in
Italy.
Madrid
Lives in Cres-
and Verona.
Chevalier. Berrocal.
With Catalogue
1955-1965. Published
the author, 1965
Galerie
Thomas,
Munich.
Ausstellungskatalog
Berrocal
mit
Texten von R. Thomas und A. Schulze Vellinghausen, Oct.-Nov.
Art, 1958
1965
Giuseppe Marchiori. Arp. Milan, Alfieri, 1964
Fig. 215; p. 252
Jean Arp, Sculptures 1957-66. London, Thames and
Trier.
Friedrich. Paris,
Weimar.
James Tlirall Soby (ed.). Arp. With texts by Jean Arp, Richard Huelsenbeck, Robert Melville, Carola Giedion-Welcker. New
Eduard
by Eva
text
Collection Prisme, 1956
in Cologne. 1914-1915 in Paris. 1915
in Southern France. 1942 flees to Switzerland.
York, The
German
Michel Seuphor, Beothy.
nouvelles (1946). Lives at
realites
Fig. 140; pp. 179
1908 brief stay in Paris, 1909 in Weggis, Switzerland.
Lit.:
settled in Paris after extensive
founders of the Abstraction-Creation
p. 85
nected with the Blaue Reiter group, from 191 3 with the Sturm gallery
1946 mainly in
One of the
(JEAN)
1887, Strasbourg. 1905-1907 studied at the Kunstschule in
settles in
1906, Heves, Hungary. 191 8 began to study art in Budapest.
group (1932) and of the Salon des Montrouge, Seine.
N.Lynton. Kenneth Armitage. London, Methuen, 1962 Marlborough
Born
1920-1924 studied architecture. 1925
Roland Penrose. Kenneth Armitage. Amriswil, Bodensee-Verlag,
Born
are confiscated or
destroyed. 1938 died in Rostock.
Hudson, 1968 Figs,
in,
112, 127, 174, 199, 208, 222; pp. 159 f, 177, 182,
221, 245, 247, 248, 279
AVRAMIDIS, JOANNIS Born
1922,
Batum USSR.
193 7-1939 studied in
guest professor at Lit.:
Wotruba. 1965 teacher Hamburg Academy.
Fritz
Kestner-Gesellschaft,
Batum. 1939-1943
in
at
Vienna Academy. 1966
Knoll Associates
as
Lit.:
USA.
Smithsonian Institution, Washington. Exhibition Catalogue: Recent
Eduard
Trier,
1957
Angewandte
Plastik:
Bertoia und Costantino Nivola. Figs. 45, 92; pp. 83, 153
Cranbrook Academy near for the furniture firm of
Works
designer of chairs and other 'applied sculpture'. Lives
in Barto, Pennsylvania,
Work by Harry Bertoia,
Hanover. Exhibition Catalogue Avramidis.
Feb.-April 1967
324
1915, San Lorenzo, Italy. Studied at the
Detroit then taught metalwork there.
Athens. Since 1943 has been living in Vienna, where he has studied
mainly under
BERTOIA, HARRY Born
Zu den
form
1,
Arbeiten von Harry
1957
Figs. 118, 198; pp. 160,
245
f.
BERTONI, Born
BOCCIONI, UMBERTO
WANDER
1925, Codisotto, Emilia, Italy. 1943 deported to Vienna. After the
war, studied under Fritz Wotruba. Co-founder of the Art Club. Lives in Vienna. Lit.:
Wander
Bcrtoni: Plastiken 1945-1959. Einleitung
von Ulrich
Baumgartner. Ed. Kulturreferat der Stadtgemeindc Kapfenberg,
Born 1882, Reggio, Calabria. in Rome. 1902-1904 in Paris;
1
898-1902 worked under Giacomo Balla
and launched into Futurism. 191 1 met the Cubists in Paris. 1912 published the Technical Manifesto of Futurist Sculpture. Active as painter and sculptor. 1915 enrolled
as volunteer.
1916 died in Verona after an
accident.
1959
XXXIII. Biainalc
Venice
Austrian
1966.
pavilion.
Exhibition
Lit.:
Marco
Valsecchi,
Boccioni. Venice, Cavallino, 1950
Giuseppe Marchiori.
Catalogue.
Umberto
Boccioni. Milan, 1966 Fig. 123
Fig. 69; p. 89
in Krefeld,
brought up
in
Kleve on the lower Rhine. Studied
and sciences. From 1947 studied 1949-1952 under Ewald Matare. Since 1961 Professor of Sculpture at the Kunstakadeniie in Diisseldorf. September 1962 first 'Fluxus' (Happenat the
arts
Kunstakadeniie in Diisseldorf,
Born 1903, Basle; studied painting there. 1933 turned to abstract art. Has been teaching since 1939 at the Allgemeine Gewerbeschule in Basle. Lives in Basle. Lit.:
Museum Haus Koekkoek
Stadtisches
Walter J. Moeschlin, Walter Bodmer. Basle, 1952 Marcel Joray, Schweizer Plastik der Gegenwart
ing). Lives in Diisseldorf. Lit.:
van der Grinten. Mit Texten des
Kleve. Josef Beuys. Zeich-
Kiinstlers u.a.
Sammlung van
Josef Beuys Fluxus. Aus der
Hamburg, Rowohlt, 1965 Fig. 173; p.
222
BONTECOU, LEE Born
193
in Providence,
1
Students'
Hovannes. Lives in Lit.:
William C. Seitz.
Museum
1908, Winterthur, Switzerland. 1924-1927 studied at the Kunst-
Island.
Berlin,
1952-1955 studied
at the
Art
under William Zorach and John
The Art of Assemblage.
New
York, The
of Modern Art, 1961 Gesellschaft fur
Bildende
Kunst (Kunstverein
'Amerikanische
Plastik
Berlin)
Jahrhundert'
20.
Nov. 1965-Jan. 1966
Art International X/10, Dec. 1966
1930
and Co-founder of the Hochschule fur Gestaltung in Ulm; Rector there 1951-1956. 195 1 First Prize for Sculpture at the Sao Paolo Biennale.
Rhode
New York New York.
League in
Ausstellungskatalog
in Dessau.
Bodmer,
Fig. 153; p. 187
Deutsche
Bauhaus
Neuchatel,
Galerie Charles Lienhard, Zurich. Exhibition Catalogue
MAX at the
II.
June-July 1962
Oct.-Nov. 1961
im Hause van der Grinten, Kranenburs, Niederrhein, Oct.-Nov. 1963 Happenings. Fluxus-Pop Art-Nouveau Realisme. Eine Dokumentation hg. von Jiirgen Becker und Wolf Vostell. Reinbek bei
gewerbeschule in Zurich. 1927-1929
and
der Grinten. Stallaus-
stelluns
Born
I
Editions du Griffon, 1955 and 1959
nungen, Aquarelle, Olbilder, plastische Bilder aus der Sammlung
BILL,
p. 177
;
BODMER, WALTER
BEUYS, JOSEF Born 1921
met Marinetti
visited St Petersburg. 1909
settled in Zurich. Active as painter, sculptor, designer, publicist
Fig. 225; pp. 252,
280
teacher.
1967 Professor Lit.:
at
Hamburg Academy.
Eugen Gomritige Margit Staber. Galerie
W.
Im
Max
(Ed.),
Max
Bill.
Bill.
Born Teufen, Niggli, 1958
Lit.:
Max
Bense,
Max
Bill.
with
texts
by
Quadrum
13
living in
and 16
VDI/8, 1964 Fig. 82; p. 150
247
BRANCUSI, CONSTANTIN
BLOC, ANDRE 1896, Algiers. Architect. 1930 founded the periodical L'archi-
tecture d'aujourd'hui. 1940 turned to sculpture. 1949 founded the periodical Art d'aujourd'hui, followed in 1955 by Aujourd'hui. Lived in Boulogne-
Billancourt, Seine.
Has been
since 1938.
Daniel Robbins. Sculpture by Louise Bourgeois. Art International
April-May 1967
Figs. 155, 206; pp. 182,
Born
191 1, Paris. Studied with Bissiere and Leger.
New York
London, Methuen, 1964
Erker, St Gallen. Exhibition Catalogue
Grohmann,
BOURGEOIS, LOUISE
Died 1966
Born 1
1876, Pestisani Gorji near Tirgujiu, Rumania. Trained as carpenter.
from Bucharest
to
1913 took part in
in India.
at the Academy in Bucharest. 1902-1904 on foot Munich and Paris. 1904 at the Ecole des Beaux-Arts. the Armory Show in New York. 1937 in India. 1957
898-1902 studied
died in Paris. Lit.:
Pierre Gueguen,
Charles Delloye,
Andre Bloc. Boulogne, Seine, Coll. Espace, 1954 Andre Bloc. Paris, Coll. Prisme, 1959
Lit.:
Carola Giedion-Welcker,
Constantin
Brancusi. Basle,
Schwab,
1958
Fig. 165; p. 184
Ionel Jianou. Constantin Brancusi. Paris, Arted, 1963 Figs. 1, 34, 103; pp. 12
BLUMENTHAL, HERMANN Born
1905, Essen. 1920-1924 studied stone sculpture in Essen, then
193 1 at the Vereinigten Staatsschulen in Berlin. Pupil of
1931-1932 in Rome, then
till
1936 in Berlin. 1937 in
Edwin
till
Scharff.
Rome and Florence.
1942 killed in Russia. Lit.:
Christoph-Adolph Isermeyer: Berlin, Gebr.
Mann, 1947
Born 1922
in Haine-St Pierre,
member of the cobra
252
Belgium. 1939-1953 painter; since 1948 first 'plans mobiles', 1957 beginning
group. 1953
in Saulx-les-Chartreux (Seine-
et-Oise), France. Lit.:
Fig. 54; p. 85
43, 156, 251,
BURY, POL
of the mobile objects run by motor. Lives
Der Bildhauer Hermann Blumenthal.
f.,
Andre Balthazar. Pol Bury. Milan, Tosi, 1967 Fig. 237; p. 283
325
1
C£SAR (BALDACCHINI)
BUTLER, REG 1913, Buntingford. Studied architecture. 1950 took
Born
1953 First Prize in the international competition for a
Unknown Lit.
Political Prisoner. Lives in
up
sculpture.
Monument
to the
Born
1921, Marseilles. Studied in Marseilles and Paris. Lives in Paris.
Lit.:
Peter Selz,
Bcrkhamstcad, Herts.
Modern
Modem
Images of Man.
New
York, The
Museum of
Douglas Cooper. Cesar. Amriswil, Bodensee-Verlag, i960
The Hanover Gallery. Exhibition Catalogue with an introduction by Robert Melville. London, May-June 1957 Peter Selz, New Images of Man. New York, The Museum of
:
New
Art, 1959
XXbne
Siecle 16,
May
1961
Musewn Amsterdam. Exhibition Catalogue No.
Stedelijk
396, 1966
Figs. 98, 144; pp. 154,
Art, 1959
Pierre Matisse Gallery,
New
York. Exhibition Catalogue
Reg Butler,
1962 Figs. 74, 183; pp. 90,
225
180
CHADWICK, LYNN Born
1914,
London. Studied
architecture. 1945 first
mobile composition.
1956 International Prize for Sculpture at the 28th Venice Biennale. Lives in Stroud, Glos.
CALDER, ALEXANDER Born
1896, Philadelphia,
studied in
mittently in France.
James J. Sweeney, Alexander Calder.
Modern
New York,
The Museum of
Art, 195
Galerie Maeght, Paris. Derriere le miroir
No.
An
Figs. 42, 97; pp. 44, 154, 156
CHILLIDA,
Lit.:
Autobiography with
Pictures.
New
Galerie Maeght. Derriere le miroir no. 90-91, Paris 1956
XXeme
York, Pantheon
Siecle 20,
1966
Carola Giedion-Welcker. Chilhda.
Books, 1966
Akademie der
EDUARDO
1924, San Sebastian, Spain. Studied architecture until 1947, then turned to sculpture. Numerous international prizes. Lives in Hernani.
Born
31 (1950), 69-70
(1954), JJj(i959)
Calder ~
Lynn Chadwick. Amriswil, Bodensee-Verlag, i960
J.P.Hodin. Chadwick. Munich, 1964 (2nd ed.) Marlborough New London Gallery. Exhibition Catalogue, 1966
New York. Till
1926 engineer and press designer. 1926-1927 and 193 1 in Paris. 1932 first 'mobiles'. Has been living since 1933 in Roxbury, Conn., and inter-
Lit.:
Herbert Read.
Lit.:
Pa. USA. 1915-1919
Kiinste, Berlin.
Quadrum
20,
1966
Wilhelm-Lehmbruck- Museum Duisburg. Exhibition Catalogue with
Exhibition Catalogue, 1967
text
Figs. 20, 147, 209, 245; pp. 29, 180, 226, 247, 248, 284, 313
by G. Handler, May-June 1966 Figs. 146, 242; pp. 180,
CALLERY, MARY Born 1903, New York.
284
CIMIOTTI, EMIL
New York and Paris. Numerous exhibitions at Curt Valentin's. Lives in New York and Paris. Lit.: Mary Gallery. Sculpture. Bibliography by Bernard Karpel. New Studied in
Born
1927, Gottingen. Studied with Otto
Ossip Zadkine. 1959 Lit.:
Kdlnischer Kunstverein. Ausstellungskatalog mit Einfiihrung
Eduard ;
p.
Baum, Karl Hartung and
Massimo, Rome. Lives in Brunswick.
von
Albert Schulze Vellinghausen. Cologne, Jan.-Feb. i960
York, 1959 Fig. 83
at the Villa
150
Trier,
DuMont
'Emil Cimiotti' in Junge Kiinstler 61/62. Cologne,
Schauberg, 1961
Galerie Schmucking Braunschweig. Exhibition Catalogue, Jan.-Feb.
1967
CAPPELLO, CARMELO Born
191 1 in Ragusa, Sicily. Educated in
1937 took up sculpture. Lives in Milan. Lit.:
Figs. 81, 170; pp. 150, 221
Rome, Milan and Monza.
COLLA, ETTORE
Herta Wescher, Carmelo Cappello. Milan, Schwarz, 1958 Fig. 13; p. 16
Born 1889, Parma. Studied in Parma, Paris, Brussels and Munich. 1949 founded the Gruppo Origine with Burri, Capogrossi and others. 1953 teaching post (sculpture) at the Istituto statale d'arte in
Rome.
Lives in
Rome.
CARO, Born
ANTHONY
1924, London. 1951-1953
St Martin's School Lit.:
Lit.:
worked with Henry Moore. Teaches
at
of Art in London. Lives in London.
Alberto Boato, Maurillo Mendes, Cesare Vivaldi. Ettore Colla.
Rijksmuseum Kroller-Muller, Otterlo (Holland). Exhibition Cata-
Editalia,
logue with text by Clement Greenberg. May-July 1967 Rosalind Krauss.
Anthony Caro's
latest
Hatton Gallery, Durham University. Folio with texts by Laurence Alloway and Charles Delloye. Newcastle, Dec. 1959
Rome,
1966
Art International XI/5, 1967
work. Art International
Fig. 142; p. 182
XI/i, 1967 Fig. 228; pp. 44, 280, 281
CONSAGRA, PIETRO Born
1920,
Mazaro
CASCELLA, ANDREA Born 1920 Spent Lit.:
ceramic works for architecture. Lives in Milan.
Scultori della Scuola di Milano.
duction
by
Quadrum
Exhibition Catalogue with intro-
Gillo Dorfles. Milan, Dec. 1963-Jan. 1964
14, 1963, pp. 138
Lit.:
Umbro Apollonio. Pietro Consagra.
Rome
1957
Giulio Carlo Argan. Consagra. Brussels, Connaissance, 1958
G.C.Argan. Pietro Consagra. Neuchatel, Editions du Griffon, 1962 Marlborough-Roma. Consagra - Ferri Trasparenti. Rome, Dec. 1966
f.
Fig. 107; p. 159
326
della scultura.
1944.
in Pescara, Italy. Studied at the Istituto d'Arte di Faenza.
many years on
founded the group Forma. Has been living in Rome since
di Trapani, Italy. 1947
1952 pubhshed Necessita
Fig. 26; p. 31
1
:
CONSTANT (NIEUWENHUYS)
DERAIN, ANDRE
Amsterdam. Began as painter. 1949 co-founder of COBRA. 1950 in Paris. 1951 in London; experiments with spatial constructions. 1958 programme of Urbanisme unitaire (with G.E.Debord). Lives in Amsterdam.
Born
Born
Lit.
:
1920,
Galerie van de Loo. Constant
Konstruktionen und Modelle. Essen,
:
Jan.-Feb. i960
first
ture, first sculptures.
Died Lit.:
From
1909-1911 pottery.
1912 so-called 'Gothic
with Braque and Picasso in Montlavet. 1920 in Cahors.
period'. 1914
1921 in
Constant. Paris, Bibliotheque d'Alexandrie, 1959
Chatou. 1899 met Vlaminck. 1901 met Matisse. 1905 Fauve painting in the Salon. 1906 studied Negro sculp-
1880,
exhibited
Rome
and Castelgandolfo. 1935
settled
down
in
Chambourcy.
in 1954.
Musee
national d'art moderne, Paris.
Catalogue de l'exposition.
Introduction par Jean Cassou. Paris, Editions des musees nationaux,
H.vanHaaren. Constant. Amsterdam, MeulenhofF, 1966
Dec. 1954-Jan. 1955.
Fig. 182; p. 225
Georges Hilaire, Andre Derain. Geneva, Cailler, 1959 Pierre Cailler.
COUSINS, HAROLD
B. Born 1916, Washington, D.C. Studied in Washington, Paris. Has been living in Paris since 1949. Lit.
:
Museum Haus Lange, Krefeld. 3 Bildhauer Vorwort von Paul Wember,
katalog mit
New York
and
Fig- 35; p- 43
Krefeld,
Nov.
to Dec.
DE RIVERA, JOSE
Georges Boudaille.
H. B. Cousins. Cimaise
Born
55, 1961
Fig. 122; p. 160
COUZIJN, WESSEL Amsterdam. Studied in Amsterdam, Lives in Amsterdam.
191 2 in
Museum, Amsterdam.
Stedelijk
Lit.:
Catalogus
1904,
West Baton Rouge,
Louisiana.
1920-1930 worked in
industry. 1928-193 1 studied art in Chicago. Lives in Lit.:
Paris.
d' Andre"
aus Paris. Ausstellungs-
1959
Born
Catalogue Raisonne de l'Oeuvre sculpte
Derain. Lausanne 1965
Fig. 164; p. 184
New York, Rome and der
New York.
The Museum of Modern Art, New York. 12 Americans. Ed. by Dorothy C. Miller. May 1956
tentoonstelling
Beelden in het Heden. Inleiding van H.C.L.Jaffe. Amsterdam,
Dec. 1959-Jan. i960 Werner Hofmann. Wessel Couzijn. Art International VII/9, 1963
D'HAESE, ROEL Born
1921,
Grammont, Belgium. 1938-1942
studied with Oscar Jespers.
Lives in Rhode-St Genese.
Fig. 104; p. 159 Lit.
D'ALTRI, Born and
:
ARNOLD
1904, Cesena. Studied in Zurich, Munich, Paris, Florence,
F. C.Legrand, 'Roel d'Haese' in Quadrum 2, Nov. 1956 Jan Walravens, 'Dessins de Roel d'Haese' in Quadrum 8, i960 Jacques Meuris. Roel d'Haese. Brussels, Editions Medden, 1964
Rome
Fig. 100; p. 156
Pisa. Lives in Zurich.
Lit.:
Stadtisches
introduction
Museum by Fritz
Leverkusen.
Laufer.
Kunsthalle Mannheim. Exhibition
by Heinz Stadtisches
Fuchs.
May
Museum
Exhibition
Catalogue
with
April-May 1957 Catalogue with introduction
Trier.
DODEIGNE, EUGENE Born
1958 Exhibition Catalogue, May-July 1965 Fig- 73
;
p-
90
at St
Marga-
rethen, Austria. Lives in Les Bois Blancs near Lille. Lit.:
Kunsthalle Basel. Exhibition Catalogue
Eugene Dodeigne, Asgar
Jorn. Oct.-Nov. 1964
DEGAS, EDGAR Born
1923, Rouvreux, Belgium. 1943 and 1946 in Paris. 1948 in Vezelay.
1959 took part in the symposium of European sculptors held
Fig- 134; Pp. 178, 179
1834, Paris. Impressionist painter. 1866
1893 onwards, mainly sculptural
first
wax
work on account of
models.
From
failing eyesight.
1917 died in Paris. Lit.:
John Rewald, Degas:
Works
in Sculpture.
New
York, Pantheon,
DUBUFFET, JEAN Le Havre. 1918 in Paris to study painting. Abandoned the few months and turned to literature, music and languages. 1924 abandoned work as artist and went into business. 1930-193 started in the wholesale wine trade. 1934-1937 went back to painting, then resumed as wine merchant. 1942 third beginning as painter. Also sculpture in waste materials. 1947 sold wine business. Lives in Vence and
Born
1944 Pierre Borel, Les sculptures inedites de
Degas. Geneva, Cailler, 1949
Leonard Matt, John Rewald. Degas: Das Plastische Werk. Kritischer Katalog. Zurich, Manesse, 1957 pp. 89-90
1901,
Academy
after a
Paris.
DELAHAYE, JACQUES CHARLES Born
Lit.:
1928, Paris. Short course at the Ecole des Beaux-Arts ; otherwise
Georges Limbour, L'art brut de Jean Dubuffet. Paris, Drouin, 1953
James Fitzsimmons, Jean Dubuffet breve introduction a son ceuvre. :
self-taught. Lives in Paris. Lit.: Julien Alvard,
'J.C.Delahaye' in
Brussels, Connaissance, 1958
Quadrum
Metro. International Directory of
2, Nov. 1956 Contemporary Art. Milan 1964
Fig. 108; p. 159
Peter Selz. Jean Dubuffet.
New
York, The
Museum of Modern
Art, 1962 Figs. 32, 94; pp. 30, 32, 154,
222
327
I
— DUCHAMP, MARCEL
ERNST,
Born 1887 in Blainville near Rouen. Brother of the sculptor Raymond Duchamp-Villon (q.v.). 1904 studied painting at the Acadeniie Julian Paris. At first influenced by post-Impressionist and Fauvist painting, in 191 1 he turned to Cubism. 191 1 first version of the painting Nude
Born
Descending a Staircase; concern with the problem of
movement
in paint-
ing and simultaneity. 1912 abandons painting and begins the search for
new
first ready-made. 1915 moves to York. Invents ready-mades, constructs optical machines; makes exhibitions, publishes, plays chess. 1964 replicas of his early ready-
techniques and materials. 191 3
New films,
mades brought out by A. Schwarz
in Milan. Lives in
Cologne. 1922 took up
With
Was
settled in Paris.
1938-1939 sculpture and
own
Patrick Waldberg,
Lit.:
Eduard
Trier,
Le Point
text
and
period. Large stone composi-
house in St Martin d'Ardcche. 1941-1945 in USA. Since in Paris or Huismcs, Indre-et-Loirc, or Scillans (Var). resides again 1954,
murals for
New York.
{1913-1964).
etc.
Dada
tions in A.Giacomctti's garden in Maloja.
Max
Max
Ernst. Paris, Pauvert, 1958
Ernst. Recklinghausen, Bongers, 1959
Max
Cardinal, Paris.
Ernst,
CEuvre sculpte 1913-1961.
Exhibition Catalogue, Nov.-Dcc. 1961.
Marcel Duchamp. Mit Tcxtcn von A. Breton, H. P. Roche und M. Duchamp. Cologne, DuMont Schaubcrg, 1962 Marcel Duchamp, Ready-Mades,
Surrealist painting
already doing sculpture during the
Robert Lebel.
Lit.:
MAX
89 1, Briihl near Cologne. 191 3 took part in the Erstc Deutsche Hcrbstsalon in Berlin. 1914 met Hans Arp. 1919-1921 Dada period in 1
John
Russell.
Max
Ernst.
by
London, Thames and Hudson, 1967 Fig. 95; PP- 154, 156,222
W.Hopps, A. Schwarz, U.Lindc. Milan, Schwarz, 1964 Fig. 223
;
p.
279
ETIENNE-MARTIN Born
DUCHAMP-VILLON, RAYMOND Born
1876, Damville, Eure. First studied medicine. 1898 turned to
sculpture (self-taught). 1910 in
Cannes of war
Lit.:
Jacques Villon,
Centro internazionale
Guggenheim Museum. Exhibition Catalogue:
Galerie Louis Carre, Paris.
Lyons and
delle arti e del costume.
Paris. Lives in Paris.
Catalogo della mostra.
Aug.-Oct. 1959
Fig. 65
1957
Fig. 102; pp. 13, 156
FABBRI, Born -
Lit..
EHLERS, KARL
Lit.:
Numerous works of
1958 teaching post in Minister
89
AGENORE
XXeme
Steele 25,
1965 p.
159
sculpture in an architectural
W.
i.
Lives near Detmold.
FALKENSTEIN, CLAIRE
Kunstgalerie Bochum. Exhibition Catalogue, Jan.-Feb.
Stadtische
p.
1911, Barba (Pistoia). Studied in Pistoia. Lives in Milan.
Bom 1904, Hollenbeck near Ratzeburg. Studied in Essen and Diisseldorf. 1929 in Istanbul.
;
Sculptures de Duchamp-Villon. Exhibi-
tion Catalogue 1963
setting.
350,
Dec. 1963-Jan. 1964 Art International X/6, 1966
Raymond Duchamp-Villon, Marcel Duchamp.
New York, Jan.-Feb.
in
Museum Amsterdam. Exhibition Catalogue No.
Stedelijk
Foreword by James J. Sweeney.
Drome. Studied
Vitalita nell'arte. Venice,
exhibition with the Cubists. 1918 died
injuries.
The Solomon R.
Lit.:
first
1913, Loriol,
1964
Born
1909,
Coos Bay, Oregon, USA. University in
in San Francisco Fig. 192; p.
228
Lit.:
and
at Mills
California.
Taught
College in Oakland. 1950 settled in Paris.
Michel Tapie, Claire Falkenstein. Paris 1959 Michel Tapie. Claire Falkenstein. Turin, Pozzo, 1962
ENDELL, AUGUST
Fig. 93; p. 154
Born 1871, Berlin. Practised architecture and the applied arts. Studied in Tubingen and Munich. Friend of Obrist, with whom he took part in the Jugendstil. 1918 director Lit.:
of the Academy
Friedrich Ahlers-Hestermann,
(2nd
in Breslau. 1925 died in Breslau.
Stilwende Berlin, Gebr. Mann, 1956
ed.).
August Endell, 'Formenschonheit und dekorative Kunst' in Dekorative
Kunst
Ibid.,
ii,
1899
'Moglichkeiten
FERBER, HERBERT Born 1906, New York. Studied dentistry and acquired an artistic education in New York. 1937 first exhibition of sculpture. Has also painted. Lives in New York. Lit.:
und
Ziele
Deutsche Kunst und Dekoration
einer
i,
1
neuen Architektur' in
E.C.Goossen, 'Herbert Ferber' in Three American Sculptors.
Book no. 2. New York, Grove Press, 1959 Wayne V. Andersen. The Sculpture of Herbert Ferber. Minneapolis, Walker Art Centre, 1962 Evergreen Gallery
897-1 898 Fig. 196; p. 245
Figs. 12, 195; pp. 16,
246
EPSTEIN, SIR JACOB
New York. His parents were Jewish emigrants from Russia. New York and Paris. In London since 1905. Applies for
Born 1880 in Studied in
British citizenship. 1912 meets Picasso, Modigliani
and Brancusi. 191 3-
The Vortex.
one-man show and co-founder of the London Group. After World War One, created many monumental works, and a number of important portraits. 1954 knighted. Died in London 1959. 1915 takes part in the avant-garde group
Lit.
:
1913
first
Richard Buckle. Jacob Epstein, sculptor. London, Faber
&
Faber,
Fig- 3 ;p- 13
-*
Born
1899, Rosario, Santa Fe, Argentina, of Italian parentage.
in Italy. 1930
took up abstract
art
Grew up
both in painting and in sculpture.
1939-1946 in Argentina. 1946 manifesto proclaiming Spacialismo. Lives in Milan. Lit.:
G.P.Giani. Fontana. Venice, Cavallino, 1958 Michel Tapie. Fontana.
New York,
Abrams, 1961
Fontana. Concetto Spaziale. Venice, Cavallino, 1966
1963
328
FONTANA, LUCIO
Figs. 119, 131; pp. 160, 178
GIACOMETTI, ALBERTO
FRANCHINA, NINO Born
1912, Palermo. 1936
in Paris
and
Rome
moved
to Milan.
Has been
since 1939. 1947 took part in the
living alternately
Born
1901, Stampa, Switzerland. 1919-1920 in Geneva, then
exhibition of
Italy.
1922-1925 worked with A.Bourdellc in
first
the 'Fronte nuovo'. Lit.:
lished contact
Nino Franchina. Rome, de Luca, 1954 Nino Franchina. Civilta dclle Machine. Rome 1967
Giuseppe Marchiori, Cesare Vivaldi.
with the Paris
Surrealists.
Paris.
Took up
About
1922 in
till
1930, estab-
painting after the war.
1966 died in Chur (Switzerland). Lit.
:
Fig. 149; p. 181
Galerie Maeght, Paris. Derriere le miroir 39-40 (195 1), 65 (1954), 98
(i957)
Alberto Giacometti Schriften, Fotos, Zeichnungen. Hrsg. vonErnst :
FREUNDLICH, OTTO Born
1878, Stolp, Pomerania. 1909 settled in Paris; contact with Cubists.
Active
as painter
and sculptor. After World
time. 1924 returned to Paris. in Paris. 1943 deported to Lit.:
Scheidegger. Zurich, Die Arche, 1958
Took
War One,
in
Germany
Palma
part in the early phases of abstract art
Poland and
killed in a concentration
GiinterAust, Otto Freundlich. Cologne,
DuMont
no;
p.
Giacometti.
Rome,
Editalia,
1962
1962
New York, Doublcday, 1965 The Tate Gallery, London. Alberto Giacometti - Sculpture, Paint-
camp.
Peter Selz. Alberto Giacometti.
Schauberg, i960 Fig.
Bucarclli.
Jacques Dupin, Ernst Scheidegger. Alberto Giacometti, Paris, Maeght,
for a
ings,
159
Drawings. 1965 Figs. 10, 48, 78; pp. 15, 84, 90, 149, 153, 221,
Born
1890, Briansk, Russia. Brother of Antoine Pevsner. 1909-1914
studied natural science and art in Munich. 1914-1917 in Oslo. 1917-1921 in Russia.
1921 published the Realist Manifesto with A.Pevsner in
Moscow. 1921 moved London. 1939-1945 Conn., USA. Lit.:
Born 1915
to
Spanish Morocco. 1945-1947 in Granada. 1947-1949 in Madrid. 1948 founded the School of Altamira first sculptural works. In Mexico since
moved
;
New York,
The Museum of Modern Art, 1948 Gabo. London, Lund Humphries, 1957
Herbert Read, Leslie Martin. Gabo. Neuchatel, Editions
du
1949, practising sculpture and architecture and teaching at the National
University in Mexico City. Lit.:
Mauricio
Figs. 14, 162, 212, 213; pp. 16, 182
248
f.
Born 1909, Diana d'Alba, Piedmont. Physician and surgeon. Teaches the Accademia Albertina di Belle Arti, Turin.
at
GARELLI,
f.,
'Sobre
la libertad
de
la
creacion* in
Figs. 19, 185; pp. 29,
Galleria Blu. Sculture di Garelli. Introduzione di
Michel Tapie.
Fig. 145; p. 180
GONZALEZ, JULIO Born
1881, Mae'lla, Aragon. Studied at the Barcelona
began engraving metal figures but,
until 1927,
who was
remained primarily a painter. 1930-1932 worked with Picasso an important influence. 1942 died in Arceuil, Seine. Lit.:
Academy. 1906
scholarship for Paris. 1907 teaching post in Barcelona. 1924 return to
Stedelijk Museum, Amsterdam. Catalogus der tentoonstelling 131, April-May 1955 The Museum of Modern Art, New York. Julio Gonzalez. Exhibition Catalogue. Introduction by Andrew C.Ritchie. 1956
1934 died in Reus (Tarragona).
Leon Degand, Julio Gonzalez. Cologne, Kiepenheuer
Pablo Gargallo, Paris 1937 Wilhelm-Lehmbruck-Museum Duisburg. Exhibition Catalogue with
1956
Pierre Courthion,
Moved
1876, Barcelona. Trained there as goldsmith and painter.
to Paris about 1900. 1910
GARGALLO, PABLO
Vicente Aguilera Cerin. Julio Gonzalez.
&
Witsch,
Madrid 1962 Fig.
by G. Handler, Nov.-Dec. 1966
text
225
FRANCO
Milan, April— May, 1959
Lit.:
Gomez Mayorga,
Arquitcctura (Mexico 1954)
Kunsthalle Mannheim. Exhibition Catalogue, June-Aug. 1965
Paris.
Eduardo Westerdahl, Mathias Goeritz. Barcelona, Edic. Cobalto,
1949
Griffon,
1961
Born
in Danzig. 1937-193 8 at the Kunstgewerbeschule in Berlin-
Middlebury,
Ruth OhJsen and Abraham Chanin, Gabo-Pevsner. Introduction by Herbert Read.
GOERITZ, MATTHIAS Charlottenburg. 1940 studied philosophy and art history. 1941-1945 in
to Berlin. 1932-1935 in Paris. 1936
in St Ives, Cornwall. Since 1946 in
Herbert Read.
Lit.:
279
NAUM
GABO,
n;
pp. 15 £, 181
Fig. 6; p. 14
GRECO, EMILIO
GAUGUIN, PAUL Born 1848 1
in Paris. 1851-1855 in Lima, Peru, then at school in Orleans.
865 joined the Navy, went to Rio de Janeiro,
1
871
went
into banking
and stockbroking. 1874 befriended the Impressionist painters. 1883 gave up business career and took to painting. Stayed in Rouen, Paris and Bretagne
till
Born
1913, Catania. Trained in marble cutting. 1943
Teaches Lit.
:
at the
went
to
Rome.
Naples Academy. Lives in Rome.
Bernhard Degenhart. Der Bildhauer Emilio Greco. Mainz, Kupferberg, i960 Fig. 55; p. 86
1887, then visited Martinique. 1887 return to Paris. 1888 at
Pont Aven in Bretagne, with Van Gogh in Aries, and in Paris. 1 891-1893 first visited Tahiti. 1 893-1 895 in Paris and in Bretagne. 1 895-1901 second
on the on Atuana.
stay in Tahiti. 1901-1903
quesas. 1903 died Lit.
:
island
of La Dominique in the Mar-
Christopher Gray. Sculpture and Ceramics of Paul Gauguin. Balti-
more, Hopkins, 1963 PP- 30, 43
GRIPPE, PETER
New York. Since 1939 has been living in New York.
Born
1912, Buffalo,
Lit.:
Andrew C.Ritchie, Abstract Painting and Sculpture New York, The Museum of Modern Art, 1951
in
America.
Fig. 76; p. 149
329
HARTUNG, KARL
GUERRINI, LORENZO Born 1914, Milan. Studied Rome. Lit.
in
Rome, Milan,
Berlin and Paris. Lives in
Rome,
in
Berlin since
1936.
first
in Paris.
Lit.:
13
Numerous works combining
Schauberg, 1959 Figs. 51, 141; PP- 85,90, 179
HABER, SHAMAl 1922, Lodz.
Grew up
in Israel.
Has been
living in Paris since 1949.
Luce Hoctin, 'Trois jcunes sculpteurs: Penalba, Muller, Haber' in L'Oeil 63,
HAUSER, ERICH Born
i960 Prix Bourdelle. Lit.:
1930, Rietheim near Tuttlingen. 1945-1948 trained as a steel engraver, and attended art courses; as a sculptor he was essentially selftaught.
March i960 Fig. 133; p. 178
HAESE, GUNTER Bom 1924, Kiel. 1945-1948
Lit.:
self-taught
sculpture at the Kunstakademie Diisseldorf, under
exhibition in the
Museum of Modern
1950-1958 studied
painter.
Art,
New
Numerous steel sculptures for Hamburg Hochschule
professor at the lives in
bildende Kiinste. Since 1959
Dunningen near Rottweil.
Eduard
Trier. 'Erich
DuMont
Ewald Matare. 1964 York; 1965 at the
architecture. 1964-1965 visiting fiir
Hauser' in Junge Kiinstler 63/64, Cologne,
Schauberg, 1963
Galerie Dieter Brusberg,
von Peter
Hanover. Ausstellungskatalog mit Text
Iden. April 1966
Marlborough Fine Art in London; 1966 exhibition in the German pavilion of the Venice Biennale; first prize of the David E. Bright Foundation, Los Angeles. Lives in Diisseldorf. Lit.
:
Fig. 230; pp. 281
Born
DuMont
Berlin since 1945.
pavilion.
Schauberg, 1965
Trier.
Giinter
XXXIH.
Haese.
Exhibition
Catalogue.
German
Lit.:
Venice Biennale, 1966
the
1905, Constantinople, of
USA.
stock, Lit.:
1925 in
New
Armenian
Bernhard Heiliger: Skulpturen, Zeichnungen
and teaching in
seit
Aus-
1945.
von Kurt Martin und Umbro ApolBerlin,
Rembrandt,
Fig. 89; p. 153
Wood-
HEPWORTH, BARBARA
N.Y. The Museum of Modern Art, New York. 12 Americans, ed. Dorothy C.Miller, New York, May 1956.
by-
Born
moved
Born
1907, Turda, Rumania, of Hungarian parents. 1927
Paris.
1930 French subject; met F.Leger. Has been living in Bagneux
to
near Paris since 1951. Roberto Ganzo, Hajdu. Paris,
Musee de Poche, 1957
May
A.M.Hamtnacher, Barbara Hepworth. Cologne, Kiepenheuer & Witsch 1958 A.M.Hammacher. Barbara Hepworth. London, Zwemmer, 1958 M. Shepherd. Barbara Hepworth. London, Methuen, 1963 J.P.Hodin. Barbara Hepworth. Neuchatel, Editions du Griffon, 1961
1958
Galerie Knoedler, Paris. Exhibition Catalogue Hajdu,
London. Since then,
tion-Creation group. Lit.:
HAJDU, ETIENNE
Michel Conil Lacoste, 'Hajdu' in L'Oeil 41,
1903, Wakefield, Yorkshire. 1927-1959 in
has been living in St Ives, Cornwall. 193 3-193 5 belonged to the Abstrac-
Fig- 37; P- 43
Lit.:
living
1962
parents. 1921 emigrated to
York. 1950-195 1 in London. Lives in
Has been
lonio, hrsg. von der Stadt Wolfsburg, 1959 Hanns Theodor Flemming. Bernhard Heiliger.
HAGUE, RAOUL Born
1915, Stettin. 1938-1939 in Paris.
stellungskatalog mit Texten Fig. 233; p. 282
f.
BERNHARD
HEILIGER,
Herbert Pee. 'Giinter Haese' in Junge Kiinstler 65/66, Cologne,
Eduard
sculpture with
Carl Linfcrt, 'Karl Hartung' in Junge Kiinstler 59-60. Cologne,
DuMont
Fig. 135; p. 179
Born
1932-1933 in Florence. Had been living
abstract sculptures.
architecture. 1967 died in Berlin.
Dec. 1958
Quadrum
Hamburg. 1929-1931
1908,
1933-1936 in Hamburg. 1935
'Incontro con Lorenzo Guerrini' in Illustrazionc Nazionalc,
:
Born
Marlborough-Gcrson Gallery,
Oct.-Nov.
text
New
York. Exhibition Catalogue
with
by Herbert Read. April-May 1966
1965
Fig. 137; pp. 179, 221 Figs. 30, 46; pp. 32, 83
HAJEK, Born
Born 1930
1927, Kaltenbach, Czechoslovakia.
scholarship Lit.:
HIGGINS,
OTTO HERBERT from the Kulturkreis. Lives
Studied in Stuttgart. 1958
in Stuttgart.
Galerie 22. Ausstellungskatalog 3/1958. Texts
i960
first
EDWARD
in Gaffhey,
South Carolina. Since 1956
lives in
New York.
exhibition at the Leo Castelli Gallery. 1961 Lewis
Comfort
Tiffany Prize.
by Albert Schulze
Lit.:
Vellinghausen and Eduard Trier. Diisseldorf, April 1958
G.Oen. Edward Higgins.
In Metro
1,
Milan, 1961
Metro. International Directory of Contemporary Art, Milan, 1964
Franz Mon, Otto Herbert Hajek. Cologne, Anne Abels, i960
Fig. 216; pp. 227, 252
Art International X/3, 1966 Figs. 117, 193; pp. 160,
228
HILTMANN, JOCHEN Born
HARE, DAVID Born 1917, New York. Began as a photographer. ture. Lives in New York. Lit.:
1942 turned to sculp-
Hamburg. Trained
as
farmer. Studied painting in
Hamburg
1958 scholarship from the Kulturkreis. i960 at the Villa Romana, Florence. Self-taught sculptor. Lives in Todenfeld near
The Museum of Modern Art, New York. 14 Americans, ed. Dorothy C.Miller, New York, 1946 Fig.
330
1935,
and Diisseldorf. Assisted Joseph Fassbender in the execution of murals.
ioi;p. 154
Lit.:
Volker Kahmen. 'Jochen
Cologne,
DuMont
Hiltmann'
in
Junge
Bonn. Kiinstler
64/65.
Schauberg, 1964 Fig. 171
;
p.
221
;
KALINOWSKI, HORST EGON
HOFLEHNER, RUDOLF Born
1916, Linz an der
gewerbeschule, Linz. 1945 took up abstract
on
to iron and steel;
figurative
Professor at Stuttgart
wood sculpture.
work from
Vienna since 1951. 1959 exhibition
1954.
at the 5th
195 1 turned
Has been
living in
Biennale in Sao Paolo.
Academy.
Born 1924
Stuttgart, Hatje, 1965 f.,
the Kunstakademie
at
Academie de la Grande Chaumiere in Paris. Lives in Paris since 1950. Since 1956 'picture1958 'picture-cabinets', i960
objects', since
from wood and iron covered with
Lit.:
Figs. 62, 66; pp. 88
1945-1948 studied
in Diisseldorf.
Dusseldorf. 1949-1950 studied in Italy; 1950-1952 at the
'steles'.
Werner Hofmann. Hoflehner.
Lit.:
taught at the Kunst-
the Vienna Kunstakademie. 1945-1951
at
art
Donau. Studied mechanical engineering, and
DuMont
From
(constructions
these developed the
USA.
1964 and 1966 in the
Egon Kalinowski'
Horst Richter. 'Horst
Cologne,
278
first 'caissons'
leather).
in
Junge
Kiinstler 67/68,
Schauberg, 1967 Fig. 105; p. 159
IPOUSTEGUY, JEAN Born 1920
in Dun-sur-Meuse, France.
At
first
a painter; since 1949
sculpture only. 1964 exhibition in the French pavilion of the Venice
won
Biennale;
at the Galerie
Hanover
the
David
Claude Bernard, Paris Albert ;
Gallery,
One-man shows Loeb Gallery, New York
E. Bright Foundation Prize.
London. Lives in
Paris.
KEMENY, ZOLTAN Born
Lit.:
Museum
Had been
Kemeny. Neuchatel,
Michel Ragon. Zoltan
Musee National
a"Art
became
du
Editions
Griffon,
Moderne, Paris. Exhibition Catalogue with
Figs. 29, 241
Claus. Dec. 1965-Jan. 1966 Fig. 219; pp. 278,
Budapest.
in
by Bernard Dorival. Oct.-Dec. 1966
text
Leverkusen. Ausstellungskatalog mit Texten
von Rolf Wedewer und Jiirgen
Rumania. Studied
living in Switzerland since 1942;
i960
Ashbery. July-Aug. 1964 Stadtisches
Paris.
a Swiss subject in 1957. 1965 died in Zurich.
Hanover Gallery, London. Exhibition Catalogue with text by John
Lit.:
Transylvania,
Banica,
1907,
1930-1940 in
;
pp. 32, 284
279
KING, PHILLIP
JACOBSEN, ROBERT Born
1912, Copenhagen. 1930
first
wood
Has done mainly
sculptures.
work with constructivist forms since 1949, also figurative pieces in Has been living in Paris since 1947. Since 1962 Professor at Munich Academy.
metal iron.
Born 1934 in Tunis, North Africa. 1945 moved to England. 1954-1957 studied at Cambridge University. 1957-1958 St Martin's School of Art, London, as a pupil of Anthony Caro. 195 8-1959 assistant to Henry Moore. Since 1959, teacher at St Martin's. Lives in London. Lit.:
Kunstverein fur die
Venice
Rheinlande und
Westfalen,
Dusseldorf.
Aus-
stellungskatalog 'Acht junge britische Bildhauer'. June-July 1967
March i960
XXXIII. Biennale
The new Generation: 1965
Peter Stuyvesant Foundation. London, March-April 1965
J.Coplans. 'P hilli p King' in Studio International, Dec. 1965
Catalogus der tentoonstelling 228 met inleiding van Eugene
Ibid.,
Jonescu.
Whitechapel Gallery, London.
The
Museum, Amsterdam. Catalogus der tentoonstelling 140 met inleiding van Leon Degand. Nov.-Dec. 1955 Stedelijk
Lit.:
ig66.
Danish
pavilion.
Fig. 229; p. 281
Exhibition
Catalogue Fig. 156; p. 183
KIRCHNER, ERNST LUDWIG Born
JENDRITZKO, GUIDO Born
1925, Kirchhain, Niederlausitz. 1950-1956 studied at the
Hoch-
schule fur bildende Kiinste in Berlin. Karl Hartung's star pupil. Scholarship
from
the Kulturkreis. i960 at the Villa
Romana,
Florence. Lives in
1938, he Lit.:
Wuppertal. Lit.:
1907, Aschaffenburg. 1901-1905 studied architecture in Dresden.
1903-1904 painting in Munich. Co-founder of the Kunstlergemeinschaft Briicke. 1911-1916 in Berlin. 1917 moved to Davos where, in
committed
Max
suicide.
Sauerlandt,
Schmidt-Rottluff
Gewerbe' in
Will Grohmann, 'Guido Jendritzko' in Junge Kiinstler 58/59, DuMont Schauberg, 1958
Cologne,
'Holzbildwerke von Kirchner, Heckel und im Hamburgischen Museum fur Kunst und
Museum
Will Grohmann, Ernst
Fig. 114; p. 160
der Gegenwart
i,
3,
Ludwig Kirchner.
1930. Stuttgart,
Kohlhammer,
1958 Fig. 71; p.
JUDD,
DONALD
Born 1928
at Excelsior Springs, Missouri.
1947-1953 studied
at the
Art
New York. Lives in New York. Rose. ABC art. In 'Art in America', Oct. 1965
:
B.
Stedelijk
kleur,
Museum Amsterdam.
Ausstellungskatalog
KOCK, HANS Born
Students' League, Lit.
90
in
'Vormen van de
New Shapes of Color', Nov. 1966-Jan. 1967 New Aesthetic. The Washington Gallery of Modern Art,
B. Rose.
1920, Kiel,
Fig. 239; pp. 252, 283
in
Hamburg. 1945-1947
at the
studied architecture
Landeskunstschule in
Hamburg under
Gerhard Marcks. 1955 scholarship from the Kulturkreis. Lives in
Ham-
burg. Lit.:
Martin Urban, 'Hans Kock' in Junge Kiinstler 60/61, Cologne,
DuMont
May-June 1967
grew up
Brunswick. 1948-1952
Schauberg, i960 Fig. 205
;
p.
247
331
KOENIG, FRITZ
Galerie Louise Leiris.
Born 1924, Wiirzburg. 1946-1952 studied at the professor at Technical University, Munich. Lives near Landshut, Bavaria.
DuMont
May
Hiittingcr, Alberto Giacometti
Born 1924 on
literary
and publicist activity
in
Argentina since 1939.
1946 founded the Modi group. 1964 exhibited in the
of Venice Biennale. Professor of sculpture Diisseldorf. Lives in Buenos Aires.
German
pavilion
the Kunstakademie
at
Lit.:
CORBUSIER
Trained
from working
Lit.
first spatial
ship
compositions. 1955 in England. 1958 in
from the Graham Foundation. Lives Eduard
Lit.:
Trier.
USA
on
a scholar-
in Diisseldorf.
artistic activity in
Paul Westheim, Wilhelm Lehmbruck (2nd
August
284
in
ed.).
Potsdam, Kiepen-
Hoff,
Wilhelm Lehmbruck.
und
Klinkhardt
Berlin,
Biermann, 1933 (Junge Kunst Bd. 61-62) Ibid., Wilhelm Lehmbruck. Berlin, Rembrandt, 1961 Eduard
Trier,
Wilhelm Lehmbruck: Zeichnungen und Radie-
rungen. Munich, Piper-Biicherei, 1955 Ibid., Wilhelm Lehmbruck: Die Kniende. Stuttgart, Reclam-
Hamburg.
Hochschule fur bildende Kunst
Michel Seuphor, Lardera. Milan, La Bibliofilia, 1953
to Paris
heuer, 1922
living in Paris since 1948. 1958-1961 teaching post
at the
1910
Italy.
where he came into contact with avant-garde artists (Brancusi, Modigliani, Matisse and others). 1914 returned to Germany, in Berlin till 1917, then temporary stay in Zurich. 19 19 died in Berlin.
191 1, La Spezia. Studied at Florence University; taught himself
Lit.:
1881, Meiderich near Duisburg. 1895-1899 studied at the Kunst-
moved
LARDERA, BERTO Has been
Wide
Martin, France.
gewerbeschule in Diisseldorf. 1906 and 1912 travelled to
Lit.:
Figs. 152, 197, 238; pp. 181, 246, 277, 283,
sculpture.
Cap
LEHMBRUCK, WILHELM
Norbert Kricke. Recklinghausen, Bongers, 1963
John Anthony Thwaites. Kricke. Stuttgart, Hatje, 1964 Eduard Trier. Norbert Kricke. Quadrum 16, 1964
Born
Germany. 1917 settled in Paris. Apart townplanner and publicist, also paints and
GZuvres de Le Corbusier et P. Jcanneret. 8 vols. Paris, Morance" Anton Hcnze, Ronchamp. Recklinghausen, Paulus-Verlag, 1956 Fig. 187; pp. 224, 226
:
Born
NORBERT
1922, Diisseldorf. 1946-1947 pupil of R. Scheibe in Berlin. 1952
Born
as architect,
Nov. 1962
95,
Fig. 116; p. 184
KRICKE,
1908 in Paris, worked in the office of the architect
various parts of the world. 1965 died near
par Michel Scuphor, April i960
No.
as engraver.
Perret. 1910-1911 study travel in
Galerie Denise Rene, Paris. Catalogue de l'exposition, introduction
L'Oeil
314
Charles Edouardjeanncret, born 1887, La Chaux-de-Fonds, Switzerland.
carves. 1920 edited the periodical Esprit nouveau.
Avant-
d'aujourd'hui.
Gyula Kosice. Geoculture de propos de Herbert Read. Buenos Aires, Ediciones Losange, 1959 1'Europe
July-Aug. 1961 Figs. 31, 56; pp. 32, 86,
LE
the Czechoslovak-Hungarian border. 1928 emigrated to
Wide
Argentina.
et al.
H9
GYULA
KOSICE,
i960 Kunsthaus Zurich. Exhibition Catalogue with texts by Eduard
1965
Fig. 79; p.
a
Oct.-Nov. 1958
Galerie Claude Bernard. Laurens. Introduction par A.Giacometti.
Schauberg, 195S
Kunstuerciti Braunschweig. Exhibition Catalogue,
Paris,
Paris,
Kocnig' in Jungc Kiinstler 58/59, Cologne,
Roll, 'Fritz
Lit.: Julimie
Henri Laurens: sculptures en picrrc de 1919
1943. Tcxte d'Y. Taillandier.
Munich Academy;
Werkmonographien, 1958 Werner Hofmann. Wilhelm Lehmbruck. Knorr & Hirth, 1964 (2nd ed.)
Michel Conil-Lacoste, 'Lardera, decoupeur d'espace' in L'Oeil 37,
January 1958
Munich,
Ahrbeck,
Fig. 9; pp. 15. 85
Michel Seuphor. Berto Lardera. Neuchatel, Editions du Griffon,
i960 Figs. 148, 178; pp.
180
f.,
222
LINCK, Born
WALTER
1903, Berne. 1916-1920 studied in Berne
LASSAW, IBRAM
in Berlin.
1930-1932 in
Born
and
1956-1957 taught
1913, Alexandria, Egypt, of Russian extraction. 1921 emigrated to
USA.
New
York, 1950 teaching post at the American University, Washington D.C. Lives in New York and East Hampton, Studied in
Tlie Museum of Modern Art, New Dorothy C.Miller, May 1956
York. 12 Americans, ed.
and Zurich. 1921-1926
1932-1939 alternated between Berne
at the
Wcrkakademie
in Kassel. Lives in
Reichenbach-Zollikofen near Berne. Lit.:
N.Y. Lit.:
Paris.
Paris.
Kestner-Gescllschaft, Hanover.
Ausstellungskatalog
Theo Eble -
Walter Linck. Einleitung von Albert Schulze Vellinghausen. Feb.-March 1958
by
Marcel Joray, Schweizer Plastik der Gegenwart Fig. 159; p. 183
Editions du Griffon, 1955
&
I
&
II.
Fig. 21
LAURENS, HENRI Born
by Braque.
Practised
Cubism
till
then turned to organic forms. 1937 commissions combining
sculpture with architecture for the Paris sculpture also
book
illustration, artistic
World
Exhibition. Apart
from
typography and gouaches. 1954
Le Point
xxxiii.
Numero
special consacre a
Henri Laurens. Lanzac,
July 1946 Cecile
1956
332
p.
29
LIPCHITZ, JACQUES Born
1
Paris.
1912 briefly in Russia. 1913 returned to Paris. 1914 trip to Madrid.
891, Druskieniki, Lithuania, at that time Russian. 1909-1912 in
down in Boulogne-sur-Seine. 1940 fled to Toulouse. 1941 USA. 1945 returned for a time to Paris. Has been living in Hastings-on-Hudson, N.Y., USA. since 1947. 1925 settled
emigrated to
died in Paris. Lit.:
;
1885, Paris. Trained in sculptural decoration and stone masonry.
191 1 introduced to Cubist painting 1925,
Neuchatel,
1959
Goldscheider, Laurens.
Lit.
Cologne, Kiepenheuer
&
Witsch,
:
Maurice Raynal, Jacques Lipchitz. Paris, Jeanne Bucher, 1947
Henry R.Hope, The Sculpture of Jacques Lipchitz. The Museum of Modern Art, 1954
New
York,
Cologne, Kiepenheuer
Robert Goldwater, Jacques Lipchitz.
&
LUGINBUHL, BERNHARD Born
Witsch, 1954 Fine Arts Associates.
Catalogue: Jacques Lipchitz,
Exhibition
Thirty Three Semi-Automatics. Text by the
New
artist.
York,
in
1929, Berne. Educated at the Kunstgewerbeschule in Berne. Lives
Motschwil near Berne.
Du, August 1959
Lit.:
March 1957
Marcel Joray, Schweizer Plastik der Gegenwart
Fine Arts Associates. Exhibition Catalogue of recent work, 1958-
Editions
1959, with text 'A la limite du possible' by the artist, New York, Nov.-Dec. 1959 A.M.Hammacher. Jacques Lipchitz. Amsterdam, Contact, and
du
I
The Life ofJacques Lipchitz. New York, Funk
Figs. 4, 61, 72; pp. 13, 14, 88,
90
Rijksmuseum Kroller-Muller, Otterlo (Holland). Exhibition Cata-
Born
1915, Milwaukee, Wisconsin. 1933-1937 studied industrial design
in Chicago. 1942 took Lit.:
up
sculpture. Lives in
Trier,
Rosamonde
New
Art,
New York.
York. 15 Americans, ed.
form
'Lippolds plastische Sonne' in
II,
from own
Quadrum
1942-1943 in South of France, then
till
Fig. 49; p. 84
29
MANZU, GIACOMO naturalization.
1945 in Switzerland.
Now
lives
Born
1908,
Bergamo,
at the
Brera
Academy and
Lit.:
Studied dentistry. 1932 took up sculpture
(self-
national IX/i, 1965
1875, Stuttgart. 1892-1898 studied at schools
Karlsruhe and Kaiserslautern.
Rome. 1904-1908
in Verona. Teaches
Giacomo Manzu. Milan, Edizioni
Carlo Ragghianti,
del Milione,
1965
1967 Fig. 39; p-
44
MARCKS, GERHARD Born
1889, Berlin. 1919 appointment at the Bauhaus, in charge of the
Halle-Giebichenstein.
1946-1950
LORCHER, ALFRED
in
Academy
pottery kilns in Dornburg. 1925-193 3 at the Kunstgewerbeschule in Fig. 68; p. 89
Academy. 1903
at the
Milan.
John Rewald. Giacomo Manzu. London, Thames and Hudson,
The Museum of Modern Art, New York. 12 Americans, ed. by Dorothy C. Miller, 1956 Andrew C. Ritchie, 'Seymour Lipton' in Art in America. Winter
Stuttgart,
Studied
lives in
Bemhard Degenhart, Giacomo Manzu: Madchen und Frauen. Munich, Piper-Bucherei, 1958 Robert d'Hooghe. Giacomo Manzu. Salzburg i960 Eduard Hiittinger. Giacomo Manzu. Amriswil, Bodensee-Verlag,
New York.
1956-1957 A. Elsen. The sculptural world of Seymour Lipton. Art Inter-
Born
Italy.
1957
SEYMOUR
taught). Since 1943 various teaching posts. Lives in Lit.:
exhibition. 1906 trip to Greece. 1944 died in
Waldemar George. Aristide Maillol. Berlin, Rembrandt, 1964
Fig. 132; p. 178
New York.
first
Bruckmann, i960
R. V. Gindertael, Lipsi. Paris, Coll. Prisme, 1959 Ibid., Maurice Lipsi. Neuchatel, Editions du Griffon, 1965
1903,
carpets pursuit.
John Rewald, Maillol. London, etc., Hyperion, 1939 RolfLinnenkamp, Aristide Maillol. Die grossen Plastiken. Munich,
i960
in Chevilly-Larue near Paris.
Born
made
becomes main
by
14, 1963
LIPSI, MAURICE Born 1898, Lodz, Poland. In Paris since 1912. 1933 French
LIPTON,
designs, also sculpture. 1901 sculpture
1902 Vollard organizes
1958
Bernier, 'Richard Lippold' in L'Oeil 64, April
Fig. 17; p.
:
1861, Banyuls, Roussillon. 1882-1886 studied painting and sculp-
Lit.:
Leon Kochnitzky. Richard Lippold.
Lit.
MAILLOL, ARISTIDE Born
Banyuls.
The Museum of Modern Dorothy C.Miller, 1952 Eduard
Fig. 158; p. 183
ture at the Ecole des Beaux-Arts. 1887-1889 in Banyuls
LIPPOLD, RICHARD
Neuchatel,
logue Luginbiihl-Tinguely, 1967
& Wagnalls,
1961
II.
Galerie Rene'c Ziegler, Zurich. Exhibition Catalogue, Dec. 1966
Cologne, DuMont, i960 J.Patai.
&
Griffon, 1955 and 1959
1
898-1902
in Stuttgart.
of applied at
the
art in
Munich
Cologne Lit.:
at the
From
1933
onwards
in
Ahrenshoop/Ostsee.
Landeskunstschule in Hamburg. Has been living in
since 1950.
Adolf Rieth, Gerhard Marcks, Recklinghausen, Bongers, 1959 Fig. 75
1908-1915 in Berlin.
;
pp. 84, 149, 156
1919-1945 teaching post in Stuttgart. Awarded the Grosser Kunstpreis
by Nordrhein-Westfalen. 1962 died Lit.:
in Stuttgart.
von
Festschrift Alfred Lorcher, hrsg.
MARINI,
E. Petermann. Stuttgart,
Kohlhammer, 1955 Fig. 80; p. 150
MARINO
Born 1901, Pistoia. Studied Academy. 1929-1940 taught Since 1940, at the Brera
painting and sculpture at the Florence at the art
Academy
Lives alternately in Milan and Forte dei
LOTH, WILHELM Born
1920, Darmstadt. 1938 encouraged
sculpture.
1959 Lit.
:
Lit.:
by Kathe Kollwitz
to take
up
Has been teaching since 1948 in Darmstadt and Karlsruhe. Massimo, Rome. Lives in Karlsruhe.
at the Villa
Ulrich Gertz,
'Wilhelm Loth' in Junge
Kiinstler 59/60,
Cologne,
DuMont
Schauberg, 1959 Galerie Springer, Berlin. Exhibition Catalogue, Oct. 1966 Fig. 47; p. 83
Umbro
Apollonio,
school Villa Reale in
Monza.
in Milan. 1942-1946 in Switzerland.
Marmi.
Marino Marini (3rd
ed.).
Milan, Edizioni del
Milione, 1958
Entile Langui,
Marino Marini. Cologne, Der Spiegel, 1954 Marino Marini. Cologne, Kiepenheuer & Witsch,
1954 Eduard
The
Eduard
Trier,
Trier,
Sculpture of Marino Marini. London,
Thames
and Hudson, 1961 Figs. 59, 60, 181; pp. 44, 88, 156,
224
333
1
MEADOWS, BERNARD
MARISOL, ESCOBAR Born 1930
in Paris
Beaux-Arts,
Paris.
of Venezuelan parents. Studied at the Ecole des 1950 moved to New York; studied at the Hans
Hoffman-School and the Art Students' League. 1953 turned to sculpture. 1958-1960 in Rome. Lives in New York. Took part among others in the exhibition 'Pop Art - Nouvcau Realisme' in Brussels, Berlin, etc. Lit.:
New
D.Judd. 'Lee Bontccou' Arts,
Quadrum
The Tate
Gallery,
London,
Fig. 218; p. 278
Lit.:
in
J.P.Hodin, 'Bernard Meadows' in
Quadrum
1959
6,
Fig. 109; p. 159
MEIER-DENNINGHOFF, BRIGITTE Born 1923, Berlin. Trained under Henry Moore and A.Pevsner. 1959 awarded the Prix Bourdcllc. Lives in Paris. Lit.:
MARTIN, KENNETH at
at the Slade
Udo Kultermann, 60/61. Cologne,
1905, Sheffield. 1929-1932 studied at the Royal College of Art
London. 1948 taught
1955 lectures
Norwich. 1936-1940 worked with Henry Moore. Lives
York, 1962
1964
Born
1915,
London.
1964
16,
Painting and Sculpture of a Decade.
in
Born
London
University. 1953
School in London,
castle-on-Tyne, and at the Institute of
at
first
'Brigitte
DuMont
Mcier-Denninghoff
Contemporary Arts
in
in
Junge
Kiinstler
Kestncr-Gesellschaft, Hanover. Exhibition Catalogue, 1965/66
screw mobiles.
Fig. 151; pp. 181, 221
New-
King's College,
'
Schauberg, i960
London.
Lives in Hampstead, London. Lit.:
Andrew
on
Forge, 'Notes
Quadrum
the Mobiles of
Kenneth Martin'
in
METTEL, HANS
1957 Kenneth Martin. Construction and Movement. Art International
Born
1903, Salzwedel. 1921-1923 studied stone sculpture in Dresden.
1924
at
XI/6, 1967
Scharff).
3,
Fig. 167; p. 184
Born
1910, Fontana Liri, Italy.
Lit.
Giulio Carlo Argan,
:
Umberto
living since 1926 in Turin.
Fig. 70; p. 89
MATARE", Born
EWALD
1932-193 3
1945).
at
the Diisseldorf
Had been living since
Academy
1932 in Biiderich bei
a scholarship at the Villa
Massimo
in
bildende Kiinste in Frankfurt. 1958 settled
1966 died in Frankfurt. Lit.:
1887, Aachen. 1907-1914 studied painting in Berlin. 1920 took
sculpture.
on
down in Berlin. 1936 forbidden to exhibit, works moved to Frankfurt-on-Main to teach sculpture at the
1950-1956 director of the Staatliche Hochschule fur down in Falkenstein, Taunus.
Stadekchule.
Mastroianni. Venice, Cavallino, 1958
(under
193 1 settled
confiscated. 1947
Has been
Berlin-Charlottenburg
1925-1929 prize scholar of the Preussische Akademie der
Kiinste (under Lederer). 1930
Rome.
MASTROIANNI, UMBERTO
Staatsschule
Vereinigte
the
Eduard
Trier,
DuMont
up
'Hans Mettel' in Junge Kiinstler 60/61. Cologne,
Schauberg, i960 Fig. 50; pp. 84
(re-appointed in
f.
Neuss where he died in
1965. Lit.:
Hanns Th. Flemming, Ewald Matare. Munich, Prestel, 1955 Trier, Ewald Matare. Recklinghausen, Bongers, 1958 Heinz Peters, Ewald Matare: Das graphische Werk I—II. Cologne, Czwiklitzer, 1957 and 1958
Eduard
MILANI, Born
UMBERTO
1912, Milan.
Began
as painter.
Studied at the Accademia di Brera.
Lives in Milan. Lit.:
Kunsthalle Diisseldorf. Exhibition Catalogue. June-July 1967
Franco Russoli,
'Umberto Milani'
in
II
Milione 44 nuova
serie,
Milan, April-May 1959
Figs. 38, 106; pp. 43, 159
Fig. 143; p. 180
MATISSE, HENRI Born ture.
1869,
Le Cateau. 1892 began
1900 worked for
a
studies in Paris. 1899
second pursuit throughout his career Nice. 1939
moved
as a painter.
1917 settled
down
Museum of Modern
MINGUZZI, LUCIANO Born
His Art and His Public.
New
York, The
Lit.
:
Art, 195
The Sculpture of Henri by Alfred H.Barr. New York, Feb. 1953
The Museum of Modem Art, New York. The Andrew C.Ritchie, New York, 1955
New Decade,
Giuseppe Marchiori. Luciano Minguzzi, scultore dal 1951
Matisse. Introduc-
ed.
al
by
1961.
Milan 1962
Fine Arts Associates. Henri Matisse: Sculpture. Introduction
New York,
191 1, Bologna. Teaches at the Accademia di Brera and lives in
Milan.
Curt Valentin Gallery.
Jean Cassou.
in
to Vence. 1954 died in Nice.
Lit.: Alfred H.Barr, Matisse:
tion
took up sculp-
time with A.Bourdelle. Sculpture remained his
by
Fig. 150; p. 181
Nov.-Dec. 1958
Gaston Diehl, Henri Matisse. Paris, Tisne, 1958 Figs. 8, 25; pp. 15, 31
McWILLIAM, Born
1909, Banbridge. 1928-193 1 studied at the Slade School in
1931-1932 in Lit.:
Paris. Lives in
The Hanover London, 1956
London.
Gallery.
In
1910, Udine, Italy. Studied in Venice,
Rome from
1934.
At present
in
USA
Rome,
Florence and Monza.
as director
of the Harvard
University Workshop.
London.
F.E.McWilliam Exhibition Catalogue.
Lit.
:
The Museum of Modern Art, New York. The C.Ritchie, New York, 1955
New
Decade, ed. by
Andrew p. 150
334
MIRKO (BALSADELLA) Born
F.E.
Fig. 7; p. 14
1
MODIGLIANI, AMEDEO moved
Born
1884, Leghorn. Studied in Venice and Florence. 1906
Paris.
1909 met Brancusi and took up sculpture under his influence. 1915
to
MORRIS, ROBERT Bom 193 1 in Kansas City,
International X/10, Dec. 1966
New
James T.Soby, Modigliani Paintings, Drawings, Sculpture. York, The Museum of Modern Art, 195 :
Amedeo
G.Scheiwiller,
Fig. 232; p. 282
Modigliani. Zurich, Die Arche, 1958
C.Roy, Modigliani. Geneva,
Skira, 1958
Geneva,
Alfred Werner, Peter Dietschi. Modigliani, der Bildhauer.
MULLER, ROBERT Bom 1920, Zurich. 1939-1944 Richier).
Nagel, 1962 A.Ceroni.
Amedeo
New York.
Martin Friedman. Robert Morris: Polemics and Cubes. In Art
Lit.:
switched over to painting. 1920 died in Paris. Lit.:
Missouri. Lives in
Modigliani: Dessins et Sculptures. Milan 1965
1947-1950 in
Italy.
studied in Switzerland (with
Has been
Maria Netter, 'Der Eisenschmied Robert Miiller' in
Lit.:
P- 153
7.
Germaine
living in Paris since 1950.
Quadrum
1959
MOHOLY-NAGY, LASZLO
Luce Hoctin, 'Trois jeunes sculpteurs: Penalba, Miiller, Haber' in
Born 1895
L'Oeil 63,
in Barsebarsod,
Borsod, Hungary. Studied law; began
painting in 191 8 influenced
by Russian Constructivism and German Berlin. 1923 met Walter Gropius, who put
Expressionism. 1921-1923 in
him in charge of the metal-work studio
in the
Weimar Bauhaus.
March i960
Museum, Amsterdam. Exhibition Catalogue, Nov. 1964-
Stedelijk
Jan. 1965 Fig. 128; p. 178
1924 to
Dessau with the Bauhaus. Leaves the Bauhaus in 1928, moves to Berlin. 1925 publishes the Bauhaus-book No. 8, 'Malerei, Fotografie, Film' Photography, Film); 1929 Bauhaus-book No. 14 "Vom
(Painting,
(From Material to Architecture). 1933-1934 stays in Paris and Amsterdam. 1935 moves to London; 1937 to Chicago where he founded the 'New Bauhaus'. Died 1946 in Chicago. Material zur Architektur'
Lit.:
Sibyl Moholy-Nagy.
Moholy-Nagy. Experiment
in Totality.
NEGRET, EDGAR Born 1920
in Popayan,
moved
New
Columbia. Studied
York, studied
at the
1951-1955 travelling in Europe. 1958 Indian
New
York, 1950 Kunstmuseum Dusseldorf Ausstellungskatalog mit Text von Heinz
to
art.
1965 distinction
at the
at the Cali
New York
unesco
Academy. 1949
Sculpture Center.
grant to study American
Sao Paulo Biennale. Lives in Bogota.
Graham Gallery, New York. Exhibition leaflet, April-May 1966 Axiom Gallery, London. Exhibition leaflet, May 1967
Lit.:
Fig. 243
Peters. Feb.-April 1961
;
p.
284
Ludvik Soacek. Laszlo Moholy-Nagy. Prague 1965
Van Abbe-Museum Eindhoven. Ausstellungskatalog Moholy-Nagy,
NEGRI, MARIO
1967
Born 282
Fig. 235; p.
MOORE, HENRY 1898, Castleford, Yorks. 1919-1921 Leeds School of Art, then
1925
at the
Taught
till
:
Much Hadham,
Herts.
Mario Negri, Milan, Milione, 1962 p.
Herbert Read.
:
Henry Moore. Munich, Zurich, Droemer,
Born
1900, Kiev, Russia. 1905 emigrated to
New York. in
224, 227, 247, 252, 277
MOOY, JAAP self sculpture.
1939-1956 painter. 1956
naval mechanic, taught him-
first
sculpture in iron. Lives in
Bergen-op-Zoom. Lit.:
Munich. Studied archaeology
Mexico and Central America. Lives
in
New York.
Lit.:
The Museum of Modern Art, New York. Sixteen Americans, Dorothy C.Miller, New York, 1959
ed.
by
Hilton Kramer, 'The Sculpture of Louise Nevelson' in Arts, June
1958
John Gordon. Louise Nevelson.
New York, The Whitney Museum
of American Art, 1967 Figs. 176, 240; pp. 222, 228, 283
NICHOLSON, BEN Born 1894
in
Art,
1958 lives in the Ticino, Switzerland.
Herbert Read.
Ben Nicholson. London, Lund Humphries, 1955 Ben Nicholson. Works since 1947, vol. 2. London,
Herbert Read.
Mooy-Jaap Wagemaker. Texte von Lucebert und Grochowiak.
Lund Humphries, 1956
Aug.-Sept. 1959
Marlborough
Bochum. Exhibition Catalogue with text by
H.L.C.Jaffe, April-May 1965
paintings
of London. 193 3-193 5 member of the group 'Abstraction-Creation',
Paris. Since Lit.:
Denham, Buckinghamshire, England. Mainly
since 1933 also reliefs. 191 1 studied at the Slade School
Kunsthalle Recklinghausen. Ausstellungskatalog: Monteure: Jaap
Stadtische Kunstgalerie
studied in
in
and drawings, as a
USA. 1929-1930
Hans Hofmann
193 1 with
1967.
Figs. 5, 41, 52, 58, 180, 190, 210, 214; pp. 13, 14, 44, 85 f, 88, 179, 221,
Bergen-op-Zoom. Trained
44
NEVELSON, LOUISE
Henry Moore Sculpture and Drawings (4th ed.). London, Lund Humphries, 1957 Ibid., Henry Moore, vol. ii: Sculpture and Drawings since 1948. London, Lund Humphries, 1955 Henry Moore, Schriften und Skulpturen, hrsg. von Werner Hofmann. Frankfurt-on-Main, Fischer, 1959 Will Grohmann, Henry Moore. London, Thames and Hudson, i960 Henry Moore, vol. iii Sculpture 1955-1964. Ed. by Alan Bowness. London, Lund Humphries, 1965 Henry Moore on sculpture. Ed. by P hilli p James. London, MacHerbert Read,
1905,
sculpture (self-
till
Donald, 1966
Born
up
Royal College of Art in London. 1925 in Italy and Paris. 1939 at the Chelsea Art School. Numerous public works and
distinctions. Lives in Lit.
Cesare Gnudi,
Lit.:
Born
1906, Tirano. Studied in Milan. 1946 took
taught). Lives in Milan.
New
London Gallery. Exhibition Catalogue 'Ben
Nicholson, Twelve
new
works'.
Text by Geoffrey Grigson.
June 1967 Fig. 99; p. 154
Fig. 27; p. 30
335
,
."'
"-!
,
:
,
r-
'
.-' .
,~
NIVOLA, COSTANTINO
PENALBA, ALICIA
Marino Marini. Since 1939 in USA. Teaches at the Graduate School of Design, Harvard University. Lives in East Hampton, Long Island, New York.
Born
Born
Lit.:
191 1, Orani, Sardinia. Studied in Italy with
'Angewandte
Zu den
Eduard
Trier,
Bertoia
und Costantino Nivola' in form
Metro
8,
Plastik.
i,
191 8,
Buenos
Aires. 1948
moved
where she took up sculp-
to Paris
ture and studied under Zadkinc. Lives in Paris. Patrick Waldberg, Penalba. Paris, Galcric Editions, 1957
Lit.:
Luce Hoctin, 'Trois jcuncs sculpteurs
Arbcitcn von Harry
L'Oeil 63,
1957
:
Penalba, Miillcr, Habcr' in
March i960
Michel Seuphor. Alicia Penalba. Amriswil, Bodcnsee-Verlag, i960
1963 Fig. 203
;
p.
Eduard
246
Trier. Alicia
Penalba.
XXcmc
Siecle 25,
June 1965 Fig. 113; p. 160
PEVSNER, ANTOINE
NOGUCHI, ISAMU Born
1904, Los Angeles, California, of Japanese father and
mother.
Grew up
in Japan. 1918 in
USA.
1924 trained
American
as sculptor in
New York. 1927-1929 Brancusi's assistant in Paris. 1929 returned to USA then, until 1931, in China and Japan. 1949-1950 the Mediterranean and the Far East. Now living in New York and Japan. Lit.
:
Museum of Modern Art, New York. Fourteen Americans, ed. by Dorothy C. Miller, New York, 1946 Noguchi. Text by Shuzo Takiguchi, Saburo Hasegawa, Isamu Tire
Born 1886, Orel, Russia. 1902-1909 studied painting at the Kiev Academy. From 1909, at the Academy in St Petersburg. 191 1 and 19131914 in Paris. 1914-1917 in Norway, then, till 1921, in Russia. 1920 pubhshed with his brother, Naum Gabo, the Realist Manifesto in Moscow. 1922 in Berlin. Had been living in Paris since 1923. 1962 died in Paris.
Ruth Olsen and Abraham Chanin, Gabo-Pevsner. Introduction by
Lit.:
Herbert Read.
New
York, The
Museum of Modern
Rene Massat, 'Antoine Pevsner' in Cahiers
Noguchi. Tokio, Bijutsu Shuppan-Sha, 1953 Bucktuinster Fuller. Isamu Noguchi A Sculptor's World. London,
Antoine Pevsner, 'Propos d'un sculpteur' interview with
Thames and Hudson, 1967
Bernier in L'Oeil 23, Nov. 1956
:
Figs. 63, 172, 189; pp. 22i, 222, 226,
Rene Massat, Antoine Pevsner
247
d'art
ii,
Art, 1948
1950
Rosamonde
et le constructivisme. Paris, Editions
Caracteres, 1956
Musee
OLDENBURG, CLAES Born 1929
in
Stockholm, Sweden.
Chicago. 1959 Lit.:
XXXII.
Grew up in Chicago.
Yale University. 1953-1954 studied
his studies at
first
USA.
Art
New York.
New
York.
Figs. 16, 88, 160, 211; pp. 16, 153, 181, 183, 225,
Art
Exhibition Catalogue, April-
Born
1881, Malaga, Spain. Educated in Barcelona. 1901
Paris.
1904
moved
f.
Born
since
1923, Budapest. Studied in Budapest. 1947 emigrated to Paris.
Lit.:
1952 French subject. Lives in Paris. Lit.:
Michel Ragon, 'Marta Pan' in
A. M. Hammacher. Marta Pan.
stay in
Rome. 1919
in
London and
St Raphael. 1928 in Dinard.
From
1929, again interested in sculpture
Daniel Henry Kahnweiler,
The
Sculptures of Picasso. London,
Phillips,
1949 Giulio Carlo Argan, Scultura di Picasso. Venice,
Quadrum
2, Nov. 1956 Arnaud, 1961
which has
been the constant companion of his painting.
Rodney Paris,
first
met Matisse and Derain. 1907 met
1934 in Spain. 1940-1945 in Antibes and Royan. 1945 returned to Paris. Has been living since 1947 in the South of France. 1 899-1914 first sculptural works.
MARTA
to Paris. 1906
Braque. 1909 in Horta de Ebro. 1910 in Cadaques. 1911 and 1913 in Ceret. 1917 in
1967 Fig. 224; pp. 279
PAN,
248
PICASSO, PABLO this world'. In
Nov. 1966
Sidney Janis Gallery,
du
Griffon, 1961
Institute,
Exhibition Catalogue
with text by Alan R. Solomon. 1964 Gene Baro. 'Claes Oldenburg or the things of
May
Catalogue de l'exposition Antoine
Carola Giedion-Welcker. Antoine Pevsner. Neuchatel, Editions
1950 completed
at the
exhibition in the Judson Gallery. Lives in
Biennale di Venezic. Pavilion
International X/9,
national d'art moderne.
Pevsner. Paris, Editions des Musses nationaux, 1956-1957
Alfieri,
1953
Wilhelm Boeck, Pablo Picasso. Stuttgart, Kohlhammer, 1955 Anton Henze, 'Neue Plastiken von Picasso' in Das Kunstwerk
Fig. 139; p. 179
9/XHI, March i960 Roland Penrose. Picasso. Munich, Knorr
PAOLOZZI, EDUARDO Born
Hommage
1924, Edinburgh, of Italian parents. Studied in
Has been living in London since 1955. 1949-1955 teaching post Central School of Arts and Crafts, 1955-1958 at St Martin's School.
1960-1962 guest professor Lit.:
at
Quadrum
1,
May
1956
POMODORO, ARNALDO
1958
Born
New
New York,
Images of Man. The
Museum of Modern
Art,
1959
May
i960
1926, Orciano di
Romagna,
Paris
Gillo Dorfles. 'A. e
Rijksmuseum Kroller-Muller, Otterlo (Holland). Exhibition Cata-
Marlborough-Roma. 1965
May-July 1967
Italy.
Studied architecture. Lives in
G.Pomodoro'
in
La Biennale
34.
Venice,
Jan.-March 1959
logue with text by the
Figs. 96, 227; pp. 154, 281
336
Spadem,
Milan. Lit.:
Robert Melville, 'Eduardo Paolozzi' in L'Oeil 65,
artist.
224 and Cosmopress,
Figs. 84, 87; pp. 150, 153, 156,
given by
(Permission to reprint
The Hanover Gallery. Exhibition Catalogue. London, Nov.-Dec. Peter Selz,
Nov. 1966-Feb.
Geneva.)
Hamburg Academy.
J.P.Hodin, 'Eduardo Paolozzi' in
Hirth, 1964
1967
London. 1947-1950
in Paris. at
&
a Picasso. Exhibition Catalogue. Paris,
Exhibition
Catalogue.
Rome, Feb.-March
Fig. 177; pp. 178,
222
1
:
POMODORO, GIO Born
RODIN, AUGUSTE
1930, Orciano di Pesaro, Italy.
Studied architecture. Lives in
1840, Paris. 1854 at the Ecole des arts decoratifs. Pupil of Barye
and Carrier-Belleuse.
Milan. Lit.:
Born
Dorfies. 'A. e
Gillo
G.Pomodoro'
La Biennale
in
34. Venice,
1 870-1 877 in Brussels, where he met C.Meunier. Travelled in Italy and Germany. 1877 first important work, The Bronze
Age. 1889 joint exhibition with Monet. 1900
Jan.-March 1959 Marlborough-Roma. Exhibition Catalogue. Rome, Jan.-Feb. 1964 Fig. 130; p. 168
sculpture at the Paris
World
special pavilion for his
Exhibition. 1894 settled in
Meudon; died
there in 1917. Lit.
:
Franz Roh, Rodin. Bern, Scherz, 1949 Met inleiding van Sommerville Story, Utrecht,
Rodin.
GERMAINE
RICHIER,
W.de
Haan, 195 Bernard Champigneulle. Rodin. London,
Thames and Hudson, 1967
worked with A.BourParis. 1959 died in Mont-
Born
1904, Grasse (Alpes-Maritimes). 192 5-1929
delle.
1939-1949 in Switzerland, then again in
pp. 183, 223, 224
pellier. Lit.
:
Jean Grenier, 'Germaine Richier, sculpteur du
terrible' in
L'Oeil 9,
Sept. 1955
Born
The Museum of Modern Art,
Andrew Musee
ROEDER, EMY
C.Ritchie.
national a" art
New
New
York.
The
New
Decade, ed. by
York 1955
modeme. Catalogue de l'exposition Germaine
Richier. Avant-propos de Jean Cassou. Paris, Editions des
1890, Wiirzburg. 1912-1914 pupil of B.Hoetger in Darmstadt. 1915-1930 in Berlin. 1933-1935 in Rome, then, till 1944, in Florence. 1937 forbidden to exhibit and proscribed. 1945-1949 in Rome. 1950 returned to Germany to teach in Mainz. Lives in Mainz.
Musees Lit.:
nationaux, 1956 Peter Selz,
Modem
New
Images of Man.
New
York, The
Alfred Kuhn,
Emy Roeder.
Leipzig, Klinkhardt
& Biermann,
1921
(Junge Kunst, Bd. 18)
Museum of
H. Siebenhuner, Emy Roeder: Bildwerke und Zeichnungen aus den Jahren 1919-1949. Bonn, 1950
Art, 1959
Germaine Richier, sculpteur 1904-1959. Texts by J. Cassou, Dor de Souchere, Limbour, Pieyre de Mandriargues. Paris, Creuze-.
Friedrich Gerke,
Emy
Roeder. Wiesbaden, Steiner, 1963
la
vault,
Fig. 90; p. 153
1966 Figs. 67, 120; pp. 90,
159
ROSENTHAL, BERNARD Born
RICKEY, GEORGE Born 1907
in
South Bend, Indiana. 1913 the family moves to Scotland. at the Ruskin School of Drawing, Oxford; 1929-1930
Lit.
:
1928-1929 studied at the
Academie Lhote,
Paris. Since
Chatham,
New
Catherine Viviano,
by
1930 has taught in various American
colleges. 1945 first mobile. Lives in East Lit.:
1914, Highland Park, Illinois. Studied at the University of Michi-
gan. Lives in Malibu, California.
The Kootz
The Corcoran Gallery of Art, Washington D.C. George Rickey,
Gallery,
1963 Fig. 175; p.
Sixteen Years of Kinetic Sculpture. Sept.-Nov. 1966 Staempjli Gallery, New York. Exhibition Catalogue,
with foreword
New York. Exhibition Catalogue, Feb. i960 New York. Exhibition Catalogue, Jan.-Feb.
Catherine Viviano,
New York.
York. Exhibition Catalogue
Frederick S.Wight. Jan.-Feb. 1958
222
George Rickey
Recent Kinetic Sculpture. May-June 1967 Fig. 234; pp. 277,
282
ROSSO, Born
MEDARDO
1858, Turin. First active as painter. 1881-1883 at the
Brera in Milan. 1884-1885 in
RIS, GUNTER-FERDINAND Born 1928, Manfort. Studied painting
sculpture.
in Karlsruhe, Diisseldorf
and
Lit.:
DuMont
pavilion.
ROSZAK, THEODORE Born
Figs. 191, 244; pp. 227, 284, 313
1907, Poznan, Poland. 1909
moved to Chicago, USA.
1922 to 1928
New York. 1929-1930 in Europe. Began painting. 193 1 took up sculpture in New York. 1940-1945 worked in aircraft industry. 1945 first steel sculptures. Lives in New York. studied in Chicago and
Lit.:
MANUEL
H.H.Arnason, Theodor Roszak. Minneapolis, The Walker Art Center, 1956
1927, Granada. Studied at Seville. Since 1951 has been living in
Madrid. Lit.:
Fig. 86; p. 153
Exhibition
Galerie Thomas, Munich. Exhibition Catalogue. 1967
Born
Giovanni Papini, Medardo Rosso. Milan, Hoepli, 1945 Medardo Rosso. Milan, 1966
Schauberg, 1961
XXXIII. Biennale Venice 1966. German Catalogue with text by Eduard Trier
RIVERA,
di
Impressionist
1889 lived mainly in Paris. 1928 died in Milan.
Carl Linfert. 'Giinter Ferdinand Ris' in Junge Kiinstler 61/62.
Cologne,
Accademia
met A.Rodin; took up
Giuseppe Marchiori.
Freiburg. Self-taught sculptor. Lives in Oberpleis. Lit.:
From
Paris,
Theodore Roszak, 'The pursuit of an image' in
Quadrum
2,
Nov.
1956
C.L.Popovici, Las pinturas metalicas de Rivera. Madrid, Collec-
Peter Selz,
cion del art de hoy, 1958
Modern pp. 31, 184
New
Images of Man.
New
York, The
Museum of
Art, 1959 Figs. 116, 202; pp. 160,
228
337
RUNYON, CORNELIA Born 1887, USA. 1910 studied at the Art Students League, Has been living since 1940 in Malibu, California. Lit.:
New York.
SEGAL,
GEORGE
Born 1924
in
by Jules Langsner, Pegot Waring and Rico Lebrun. Pasadena, March-
turned to sculpture. 1956
exhibition in
April 1956
Lit.:
Pasadena Art Museum. Exhibition Catalogue with texts
Brunswick,
1910,
USA.
Michigan,
Lit.:
Allan Temko. Eero Saarinen.
1961 died in
Ann Arbor,
New York,
Museum Amsterdam. Exhibition Catalogue 'American by Alan R. Solomon. June-July 1964. Alan Kaprow. Segal's vital mummies. In Art News, Feb. 1964
Born
SCHARFF, EDWIN studied painting in Munich. 1911-
Edwin
Scharff.
Hamburg,
Stuttgart.
44
first
of the 'Triadisches
of the stage
class.
A
1905 Kunstgewerbeschule, Stuttgart;
1906
Meyerexperiments with the dance. 1916 production of part
Stuttgart.
Amden. 1912
Lit.:
Hanns Th. Flemming. Der Bildhauer Gustav
friend of Willi Baumeister and Otto
Ballett'.
1919
first
Oskar Schlemmer. Munich,
Prestel,
at the
Lit.
:
New
York.
sculpture.
Had
New York. David Smith Exhibition by Sam Hunter, 1957 number on David Smith. February i960
Arts. Special
New
Gallery,
York.
Exhibition Catalogue,
Oct. 1964
43,83
Rijksmuseum Kroller-Muller, Otterlo (Holland). Exhibition Cataet al.
SCHNABEL, DAY
May-July 1966 280
Figs. 154, 226; pp. 181,
1905, Vienna. Studied in Vienna and Holland. Emigrated to the
USA during the Second World War. New York and Paris. XXeme
Steele 9,
1947
moved
to France. Lives in
SOMAINI, FRANCESCO Born
1957 Fig. 138; p. 179
Lit.:
Paris.
1950 turned to abstract sculpture. Lives in Paris.
Lit.:
Guy
Habasque, Jean
du
Comazzo, Como. Studied
at the
Accademia
di Brera, Milan.
Umbro Apollonio, Michel du Griffon, i960
Tapie. Francesco Somaini. Neuchatel,
Editions
1912, Kalocsa, Hungary. Studied in Budapest. 1937
Editions
1926,
1948-1949 turned to abstract sculpture. Lives in Comazzo.
SCHOFFER, NICOLAS Born
Ohio and
first steel
The Museum of Modern Art,
logue with text by Frank O'Hara
Lit.:
in
Catalogue. Introduction
1952
Fig. 36; pp.
Born
44
been living since 1941 in Bolton Landing, N.Y. Died in 1965 near Bennington, Vt.
sculptures. 1923 Bauhaus, director
1925 to Dessau with the Bauhaus. 1929 Professor
Hildebrandt.
am
Frankfurt
SMITH, DAVID Born 1906, Decatur, Indiana, USA. Educated Employed for a time as metal worker. 1933
Marlborough-Gerson
Hans
Seitz.
Main, Societatsverlag, 1963
Akademie, Breslau; from 1932 at the Vereinigten Staatsschulen, Berlin; dismissed in 1933. Died in Baden-Baden in 1943. Lit.:
Karlsruhe.
in
p.
p.
Akademie,
Mannhcim-Neckarau. 1924-1925 studied
Claassen, 1956
SCHLEMMER, OSKAR in
f.
GUSTAV
1906,
1946 and died there in 1955.
Gottfried Sello,
Born 1888
278
1925-1932 in Berlin. 193 3-193 8 ran a Meisteratelier at the Preussische Akademie der Kiinste. 1946-1958 taught in Berlin. Lives and teaches in
1913 in France. 1922-1932 in Berlin. 1932-1934 in Diisseldorf. Taught
:
1966
Hamburg.
Neu-Ulm. 1904-1907
Hamburg from
19,
Fig. 220; pp.
SEITZ,
1962
Fig. 188; pp. 226, 228, 248
in
Art' with text
Michigan.
Braziller,
Eero Saarinen on his works. Ed. by Aline Saarinen. 1962
Lit.
New York
painter, then
York. Lives in North
Helsinki. Architect. Lived in Bloomfield
Hills,
1887,
New
first a
New Jersey.
Quadrum
Kirkkonummi,
first
Brunswick. At
Stedelijk
Pop
SAARINEN, EERO
Born
City. Studied at the University of
New
Fig. 91; p. 154
Born
New York
and the Rutgers University in
Cassou.
Nicholas
Schoffer.
moved
Fig. 115; p. 160
to
Neuchatel,
Griffon, 1963
STADLER, TONI Born
Fig. 15; pp. 16,
282
1888,
Munich. 1925-1927 in
Paris.
1928-1938 in Munich. 1939-
1945 in Frankfurt-on-Main. Since 1946 has been living and teaching in
Munich.
SCHWITTERS, KURT Born
1897, Hanover.
Berlin. 191 5 settled in
Lit.:
1908-1914 studied in Hanover, Dresden and
Hanover. 191 8
first
abstract compositions
Werner Haftmann, Der Bildhauer Toni Stadler. Munich, Piper Biicherei, 1961
and
MERZbau. From 1934 onwards, prolonged stays in Norway. 1937 settled down in Lysaker near Oslo. 1940 fled to England. 1941 after internment, settled in London. 1945 moved to
Fig. 40; pp. 44, 156
beginning of MERZ-art. 1920
Little
Langdale, near Ambleside, Westmorland; died there in 1948.
Lit.
Kestner-Gesellschaft, Hanover.
:
Katalog Kurt Schwitters. Einfiihrung
von Werner Schmalenbach. Feb.-March 1956 Werner Schmalenbach. Kurt Schwitters, Leben und Werk. Cologne,
DuMont
Schauberg, 1967
Grew up
191 1 in Constance.
Paris.
1939 French subject. Lives in Meudon-Bellevue (Seine-et-Oise).
Lit.:
in Switzerland. 193 1
Francois Stahly. Presente par Jean Paris, Collection
Art
Arp
began
studies in
et Henri-Pierre
Rocher.
naissant, Facchetti, 1953
Carola Giedion-Welcker. Francois Stahly. Paris, Paralleles, 1962 Fig. 200; pp. 228, 245
338
STAHLY, FRANgOIS Born
Fig. 129; p. 178
STEINBRENNER, HANS Born
and Munich (T.Stadler). 1954 scholarship from the
furt (H.Mettel),
DRAGO
TRSAR,
1928, Frankfurt-on-Main. 1946-1954 studied in Offenbach, Frank-
Born
1927, Planina, Yugoslavia. Lives in Ljubljana.
Lit.
Quadrum
:
7
Kulturkreis. Lives in Frankfurt.
Fig. 77; p. 149
Karlheinz Gabler. 'Hans Steinbrenner' in Junge Kiinstler 62/63.
Lit.:
DuMont
Cologne,
Schauberg, 1962 Fig. 64; p. 89
STEINER, Born
1
RUDOLF
Born 1935 in Cairo, Egypt. 1937 moved to England. 1955-1958 studied at Oxford University; 1958-1960 studied sculpture at St Martin's School of Art, London, where he has been teaching since 1962. Lives in London.
861, Kraljevic, Croatia. Studied at the Technische
Hochschule in
Weimar edition of Goethe. 1898-1900
Vienna. 1889-1896 worked on the tausht
TUCKER, WILLIAM
Lit.:
Arbeiter-Bildunasschule in Berlin. Founder of anthro-
at the
Lit.
:
Rudolf Steiner,
Wege
first
Ibid.
lungskatalog 'Acht junge britische Bildhauer'. June-July 1967 Fig. 231; pp. 251 f, 281
UBAC, RAOUL
zu einem neuen Baustil, 1914
Mein Lebensgang, 1924 Der Baugedanke des Goetheanum.
Ibid.,
Born
Lit.:
TAUBER-ARP, SOPHIE Born 1889, Davos, Switzerland. 1908-1913 studied in St Gallen, Munich and Hamburg. 1916-1926 taught at the Kunstgewerbeschule in Zurich. 1916-1920 Dada period in Zurich. 1921 married Hans Arp. 1928-1940
Meudon
Lit.:
Sophie Tauber-Arp. Hrsg.
von Georg Schmidt.
Basle, Holbein,
Fig. 28; pp. 31
SHINKICHI
Born 1923
in Los Angeles, California. Studied in
f.
UHLMANN, HANS Born 1900, Berlin. Began as engineer. 1925 turned to sculpture. Numerous commissions for modern buildings. Lives in Berlin. :
Chicago and
Museum Amsterdam. Exhibition Catalogue No.
Stedelijk
The Museum of Modem Art,
Andrew C.
moved
at Iris Clert's.
Signals, vol. 1,
No.
3/4.
(n. d.)
1886, Antwerp. Studied at the Brussels and
the de Stijl
movement and
the
K.G.Hulten. Tinguely
et le
mouvement. Metro
6,
Antwerp Academies.
Georges
Vantongerloo,
Paintings,
Sculptures,
Jan. 1965
Fig. 18; p.
29
Born 1921, Steenbergen, Noord Brabant, Netherlands. Studied Antwerp and Brussels. Lives in Amsterdam.
in
Lit.:
Rijksmuseum Krb'ller-Muller, Otterlo (Holland). Exhibition Cata-
Stedelijk
Museum, Amsterdam. Exhibition Catalogue No. 316,
Sept.-Oct. 1962
logue Luginbiihl-Tinguely, 1967
Fig. 168; p. 221 Figs. 22, 236; pp. 29, 246,
282
f.
VIANI,
TROVA, ERNEST
Lit.:
Born
in St Louis, Missouri. Self-taught first
artist.
1959
exhibition in the Pace Gallery,
Lawrence Alloway. Trova. Selected
The Pace
New
VERHULST, HANS
1962
Galerie Alexandre Jolas, Paris. Exhibition Catalogue, Dec. 1964-
in St Louis. 1963
Reflections.
York, Wittenborn, Schultz, 1948 Max Bill. Georges Vantongerloo. London, Marlborough, 1962 Margit Staber. Georges Vantongerloo. Art International X/2, 1966
to Paris.
Alain Jouffroy. Tinguely. L'Oeil 136, 1966
Born 1927
228
group Abstraction-Creation.
Lives in Soisy-sur-Ecole (Seine-et-Oise). Lit.:
i960
1965 died in Paris. Lit.:
TINGUELY, JEAN moved
Seiler,
1965
1966
Fig. 23; p. 30
1925, Freiburg. First active as a painter. 1952
19,
VANTONGERLOO, GEORGES Took part in
London, 1964
May
Quadrum
Figs. 161, 194; pp. 183,
Born
Galerie Alexandre Jolas, Paris. Exhibition Catalogue,
Decade, ed. by
nungen der Jahre 193 5-1960. Einleitung von Harald
of
New York.
The Hanover Gallery. Exhibition Catalogue, London
New
Kunst und Museumsverein Wuppertal. Katalog Plastik und Zeich-
to Paris. After a period
Lives in Paris and
The
415, 1967
archaizing figure sculpture, turned to iron mobiles. 1959 telemagnetic
compositions
York.
Galerie Der Spiegel. Geh durch den Spiegel Nr. 6. Texte von Will Grohmann und E.W.Nay. Cologne, July-August 1956
Will Grohmann.
1925, Athens. Self-taught. 1954
New
Ritchie, 1955
Paris.
TAKIS
Born
Wuppertal. Ausstellungskatalog mit Einfiihrung-
Fig. 169; p. 221
Fig. 121; p. 160
:
up painting and
Galerie Maeght, Paris. Derriere le miroir 34 (1950), 74/76 (1955)* 105/106 (1958) Georges Limbour, 'Raoul Ubac' in L'Oeil 29, May 1957
Galerie Parnass,
Lives in Baarlo (Limburg).
Lit.
in Paris. 1942 took
von Karlheinz Gorres. Oct.- Nov. 1959
Lit.
TAJIRI,
Born
Malmedy. From 1929
near Paris. 1941-1943 in Grasse. 1943 died in Zurich.
1948
Lit.:
1910,
slate reliefs.
Stuttgart, 1958
Fig, 186; p. 226
in
Generation: 1965
Peter Stuyvesant Foundation. London, March-April 1965
Kunstverein fur die Rheinlande und Westfalen, Diisseldorf. Ausstel-
Goetheanum in Dornach as a Hochschule der Geisteswissenschaften. 1922 Goetheanum burnt down. 1925 rebuilding began from designs by Steiner. 1925 died in Dornach. posophy. 1913 erection of the
The new
Whitechapel Gallery, London.
The
Works
first
exhibition
New York. New York,
1953-1966.
Gallery, 1966
ALBERTO
1906, Quistello, Prov. Mantua. Studied in Venice.
assistant
with Arturo Marini. 1948 teaching post
at the
Worked
as
Liceo Artistico in
Venice. Lives in Venice. Lit.:
Umbro
Apollonio, 'Lavoro di Viani' in
La Biennale
31. Venice,
April-June 1958 Fig. 217; p.
278
p. 89
339
WOLFF, HELMUT
MARY
VIEIRA, Born
1927, Sao Paolo, Brazil. 1952 in Ziirich, pupil of Max Bill. Lives
in Basle. Lit.:
Modulo No.
16. Esculturas
de
Mary
Vicira.
Rio de Janeiro, Dec.
Born 1932, Laubenheim near Mainz. 1951-1957 studied in Berlin with H.Uhlmann. 1959 scholarship from the Kulturkrcis; at the Villa Massimo in Rome. Lives in Berlin. Bauwelt 25. Berlin, June 1958
Lit.:
1959
Fig. 184; p.
225
1907, Vienna. 1925-1927 studied in Vienna with Hanak. 1928
first
Fig. 163; p. 184
WOTRUBA, FRITZ VISEUX, Born
CLAUDE
1927, Champagne-sur-Oisc. 1944
non-figurative. Lit.:
Born
he
Both
paints
first
and carves. Lives
compositions. 1950 turned in Paris.
Point Cardinal, Paris. Claude Viseux: Sculptures 1964-1965.
Exhibition Catalogue, Nov. 1965
1938-1945 in Switzerland. Since 1945 has been living in Vienna and teaching in the sculpture department of the stone composition.
Academy. Lit.:
Cimaise 78, 1966
Elias Canctti, Fritz
Peter Selz,
Modern
Fig. 85; pp. 30, 150
New
Wotruba. Vienna, Rosenbaum, 1955
Images of Man.
New
York, The
Museum of
Art, 1959
Marcel Joray. Fritz Wotruba. Neuchatel, Editions du
Friedrich Heer,
Griffon, 1961
VOLTEN, ANDRE
Eduard
Born
1920, Andijk, Holland. Self-taught. Lives in
Lit.:
A.M.Hatmnacher, 'Andre Volten' in Quadrum 1, May 1956 Stedelijk Museum, Amsterdam. Exhibition Catalogue No. 397, May-June 1966
Amsterdam.
Trier.
Skulptur-Architektur. Marburger Universitatsbund,
Jahrbuch 1965
Fig. 157; p. 188
Figs. 43, 204; pp.
83,247
ZADKINE, OSSIP Born
1890, Smolensk. 1906 at school in England. 1909
191 1 set up as independent sculptor. 1940-1945
in
moved to Paris. USA. 1945
the
returned to France. 1950 awarded the Grand Prix at the Venice Biennale.
VOULKOS, PETER Born
1924,
a potter.
H.
1967 died in Paris.
Bozeman, Montana, USA. 1946-1952
studied
in
Of Greek extraction.
Montana and
Trained
as
California. Lives in
Berkeley, California. Lit.:
University Art
Raymond
Cogniat, Zadkine. Paris, Editions Hautefeuille, 1958
Jean Cassou. Ossip Zadkine. Amriswil, Bodensee-Verlag, 1962
A.M.Hamtnacher. Zadkine. Munich, Ahrbeck, Knorr
Museum,
'Funk' with text
Lit.:
Berkeley, California. Exhibition Catalogue
by Peter
Selz.
April-May 1967
&
Hirth,
1964 Ionel Jianou. Zadkine. Paris, Arted, 1964
Fig. 136; p. 179
Figs. 57, 179; pp. 86,
224
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