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Form
Sculpture
of the
Twentieth
Century
Revised and
Enlarged Edition
PRAEG
rF
cfl?
3*
EDUARD TRIER
FREDERICK
A.
PRAEGER,
NEW YORK
'
Publishers
WASHINGTON
Contents
FOREWORD
Kernel Sculpture
12
Opening up of Volume
13
Sign in Space
14
Constructions
16
Mobile Sculpture
29
Relief
30
II
'Recognized' Sculpture
32
42
III
IV
223
1967
250
314
321
<
Foreword
This book
is
not a history of
completeness from
features
to Z.
of 20th-century
Its
style,
purpose
is
rather to plot in
the typical
ology, nationality and membership of this or that school play a subordinate role.
Attention
is
lend speech to
modern
is
made
from many
countries serve as so
many
approaches
to the
and
as
space.
it is
human
As
figure.
to 'space',
it
the following
may be observed
not
reject the
procedure
sculpture,
is
also
answer;
or theorizing.
Its
sole
aim
is
to bring
The
less,
first
problem, which
he will
him into
the
is
The second
from the
first
since in art
content cannot exist except as form hence the results obtained in treating the
;
often be
reader
as rhetorical
Regarding
not
is
need hardly be
to
drawn upon.
first
will
solely
with sculpture
h Ve
anTr ^
1 "^l* *
is
mdem
^^ ^ *"
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
It is
that
given me.
(i959)
me
making
also
of enlarging
Form and
The
which
am
it. I
Space, for
above
all
without them
dealt
this reappraisal
are integrated.
clearly.
which
the
On
the contrary,
Of course Form
have
and Space
text
and pictures
tried to
is
which
possible so soon.
up
it
to date.
therefore
modified in
relation to 1967.
Chapters
to
illustration sections
have substituted 22
show
some of the
represent
artists
by
better or
more
book was
younger sculptors
typical
wanted
collectors
and
galleries, all
of
also
owe
emie, Diisseldorf,
thanks to
who
would be
are
my
To
impossible.
Marcus and
artists
artists,
in the captions.
thank
But
discrimination, gave
me
the
and con-
museums,
Most of
all I
who, with
his
such valuable
me
with the
list
of
from many
gratitude to the
acknowledged
power of
Mrs Hedwig
work.
untiringly assisted
secretarial
whom
my friend,
who were
Of
plates.
artists
noisseurs.
to
included
advice.
reasons for the addition of new text and illustrations are given in Chapter V.
either to
alterations in the
artists.
the
with the
The
- made
plates
line
this
book
in
its
Alice.
December 1967
In every
work of art we
conveys the
that
artist's
message and
I shall,
is
Thus
therefore, concern
The
myself in the
as yet
of
first
areas
volume which
modes of appearance
by
manipulation of
relief
out of
as
modes of
with
his material
its
is
work of
art
On
the
whether
transitions to painting.
to
The
either statically or
it,
instance with
the
it,
form
It is
knowledge or interpre-
the other
my
hand
carves in stone, solders and welds metals, or models for a bronze cast - these differences,
of great
moment
later.
itself.
past
do
not,
however, intend
to repeat the
to
modern
particular has
will,
cited.
is
To
discuss the
works
no
KERNEL SCULPTURE
It
my
which the
material
artist
volume
made
(fig. i),
sculpture in
by shaping
it
its
making
is
it
of my formal examples.
as the first
an egg Brancusi
as
An early work
radical simplicity
its
art.
with
serve,
tration
who
Constantin Brancusi.
is
may
in 191 5,
it is
shapes of compact
What we
have here
is
emergent
signify
life.
it
is
conveys
meaning, though especially relevant in the case of Brancusi, whose sculpture has always
something to
'say', will
reserve
left
add or
to
Of
formal maturity.
subtract. It
course the
artist
is
with
its
perfect in itself
aim
artist's
It
long years of
formal
this
lost
work.
after
at the
bottom -
to
He
favourite observations
aim was
as a
simply
evokes. Brancusi's
that a piece
with nothing
it
One of his
patient
artistically effective
is
was
it
is
also
these formal
figure.
The
coarse-
enhances by contrast the smoothness and high polish of the marble which not
on
own
the surface.
- the
feasts the
of forms.
stone to a
life
of its
As
not
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
cut,
smooth
The
stability.
for a
solid,
latter
Only
the
mark
plaster cast
surfaces abruptly
only such
of the younger
from
by Henri-Georges
shows
facet-like character
12
artists, I
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
be achieved,
result to
by examples from
we may
set,
the
work of
in terms
of
formal
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
it,
two
and
different
come
to the fore.
3),
artists called
its
(see also
R.
Duchamp-Villon's
machine), or
its stylistic
on
the other.
will
have discussed,
it is
worth remarking
as well; in the
radically
on
the one
art
at the
(fig. 5).
volume
is
we
strongly struc-
Of course, we find
of a half-length human
it is
no room
is
as 'object'.
fundamental forms of
art it
is
But
it is
the idea of combining positive and negative forms has been systematically exploited.
it
has struck
home.
my
wards nihilism,
formal
my
approach
is
earliest
of secondary
interest.
There are
e.g. the
example
Woman
It is
parts,
is
Jacques Lipchitz.
of the various
My
this
earlier instances
it
is
swaying
as a transparent piece.
The
(fig. 4)
by
bodily substance
volume
enmeshes.
13
The
whose
piece,
historical lineage
ments a
it.
internal space.
at the
as the front
Its
compact
solid,
back,
important
from
at a
glance in
allusively indicated
the single
title
for
(fig. 5)
specific
left
sidered.
it.
body
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
The
not transparent and allows only glimpses into the interior whose partial exposure
The
composed of
positive
solid)
and negative
(= spatial) elements. The reciprocal relationship between inner and outer, mass and
void, remains even.
The
therefore, be seen
from
the front.
its
The
actual
(fig. 6),
is
intended
as a silhouette
extension in space
is
slight
by imagining continuous
and should,
and
it is
surfaces
up
to
from
later
formal intention.
Its
(fig. 7)
by
much
it
draws into
its
is
whole environment.
SIGN IN SPACE
Mirko goes
new
there
taken
as a transition
work can be
of a sign in
this
is
create
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
characteristic
14
stillness, isolation
of kernel sculpture
is
replaced
by
is
eccentricity.
The
figure, as
it
were, parts
with
itself by
Mannerists,
recalls the
not
and
still;
its
is
is
What
dating
(fig. 8),
also a description
more
Matisse's figure,
solidly built
on
1909.
The
of the form - a
title
chest.
by Wilhelm Lehmbruck
from
1914-15,
traverse space in
precarious balance
Compared with
artists.
no accident
It is
from
dating
(fig. 9),
of a
that
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
to
figures
make
is
stiff as
the space
The
thin,
a pillar
round
it.
of salt. But
The rough
emaciated body
occupies so
is
this
surface
tense
is
in constant
communication with
is
The
though
it
may
infinite space
if this
of which
it
departure from
body
it
against
to such
historical
sequence
is
(fig. 11)
not relevant to
artistic
result
Lot's
which
little. It is
an extent that
vehemently
its
as
The
by
of an in-
more than
a diagram, unaffected
lines
which
the sculptural
and downwards -
present purpose -
to the status
sign.
point of view, no
is
my
by Julio Gonzalez,
its
form
in every direction,
it
upwards
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
new
on many younger
The
15
Bow
by
12; lead)
(fig.
of building
with bold,
in space
The bronze
elements.
many possibilities
by
result
the Italian,
a theatrical flight
is
Carmelo Cappello,
intensifies this
backcloth.
CONSTRUCTIONS
The opening-up of solid volume or
are not the only possibilities to
their
formal
explorations. Artists with a constructional bent have also responded to the challenge.
As
Naum Gabo
of
and
Constructivism that
tals,
to be adequate to real
'(1)
(2)
volume
must
Naum
is
(fig.
abolish
free,
new
function as a boundary
The
rhythm
by
spatial effect
letting
is
artificial
rhythmical stages
through
circular steps
round
it
and releasing
in
it is
also
is still, it
volume,
way Gabo
all
but
obtains
Gabo
plates
dynamic element
is
lines
(fig.
16)
which have no
words, an 'integral
in this respect
free space,
at in his
Lux
(fig. 15).
and
communicating with
hoop
is
curved
Construction in Space
is
it.
punched metal
is
of
by Pevsner, of which
his
'body', or at least
it.
form an open
The
which it
do not function
artistically as
as,
volumes.
in Pevsner's
It
16
materials
slight
light. In this
of its
all sides,
less
sufficient;
flowing transitions between sculptural and external space, while the effect
rises in
They
not
kinetic
of
is
(3)
forms.'
its
14)
some of
and discover
cease to be imitative
Gabo's Column
life art
down
is
laid
I.
191 5
Marble Height
6",
Length
"
Philadelphia
Museum
of Art
Photo:
Museum
^
/^
2.
Henri-Georges
Adam
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
New
(Silt
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
8.
Henri Matisse
Serpentine, 1909
Bronze
Height 22 1
Museum of Art,
Photo: Museum
*
/
Baltimore
9.
WlLHELM LEHMBRUCK
Bronze
Height l7 3 / 8
"
Dr Bernhard Sprengel
coOection,
Hanover
Hanover
io.
Alberto Giacomietti
Bronze
Height 46
Private collection
ii.
Julio Gonzales
[eight 24 s
"
s
Photo: Author
^_^^s, l^^L^A
^B
12.
T
HERBERT Ferber
^^1
Lead
Height 48"
Photo: Author
The
dissolution
(fig. 17).
made of fme
steel.
As
dynamism of Pevsner,
its
indistinct outline
However,
and absorbs
his cubical
It
passively in space
It flutters
is
which
scintillations.
= ax -bx +cx)
(fig. 18).
forms stand freely in space unaffected by the laws of statics. They create
is
their structure
also the
architecturally improbable.
is
museum
points.
But
still.
structivist sculpture.
and
disembodied
its
lines
is
on wires of stainless
Lippold's sun
El
Eco
(fig.
19) in
Mexico
vertical
yard with the powerful diagonals of solid volumes of sheet iron, whose expansive
movements
rightly called
it
expressive,
and the
artist
'emotional architecture'.
MOBILE SCULPTURE
So
far
my
ment. But
My
first
first
volume
example
is
from
treatment and
work of
the
moves
in
20; painted
But
it
rest.
As
for
its
relation to space,
tenser
compressed
and more
steel) recalls
that disturbs
He was
the
Lippold's Sun
its
balance and
to the degree
defines
it.
of spatial patterns.
move-
sculpture in motion.
who
now pass to
at
(fig.
earth'.
in space
steel
restricted:
is
offered
by the
release
unwinding themselves
who
Walter Linck,
Movement
here
is
both
Swiss,
steel
The slow
constructions are
generate motive power. This he uses as the very principle of his art: his compositions -
29
first
come
(fig.
22) consists
into existence
when
at speeds that
whose permanence
more
change of pattern.
possibilities.
brought into
artistic
Greek
pieces
and in
living in Paris
New
motion.
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
when
again.
this is
patterns
exists
by
virtue of the
it is
applied
latter,
The composition
sets
up
temporary
work of
art,
'sculptural situation'
resistance.
RELIEF
The
last
belongs relief
come
in the
possibility
towards
as the
first
To
this
zone
instance
from
by
the
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
mention Jean Dubuffet and Alberto Burri, Jean Fautrier and Rolf
to
Nesch, Antoni Tapies and Carl Buchheister, Emil Schumacher and Karlfred Dahmen,
(fig. 27),
how numerous
by
to modelling
However,
tural use
finally also
light
apart
and shadow.
from
who
how wide is
do from incrustation
Paul Gauguin,
Ben Nichol-
can be considered
as the father
is
more properly
cut
from
the
is
woodblocks intended
30
who
followed
sculp-
reliefs,
remained
flat,
wood
which he sometimes
with reduced
all
plastic
interested in the
movement of solid
on
the
(fig. 25),
statuette
places the
8),
powerfully modelled forms of a female nude seen from the rear on the animated surface
of the
relief
a vertical axis
in fact there
which
is little
is
shifts in
position along
the relief
to
background.
Very
flat
is
Pietro Consagra's
Human
Although the
linearity
to use relief as a
Colloquium
wool and
oilcloth,
Medrano
and mounted in
its
vary in depth
effect
As
with
26)
incisions
dominant
like a frieze.
(fig.
- was intended
(fig.
to
flat
open up new
possibilities
25)
background, he
human
tin, glass,
sets
its
three-dimensional character, which he does by using solid and hollow volumes to obtain
effects
new;
have learnt
it
from
While Archipenko
the Egyptians.
seeks to
make
Only
relief
more
type, the
the
is
new
'is
kind of forms
concrete, to 'realize'
is
really
nothing
mine.'
a sculptural
it as
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,
transparent reticu-
spatial relationships
relief
but
completes
The examples
its
shown
autonomy
as
that relief,
though
of Greek
art.
The background
is
(fig.
28),
is
of which
it
is
A wood composition by
Sophie Tauber-Arp,
an
drawing,
earlier
very close to
at times
They move in a
foreground and even the recessed, 'negative' forms are drawn into
(fig. 27),
a later
example of
his fully
it
mature,
it.
In
Ben
classical art,
The
levels,
relief,
by
a Swiss
reliefs
(fig.
28)
them
work
on
the materiality
interstices
Kemeny uses
difficult
between
copper and
brass,
grown without
plan.
and projecting
sides
serial repetition
and
relief
'pointillist'
deployed against a
flat
surface
and not
On
more
by
a painter's effects ;
and
to insignificance.
The ground
Hajdu
(fig.
He
30).
He
relief
datum
uses the
to be accepted as
from
reliefs
it is,
of tienne
but meets
its
as a
it
aluminium
in continuous
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.
By way
sculpture
may
be added examples of
Laurens'
still-life
early attempt to
of 1919,
Bottle
31), in painted
and can,
an excursus. Henri
wood and
metal,
is
an
ture;
as
objets
spatial possibilities
is
new
type of sculptural
his construction,
an inter-
who
did
away with
13.
Laurens uses
Jean Dubuffet,
32
artifacts
who
Carmelo Cappello
Eclipse, 1959
in different relationships.
Bronze
Height 88f
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
("ght;
.-
>
>
>
.'
'
'
..
w
f t
>W
*ft
\\
'
>_*fc
*..'**
V *.*!<
^.v> J*
k!
>
,\^
'
'
1
vj
1
>
V>
>
V
yv
\ A
'
i6.
in Space,
glass
Height 27
',,''
r.
b
Ik
17-
Richard Lippold
of Art,
New
York
No.
10:
Photo: Author
",
Depth 65 7/ 8
is.
Georges Vantongj
Sculpture
(y
ax*
Space
in
bx
Argentine
moo
ex), 1935
[eight is
Kunstmuseum, Bask
Emanuel
loffm.inii
Foundation
19-
Armando
Salas
museum
'El Eco',
c.
15',
Length
c. 3:
20.
--
Steel
Dr.
Bemhard Sprengel
collection,
Hanover
over
is
in fact
The
pieces
it
as
found objects
like
minimum of workingthe
artist
decrees that
this recognition.
components he expounds
the
(fig. 32).
the formless
He
is
'explain'
one another
as parts
objets trouves
of a
fantastic,
and 17th-century
goldsmith's work. But Dubuffet excludes artifacts and uses accidental shapes as he finds
part of
my inquiry.
The problem
II
The
analysis
of meaning
is
and
suppositions, theories
The
control.
analysis
of
chapter involved
no more
first
associations
interpretation
in
it
case,
difficult to
artist
work
not in
hoped
parent.
more in
illustrations
by
subject
applied as in the
first
categories will be
chapter.
during the
Fifties
and early
Sixties
may
The
by
turn
figure,
years before
sculpture
42
human
first
both
still
World War
I,
specifically, it continues
fittingly
naturalistic
More
and
is,
interest in
human figure,
this artistic
to the representation
pre-
of the
so important for
modern
art,
are characterized in
The determining
influence
here
is
not only the newly discovered art of archaic and 'primitive' cultures but also a
movement
Schmarsow could
its
aesthetic
is
autonomy winch
it
modern man
so foreign to
as sculpture'.
Thus
Barlach
compact forms
(fig. 33),
Andre Derain
(figs. 1, 34),
we
find in the
works of Ernst
(fig.
that
least,
in
momentary
of enduring and
the
body
to the so-called
Negro
intended
as
solid
existence.
as well,
The need
up
for formal
of a rough-
it is
also
way back
to
human
(fig. 34),
sculptors a
origins.
the
is
in 1906,
sculpture, shuts
human
to sculpture.
cloak,
its
of human
intended
as a
life is
to be
found in
man and the pregnant woman in the rectangular block is a union tense with contrary
of the stone and the tenderness of the
and yet
fuses
polychrome
reliefs.
He
them
as a free-standing relief.
phenomenon
into a whole.
it
has only
far
human
to
figure
his painting
and
angles and
the elementary
is
ahead of
more
his
accurately defined
form
into a relation of
is
it
is
an
into a
charged with a
a thing,
wood,
woken
Bauhaus period, in
human
it.
(fig. 38),
heraldic meaning,
trunk
abstraction of the
The
two
Schlemmer's invention,
'sign'.
his
The
Schlemmer before
gave
subject,
(fig.
stresses,
37)
is
in a
a tree
life.
43
Marino Marini
embodiment of
rounded,
warm
Pomona. The
called
the fullness of
body
shapes of the
artist
woman
sees
as
(fig. 59),
magna
mater,
life
The
itself.
stable stance
is
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
its
its
is
Stadler's
soft shapes,
(fig. 40),
modelling and articulation of the body, are to be found in the nudes of Edwin Scharff
and Gustav
Seitz.
The human
rank decomposition
tionally
by
to lead to
is
new
flesh
art
and
Anthony Caro,
is
ruthlessly
The
exposed
enterprise, inten-
the experiences of
it is
are
his
contemporaries
this attitude
as typical
Mario Negri
Two
of protest
Watchers
(fig.
of the post-
toughness and resolution: the two figures, a tense, crystal-hard phalanx, challenge the
The
possibilities
modem sculptor,
weight of tradition
sculptor, in
task
it
seems to
whether
that,
with
his
he has to carry.
of 'creating the
sculptural forms
(fig.
of portraying the
it.
first
man'.
Any
author
landscape, as
is
work
The
of the
is
It
spite
separates itself
sculpture
is
from seeming
a mixture, an
to
pieces)
is
both
artist to
the
be only a repre-
amalgamation of the
perhaps a
new
meaning.'
44
by
the
works of two
as
an abstraction
though
their
may
be
methods are
!
21.
Walter Linck
Height
and iron
Length 1577s"
Photo Mario Tschabold,
59",
:
Steffisburg
22.
in
"
S3-
Jm
19",
",
Length
I3 3 /,"
Galerie
Iris
Clert, Paris
^1
24.
Alexander Archipenko
Medrano, 191
Painted
tin, glass,
wood and
oilcloth
Height 50"
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.
26.
PlETRO CONSAGRA
Human
Colloquium, 195S
Wood
Height
(left)
52",
Length 4j 3
"
16
Relief, 1967
Relief and
oil
58
"
Ltd.,
London
28.
'tM4
29.
Copper Height 26 3
,'
",
Paris
30.
",
Length S2 5
,*
Htl;
SB
3i.
Bottle
Henri Laurens
Wood
Depth
Stedelijk
8 5 /8
"
Museum
Amsterdam
Photo: Author
32.
Jean Dubuffet
The
Sorcerer, 1954
Lava
slag
Height 43
and wood-roots
>
33-
Ernst Barlach
Man
Wood
Alone, 191
Height 34 5
Kunsthallc
"
,'
Hamburg
Cologne
34-
Museum
of Art,
Kiss, 1908
10''
35-
Andre Derain
Squatter, 1907
Museum
Photo: Author
36.
Oskar Schlemmer
Bayerische Staatsgemaldesammlungen,
37-
Raoul Hague
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-
Step, 1950
___
40.
Toni Stadler
Bronze
Height 59"
Photo:
J.
Duisburg
Museum
Schmitz-Fabri, Cologne
th
4i.
Henry Moore
Reclining Figure
(2 pieces),
Museum Photo:
Artist
^_________^____
42.
Two Watchers,
1958
Height 19 5
,"
Dr Ferdinand
Ziersch,
Wuppertal
Photo: Abisag Tiillmann, Frankfurt Main
43-
Fritz
Wotruba
Figure, 1959
Limestone Height 39 s
",
44-
Hans Aeschbacher
Figure
Red
I,
1958
stone
Zollikon
Dr Walter
ZH
Photo: Artist
/'
Bcchtler
45-
JOANNIS AVRAMIDIS
Group
of Figures, 1959
Bronze
Height 33 7
"
'
46.
Etienne Hajdu
Width 7Va
Height 20 1
,
,
47.
Wiliielm Loth
Relief
Bronze
V/ 1959
Height i7 3
Length 23
Collection
Dr H. J.
"
/
"
'
Imiela
Darmstadt
(right)
48.
Alberto Giacometti
The
"
,
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
Plaster for
bronze Height 2s
,",
51.
Karl Hartung
Thronoi, 1958/59
Plaster for
bronze
Height 94 V2"
Lehnibruck Foundation
through the 'Kulturkreis'
Duisburg
Museum
53.
Kenneth Armitace
Height 68V 2
"
52.
1952/53
Bronze Height 64 s
"
8
Photo: Author
54-
Hermann Blumenthal
Bronze
Height
68','
"
2
Duisburg
Museum
the
55-
Emilio Greco
1957
Plaster for
bronze
Height 89
//'
56.
Henri Laurens
Bronze
Height 86 5 / 8 "
)uisburg
Museum
Leiris, Paris
57-
Ossip Zadkine
Bronze
Height 82 5 / 8
"
the
'Kulturkreis'
Duisburg
Museum
58.
Reclining
Woman,
''
1957 Height 53 Vs". Length 8iV 8 Baycrische Staatsgcmaldcsammlungcn, Munich Photo: Author
The
distinct.
its
sweet nudes.
The
look
an enduring
like: as
is
monolith whose
from
a stone figure
On
improvisation.
as a piece
strength.
of 1958,
(fig. 44),
is
to
hand the
the other
middle. Here the ashlars could have slipped. But they are firmly knit together and held
by
in position
a system
of counter-weights, so
immovable, a tower
Monumentahty and
figure
(fig.
of 1959, more
43)
Wotruba's limestone
the
the vertical
most
when
solid piece
its
The
nature.
form involves
the intended
artist runs,
even when
as
a challenge to tectonics.
a point
is
not
is
Thus even in
jeopardized by a risk
as
which the
Wotruba
little as
Aeschbacher, he recognizes
from
The
carves, as
were, for
it
endowing Wotruba's
symmetry
rigorous
of the
rigidities
as a baluster-like shaft, a
of Byzantine
may
(fig.
with
45)
be an echo here
art,
human group
as a sheaf of columns
- remains
entire.
(fig.
46)
is
also
conceived
an anthropomorphic
as
is
thus
articulate
and the
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
plays
the
Wilhelm Loth's
ations
classical
is it
series
of vari-
a fragment.
Loth
fetish
nor
idol,
mem-
artefacts to
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.
83
artist,
(fig.
work of art
every authentic
now
on
should.
high
too
It
is
a torso, a
theme
What
does the
artist
'mean'?
Is it
macabre
Pierre Courthion
tells us,
whose function
feet
I
whole
to
is
feet.
is
the
His contention
not a
sum of
academy
is
Hence
details.
the concentration
on
its
a part
'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
more
is
Those
by compactness of volume
from the
The
first,
work, La Mediterranee
(fig. 49),
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,
The
recalls a
side
La
as
classical
stirs
is
at
is
The symbolism
figurativeness
the perfect
is
professed
Man
(fig.
minimum. As
50)
is
a piece
and impersonal,
of architecture
in the order
said in
prime concern
body and
is
man
not
as
an individual but
as a position in a
by
also a challenge to
Wallraf-Richartz
Museum
system of
anonymous cipher
it.
whose
now
in space.
84
'No
Marcks,
it,
artist,
Hans Mettel's
to a
this
turn of
as
Greek temple,
view brings
at the
by Gerhard
Arms,
also apparent.
is
characterized
by
legs
a lively
In contrast to
Mettel's figure, integrated in a static order, the Prometheus struggles to break out.
buttresses
(fig.
analysed
by Carl
a throne.
The
Linfert in his
Baroque
trionji,
left
empty
itself
scrolls
in expectation
would
at the
959I60)
52), a
intention, as
in
'It is
highly developed
attest a
of
allegories
is
either manifest
remains hidden.'
by
stressed,
The
angeology).
the
monograph on Hartung
filiations
is
51)
form an open,
image of distress'.
as a 'spatial
it
Adolf
is
is
as such.
Moore
combined into
my mind has some slight Pan-like suggestion, almost animal, and yet, I
plate
with
arms and
at.
The two
As
figures
a
is
legs protrude
with surprising
and
it.
their
one body
Summary
or,
one upright
exactly, into
indications of breasts,
plasticity; the
takes almost
more
by Kenneth Armitage
and stumps of
no account of
space; the
body of
it,
hieratic,
from
the
its
Diarchy
Blumenthal's
on
Lehmbruck
is
(fig.
industrial
have described
as
through disembodi-
worker
as a
human
type,
The
plified in the
parts
modern
(fig. 55)-
To
are well
form
attitude to plastic
main
exem-
linear sharpness
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.
modern man.
Henri Laurens, one of whose Cubist compositions has already been discussed
31),
(fig.
56)
work
ness
in the Great
Amphion
he boldly combines the powerful mass of the body with areas of shaped void.
born of music
tecture
However,
(fig.
or, as
Thus
the
it
in his Fdoge de
la
is
archi-
hands reaching out into space and the stable architecture of the body are the determining
'motifs'
once
string instrument
and
fluted
column
(fig.
lation
up
instrument, opens
shaft.
comes from
57)
few examples
is
tioned in the
Surrealist conflation
first
chapter.
The
and
its
Forms (compare
artist applies
fig. 5)
Draped Reclining
constructive build,
Woman
in his abstract
(fig. 58).
it is
its
- yet having an
alert
a question of form.
clear to
Whether he
monumentality or shaping
'internal
is
S6
unesco
figure
(fig.
and
static, in
falling
straining,
or
moving
off
work
for
its parts.'
a representational
possi-
in
quote Moore's
limitations
lies
To
works but
knowledge of its
him
The broken-up
its
his
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.
is
59.
Dancer, 1949-58
Museum
Polychromed bronze
Marino Marini
Dr Wolfgang
Salchow, Cologne
from
inside', the
movement of
(fig.
man
head of the
must succumb,
to hold himself
Along
is
it
emphasizes the
the
in the
doom. But
its
doom.
modem
they explored the archaic and prehistoric cultures of Europe and Asia
The 'Negro
of individual
and
caught in an
How
What
is
(fig. 61),
relevant
and fructifying
liberating
Islands
of
domain of ethnographers.
style' as a historical
artists.
Expressionists,
the drawn-out
In this
is
up he
and the
in pursuit
the 'forces
their
late
it
In the Miracolo
The
small,
calls
parts.
Pomonas
and
folds, large
its
Moore
enhances what
It
it
is its
influence
on
the
work
dating
from
positive
its
magic and
incantatory power.
Archaism
the Austrian
as a
mode of expression,
Rudolf Hoflehner
(figs.
not
as
borrowed form,
of
it
but seeks to
and
it is
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
forcefully. Hoflehner's
ever
all
it
aim
is
this
has been. His figures, colossal and stable, which are meant to be
permanence of the
spiritual act.
88
They
are
no longer based on
of appearances in
Whereas Hoflehner's
still
earlier
works
often have
the other side of human existence, the experience of pain and suffering. In formal terms
this
change of viewpoint
is
used to confront the viewer firmly with verticals or steeply rising diagonals
This
and more
flattened
exclusive
made
flexible
is
66) with
(fig.
they
interlocking,
now
is
no
pure,
manifest in a form.'
To
may
Hoflehner's figures
(fig. 63),
Its
many
The
human figure in plastic form interests sculptors of all persuawho incline to figurative art. Hans Steinbrenner pursues the theme
portrayal of the
in his
parallels.
it
abstract
sions,
its
wood
compositions
Danger
revealed
is
when
as a
beyond
his reach
untragical, self-assured
non-conformist.
and
recalling shields
away
falls
plate
of the
(fig.
Hammered and
is
by Wander Bertoni
position
(settled in
wood, an accumulation
vitality.
(fig.
67)
pedestal),
is
of solitude.
a hero
he wages
his hopeless
it is
68)
composed of
Vienna), Icarus
plates, its
scaly
seems to expend
evokes a
The
its
(fig. 69),
thrusts in
sideration in
its
in battle.
own
right.
artist's
little
70)
demands on the
(fig.
energy inwards rather than outwards. The ebb and flow of the forms
movement
subject
of
armour.
every direction, or in the sharp edges and projecting angles of the marble rider
forms
gesticulating
because
Hero
in
convey human
figurative, designed to
external power.
by
(fig.
attention to
greater
figure.
this sense to
as a
deserves con-
medium makes
sense
it
sculptor,
in a plastic
he was modelling
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
by
spatial limits
of the
tree
trunk out of
Not only
rises
along
the hardness of the material (oak) and the technique of carving, but the
The
Ludwig
figure,
moves only
Briicke,
which
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
home, defmed by
work
space - solid
as
sculptor
who
seem
emerges
it
of the
which
is
the tension
absorbing challenge.
terrible'
her
and her
home ground,
fantastical art
of
Max
does
new and
called 'sculptor
imagines occur
skin,
modern
its
that she
Ernst while
man and
space
a tragic outlook.
as
much
as in those
of the
artist's
(fig. 72),
is
dictatorship,
thus to be
atmosphere
a study
- and
sculptors, fascinate
Baroque
by Lipchitz
is
on
a composition
of the
of solid volumes
ground
air like
by
flying, or
skilfully
(fig. 73).
is
Their heavy
is
terms.
Reg
Butler,
on
90
(fig. 74).
makes no attempt
6o.
Marino Marini
"
'
Photo: Author
6i.
Jacques Lipchitz
Museum
of
Modern
Photo: Author
Art,
Height 84 5
New
York
62.
Rudolf Hoflehner
Height 73 s
Zurich, Kunsthaus
''
63.
The
Iron
ISAMU NOGUCHI
Self,
1957
Height 34"
Stable Gallery,
New
York
Photo: Author
n*.
1*1
64.
1956
68 7
"
,
6S.
filXBNNB-MARTIN
Elm wood
[eight 7 s
"
1"
66.
steel
Length So 3
",
6~j.
Germaine Richier
Don
Sail
of a "Windmill, 1949
Gilt
bronze
Height 22 7
Private collection
Photo: Author
"
,
6S.
Seymour Lipton
silver
on
steel
New
York
69.
Wander Bertoni
Icarus,
1953
Photo: Author
70.
"
8
72.
Jacques Lipchttz
Prometheus
)vercoming
Bronze study
Height
Photo: Author
By
"
c.
i;
:i
,"
New York
73-
Arnold d'Altri
Genii, 1949
Cement Height
S6 5 / 8 ", Length
no
,/'
Lcvcrkusen Municipal
74-
Reg Butler
75.
Gerhard Marcks
collection,
76.
Movement, 1944 Bronze Height 12", Length I3V 8 " Depth 10"
American Art, Philips Academy, Andover, Mass. Photo: Andovcr Art Studio
Addison Gallery of
in
^^^i^^^nH^^i^H
77.
Demonstrators
II.
T
1957 Bronze Height 53 / 8 ", Length 66'/g" Photo: Author
1811
78.
One Head,
Fritz Koenig
Group
Height
3
/8
",
On
Bochum
Municipal
in Ruins, 1958
Museum
Photo:
J.
Height
3
/4
",
Length
g"/ a "
Schmitz-Fabri, Cologne
On
8i.
On
82.
Louise Bourgeois
One and
Others, 1955
Painted
of
American
Art,
New
New
York
83.
Mary Callery
Study for
a Ballet
Inc.,
New
York
84.
53
V8 "
- 103
"8 "
Photo: Author
86.
Mldarho Rosso
Lady with
Wax
a Veil,
1896
[eight 29'
/'
85.
Ciaude Visfux
Petrified
/./
_-
88.
Antoine Pevsner
Portrait of Marcel
87.
Pablo Picasso
Bronze
Height i67 2
New
zinc
89.
Bernhard Heiliger
Portrait of Ernst
Reuter
1954
Cement Height
Photo:
15
/.,"
Dr Wolfgang Salchow
Cologne
90.
Emy Roeder
Self-Portrait, 1958
Bronze
Life-size
Photo:
J.
Schmitz-Fabri, Cologne
9i.
desert stone
collection,
Los Angeles
92.
Photo
resin
on aluminium
structure
Life-size
'*fc
mi
93-
Claire Faikensthn
Portrait of the painter Karel Appel, 1956
59
*
,'
r _s
94.
Jean Dubuffet
Madame j'ordorme,
~'"
1954
!St*
95-
Max
Eduardo Paolozzi
96.
Bronze
D.
Gommc
Height 90V2"
collection,
London
Photo: Author
97-
Stranger
II,
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
"
102.
Raymond
>i
<
hamp-Villon
Museum
of
Modem
Art,
New
*
'
York
Photo: Author
101.
Man
David Hare
with Drum, 1948
Bronze
Height 23 5 / 8 "
Photo: Amerika-Dienst
Wessei Couzijn
104-
Bronze 22
Stedclijk
,*
[2 ,*
Photo:
IO3.
CONSTANTIN BRANCUSI
and oak
Height 49 2 / 3
Philadelphia
Museum
Arensberg Collection
Photo Author
:
1"
Museum, Amsterdam
"
of Art
Museum
105-
Stele
Leather over
wooden frame
6i 3 /a
35'
io6.
8 5/ 8 "
io7-
Andrea Cascella
12"
x 65" x
8"
Galleria dell'Ariete,
Milan
io8.
5
4 /"
109.
1955
British Council
no.
78
"
3
/
hi.
1938
New
ii2.
Hans Arp
Seuil,
c.
35
/2
",
Depth
c.
4"
113.
'\*i
Alicia Penalba
Homage
to Vallejo, 1957
Photo: Author
ii4-
II,
5
3
1959 Plaster for bronze 25 / 8 " X i7 /s" Photo: Gnilka, Berlin
n.S.
Rome
116.
Theodore Roszak
Thorn Blossom, 1947
Whitney Museum
Height 33 V 2 "
of American Art,
New
New
York
York
ii7-
Bronze
27V
x 15" x
/e
Ravensburg church
movement of the
stretched-out figure.
form and
career.
and 'captured' in a
running
steps
two
that not
space.
(fig. 76).
who
moment. The
by
the
is left
to the imagination
first
If this interpretation
is
- an impression
we may
trait
- temporal
what occurs
as
in succession
(fig.
is
76).
In
that
its
consistently
at is
member of
its
duration.
here rendered by
is
static
rhythms.
it is
artist's
unknown
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
more
giving
it
a collective individuality.
distinct.
recurrent,
(fig. 79).
will
With
which
they proclaim in unison by one gesture. Koenig's Group of Riders, on the other hand,
collection
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
The
relates
is
that
faces.
spatial
in full
accepted,
only
in
serial repetition
strengthened
by Gerhard Marcks
tackled
is
characteristic
artist
is
compendious
as a
(fig. 75),
Movement
of motion
sculptural rendering
The
all
alike and, in
one
instance,
grown
is
together as
is
tall
(fig.
78)
is
ern man, his isolation, his inability to communicate, his despair. Exposed to infinite
space, passive and, in the strict sense
solitary
individual
is
condemned
human
society
- a
common
futile
lot
of solitude.
149
tators
listeners,
or simply scenes of
movement -this
Ruins
among
80) in
(fig.
German
many
years, the
exemplified by his
tachiste relief
The
Troy
in
is
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
forms
is
freely
with what
it
artist's
purpose
is
for,
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
the American,
artist,
however,
better than to
but to operate
has to offer.
applies to
'subject'
serious poetry
some
in
all
- except the One. This puzzling and witty invention can hardly
it is
much more
like a fable
white raven.
F. E.
the
McWilliam remains
human
American
even though he
translates
figure into spatial schemata with radically altered proportions, as does the
Mary
artist
Callery,
(fig.
83)
and other group compositions embody various kinds of movement brought together in
a choreographic conception.
It is
a far cry
from
Petrified
of Pablo
its
equivocations between
(fig. 85).
of Lorcher to
Yet an
stability
150
However,
its
is
or
normal
near dissolution.
human mass
of sculpture, in
pastoral
intelligible, if dis-
crowd end
satire,
and an
that
is,
in a
narrower
important
the portrayal of a man's head or face alone has never been found as
n8.
Harry Bertoia
Steel
New
Schiff,
New
York
irritating as that
Thus
this particular
conven-
is
it spirit,
fragmentation of the
human
illustrate
new ways
Medardo Rosso
tackles
it
as
87)
shadow
this
substance
Its plastic
of the
86) in
(fig.
a transitory appearance,
is
slight
is
how
but
rich
and
Head
(fig.
soft material.
Amedeo
the antithesis of the accidental, indistinct appearance of the Lady with a Veil.
on
possibility
anonymity of Byzantine
to the
heads to elementary
his stone
is
and
of the individual
eyes. In his
portrait.
He
art.
little
to
portrait,
it
not their Constructivist or Abstract tendencies that are responsible; for these are even
more
trait
of Marcel
ideal portrait
Duchamp
(fig. 88),
though
we
which he has
called,
none the
more than an
likeness.
Pevsner offers, as
it
Por-
less,
were, a geometrical
equation for the image of the great ironist and prince of Dada.
(now
which,
at the Stedelijk
like Jawlensky's
Museum, Amsterdam)
Head
(fig.
92)
is
harmonious proportions
Head,
like
in the structure
Giacometti's,
is
'absolute',
thin,
represents an
as a sign
also entirely
- here
anonymous.
one which
is
The
and
and
Avramidis'
subjected
to
rigid
rules.
119.
LUCIO FONTANA
Rijksmuseum Kroller-Muller
Otterlo (Holland)
Photo: Author
is
characteristic
of moving
model into
a plastic reality.
likeness.
volume
it is
no
Kurt Martin,
common
activated
less
it
de-
in his
a plastic
phenomenon, a combination
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
human
quality
artist.
153
A careful balance of the 'will to form' and receptivity to the medium can be discerned
in the
as
an
Head (fig.
91),
work
begins already with the choice of the stone. She picks the hardest specimens,
artist
common
long time until they disclose their inner, exemplary form which she then, with patience
By
What emerges is
(Jules Langsner.)
composition
Appel in
However,
model
a painter
is
of this identification
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.
worth glancing
at the
human
(fig.
94)
Max
Ernst
which shows
imagination by
its
buffoonery and
in the
its
is
his visions
of the
fantastic in
(fig. 97),
angular,
fear
and
of demons and
among
chimaeras
bird, half
shapes Herbert
is
Jean
is
unexpected correlations.
inhuman too
it is
which
that the
sculpture,
implicit irony
modern
human.
Cesar conjures up fabulous beings from the dark zone between nature and tech-
nology he has
;
Akin
which he
winged
figure
of the
artist
casts in a vast
Homme
of
dislike
'beautiful' materials
human
of
- these
are theatrical
tragi-comedy.
(fig.
96)
Scotsman Eduardo
outspokenness which Cesar, with a devil's courtesy and obviously enjoying the game,
avoids.
many young
Why
(fig.
99)
which he
postulates
in the
shares
United
with
States.
should whole figures be welded out of clippings and shavings, out of refuse and
waste?
It
of a
new
declares the
need to 'break up
allusions to the
daemonic in
is
all-important
poetic of objects.
154
works from
reality
things,
with
Drum
(fig.
and recombine
it'.
101)
He
is
of Surrealist lineage,
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
:
between
exist
by
itself in
this is
subject
and
object,
his
all
of the sculptural exploration of the human figMan (fig. ioo), a bronze piece by Roel D'Haese.
monstrous, puffed-up and shrivelled forms are plastic equivalents for the polarities of
human
existence.
Among
distant
its
apotropaic functions.
its
the popular
The
movement of individual
bearing or
the
human
ity in the
sculptors
sphere,
it is
magic or
if one disregards
out of fashion,
also
The
Only
is
man as
is
is
Sintenis which,
late
Impression-
characteristic
form,
as,
in
is
The
origins.
lions
artist in
the
first
Toni
reliefs
Marini's horses -
its
Ernst, the
Stadler's
Max
least,
Marino
artists
The
first
radical transformation
hands of Raymond
ine-horse,
Duchamp- Villon.
His Horse
universal horse.
The
(fig. 102),
static
a horse-machine or a
at the
mach-
between
rest
Up
to the
19th century, and with extensions into the 20th, the horse was a symbol of sovereign
power
to be placed
on
embodies,
as
it
Duchamp- Villon,
to the
in
Space
(fig.
103)
dynamic
its
is
a noble
potentiality.
highly polished bronze and the arrow-like shape shooting upwards declare the
intention to liberate
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,
life
and abstraction
Huf
Amsterdam
122.
Harold
B. Cousins
X z6 3 /a " X
perfectly conceived
It is
(fig.
by
104)
away from
glides
it
Dutchman Wessel
the
the
world of
until
no more
it is
on
is
flight as such,
not a specifically animal phenomenon, and here more in the nature of a poetic baroque
The
blem.
artist
(fig.
wood)
106,
is
em-
cow
resting
on
the
ground
may
that he
The
and
of
tactile
stele
objet'.
While Kalinowski
Leda
invents
up
107) takes
(fig.
'eye'
new
As
in
'caissons'
his
that
of the
from
artist
steles. It
artistic
material and the 'objectification' play the decisive role in evoking the
105)
(fig.
title
marble sculpture
too,
'poeme
this
however, the
interest, pefection
title Stele
pour une
The
structure
of the animal body, its muscles and ligaments, interest the young Pari-
108)
is
content
it
shrivels
Excited
of
this
'new naturalism'
up and develops
tory, unsettling
professes, in
manner
common
subject
material
dynamic
a fossil-like texture.
arrest are
him
(fig.
in particular, has
brought together in a
(fig.
109)
many
its
similar, contradic-
Germaine Richier's
with
Man
nature.
the
and animal do not exhaust the repertory that modern sculpture draws from
human
considered
or the animal
is
no) or
remains to be
human, animal or
plant variety.
its
as
in the
we
movement of a body
which
What
is
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).
also a
monumental
manifest
forms
this
Even
its
artist
(fig.
114)
to
Iron
5923
(fig.
115) carry
Yet
evoke
associations
work
which the
work of Arp's
of
recent
artistic unity.
no vegetal
more
to quote a
leaf,
itself,
(fig.
(fig. 1
not
least, their
of organic growth
are,
at
Theodore
of an exotic splendour,
17)
no doubt,
sculptors. In
contours
that
make up
a thorny bush or a closely knit lattice work. These forms hark back to the Tree of
Jesse
altar tabernacles
By
the
title
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
material qualities.
tree.
The interest in forms of organic growth for their own sake as distinguished from borrowings of fragments, usually for
stumps
modern sculpture.
an aesthetic purpose
It
(i.e.
most varied kind, for instance one of the bronze spheres of Lucio Fontana(fig.
the
lies
tree
of
119),
of
enormous proportions or the imaginative, half animal, half vegetable forms devised by
Shinkichi Tajiri
(fig. 121).
growing
as their
(fig.
The
delicately
the
Ameri-
and
The
last
led us
away from
plastic objects.
of natural forms
the representation
From
here
it is
more
and
set
To
the
human mind,
fashioned
by
the
human
hand,
this
constructions
artist's
by
artefacts or,
but
intention
chapter can be of
I shall,
may have
first
been.
with compact
solids
to 'say'
solids to spatial
schemata, or from the realization of order to the expression of vitality, that can be
160
123.
of
Height 15"
Museum
of
Modern
Art,
New
(Soichi
Sunami)
125-
Robert Adams
Height l6 1 / 8
"
R. Jahrling, Wuppertal
Photo: M. Abel-Menne, Wuppertal
124.
Vojn Bakic
bronze
Height 27 5
127-
11
\n s
AP
White marble
Di Bcrnhard Sprengel
Height
collection,
i6'/ 2
"
Hanover
126.
Wiiiy ANTHOONS
Being,
)')>-
$6
5*ft"
'
3
'-
.'
128.
Robert Muller
Sheba, 1958 Iron Breadth 30V4" Elie de Rothschild collection Photo: Author
129.
Francois Stahly
Medusa, 1959
Olive
wood Height
c.
23
"
5
/8
130.
131.
LUCIO FONTANA
Conversation, 1934
Bronze
gilt
Height 27 5
"
/
132.
Maurice
Lipsi
Volvic Stone, 1958 Height 45 Vi" Galerie Denise Rene, Paris Photo: Author
133-
Stones, 1957/58
Breton granite
Height 35 3
"
'
O. Le Corneur
collection
134-
Eugene Dodeigne
Sculpture, 1958
135.
forte,
1958
L. Ferrctti
136.
Peter H. Voulkos
Terracotta Sculpture
Height 29'
137.
"
in
Landscape, 1952
[38.
Day Schnabei
In
31 V>
One of the
by the
With
the
volume with
free space,
the
is
Boccioni. The
:
the forms
layers. In a centrifugal
124)
(fig.
is
1912,
effected.
is
from
Umberto
Futurist,
movement
book.
tins
is
of
an evo-
solely out
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
The
by Robert Adams
intention realized
rectangular,
compact
objects.'
in the pattern
is
best explained
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
between things
them-
and an
intellectual
who
whose stone
meditative
formal compo-
of concrete.
at creating
accident that his compositions are instinct with the spirit of a rigorous
architecture in pursuit of
Adams
objectify
aim
artist
artist sets
selves. It is
his
... to
is
of contraries offered by
artist
who
chisels stone
or carves
wood with
piece Being
is,
on
(fig.
126)
forms that embody a collected calm. The reclining block with long, drawn-out contours but with an energetic sign impressed into
its
it
low
in
philosophical
relief,
expresses
title.
'Moon-like, hollowed out, ghostly' - these are the epithets that Hans Arp
his
(fig. 127).
The
title refers
work in
fitness
is
on
the one
hand
were, turns
and
stress
its
at rest,
multiplicity
inside out
its
of meaning
lies
vein.
how
vitality
life,
The
artist
has captured
kernel in a solid
applies to
this description,
however, to
same
both
and
very
as it
177
Robert
Miiller.
(fig.
an interpretation
lies
one
hidden
them but
it is
strokes.
stract
is
as a lively,
lambent
silhouette.
it
inside.
size
which
by
a series
what matters
(fig.
inferred
is
A calm,
to
on
132),
the
is
is
restless
in an ab-
from one
is
bulwark in space
(fig.
133)
seem
setting
two
artist's
sculptors,
builds
up
his
movement of advance
of flexible
resistance to
it.
architectural turn
environments - Lipsi in
Haber
out
it
a system
at first closely
static
up
side
mass
a sturdy
example
of
long-drawn-
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
its
He
visibly interrupted
By contrast,
unknown
is
is
sees
the Swiss
out
but
Overflowing with
by
fruit. Miiller
of what
128)
(fig.
Paris,
Haber
in Israel.
While
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
up the compact
With Aesch-
Haber
piles
up
solid to a greater
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
calls his
piece
so as not to detract
(fig.
character.
perforations,
whose
and rough surface constitute an abstract variation on the theme of archaism. Peter H.
Voulkos, an American of Greek descent,
He
up
builds
is
similarly inspired
by
architectural notions.
rock-like formations.
Internal
in
Landscape
composition.
the
The
relations
They
sees
as
through
(fig.
137),
serves to
it
to
open up the
between landscape and the human figure have for long been
works mainly
open
in the
air;
spatial
Day
to
work from
her In Memoriam
parts, as in
Hepworth
(fig. 138), is
difference
seeks equivalents
familiar
between the
from
first
sight
the
sculptresses
is
largely
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.
similar in structure
(fig. 139). It is
a beautiful object
calls
fully articulated
form
to be turned this
is
in
its
could be a
way and
title
that,
suggests,
its
The
sculptures
(fig.
140)
and
'tall
may be
literary
safely ignored;
slim, light in
who
Eva
title,
make, projecting,
taking of mathematical abstraction and of the sensuous immediacy of objects, this three-
dimensional
An
(fig.
spiral
is,
product of unsurpassed
skill
and
artistry.
of similar works,
rigid,
refers to 'forms
partly expanding,
of contradiction'
maintain a
defiant
gestures, clenched fists raised against the surrounding space the penetration
of which
179
is
reluctantly tolerated.
do not want
drawn from
of
is
Umberto
solidified lava, a
this situation
of conflict;
may
this series
Two
Milani's
(fig.
143).
'art
It
artist
'exposes to view'.
We have already discussed Cesar's imaginative figures (fig. 98). The title Petite
de Radiateur (fig. 144)
which
in fact
which he gave
final destruction
as a
from
its
on
One
and
The
dirigee'.
ruefully,
he saved from
and
Tete
it
sea,
realm of
the subjective.
The sharp-toothed
movements out of
of
statics,
volume
remain
pieces
the sculptor
figures,
Franco Garelli.who
how
of iron show
working
independent
Turin,
lives in
to Garelh's
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,
suggests - belonging to
The
from
of black sheet
steel
to
sides.
The Whale
(fig.
com-
147), a
com-
monumental
title
go well together.
forceful representatives
is
tion and technique are intimately linked with one another ...
180
static
most
produces
plates reach
form seem
At the same
space.
prop them-
sinuous,
left
rider,
it.
of a Spanish
its
my
(fig.
148)
is flat,
without any
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
movements they
carried, intersect
ever, as
various
example
pointers; as in the
of space and to
architectural.
they
illustrated,
endow what
in enveloping
titles
establish
There
is,
how-
themselves are
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-
Franchina's Nike
executed with the technique of the American metal sculptors. Placed on an arch-
aistic socle, it
hoff,
Nino
and
moving
hoists
it
in space.
in the air
is
The
which
shaft
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
sails
the
set
piece
(fig.
to space
more open
Static,
is
carefully planned
is
at
it,
and
yet space-exploring,
it
relate their
work con-
that
of
(fig.
looking
com-
however, forming a
is
154), a
way of
set
up
a certain
this
as figurative, allusions to
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
is
Fifth Continent.
are not
limited.
181
Max
22
Bill's
cussed so
far.
But
pronounced
so
plate
(fig.
would be just
it
'otherness'.
is its
much
as
else in
works
my
dis-
selection,
It is
mathemati-
conception from the world of nature (which, incidentally, does not prevent
cal
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
Both are
(fig. 127).
Bill's
22 with, say,
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
made
which
Max
results,
composition
is
slight in
its
least
is
Bill
aesthetically satisfying
fully explicit.
volume,
its
an interior nor to communicate with external space. The perforations are points in
rhythmic pattern developed two-dimensionally on the surface and the over-all impression
is
one of flatness
also
in spite
of the
work
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
of clippings. The
their
He
aim
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
which he
artist
to that
attest.
have entered
Naum
all
fined compositions
new
has discovered
The
surprising,
shapes
in a
conjuring up their
new
The cooling
reference -
who
is
then proceeds to
them
medium and
this
142),
and the
of other sculptors in
(fig.
it
me into
of form - con-
made of
objects.
as
my
ahistorical
approach
entitles
me
to
do
the
works
art as
182
ceuvre
of any given
its
artist.
My concern
turn
is
first
younger Constructivist,
the
example
made
frames can be
Andre Volten's
Composition ig$g
(fig.
second encompasses
of which the
158),
a private space,
(fig.
in the
rhythm
static
and
character-
157)
first
the exterior.
thickness
by the composition
and
which produce
solid parts
The
Lassaw
Pevsner,
two of whose
He
ticals.
sion -
earlier
rhythms,
brass rods
it.
He
as
flat
surfaces
curved surfaces
is
They
society
(fig.
(figs.
16 and 88),
160)
which both
on the
take place
human
- of which
is
surface
shall deal
not an exclusively
as a
(fig.
with
public
161)
is
this aspect
is
more complex
shadow which -
as
reality'
the interior.
and external
which he welds
of the
and
a keen observer
is
by
is
come
to
art.
conceived in a similar
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
Naum
He
prefers transparent
parallel line
media
which
leads to spatially
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
on
the general
an end in
itself as for
is
four-dimensional, because
for'.
spatial
forms active in
realistic
of a world that
its
theme of constructivism:
with
162), in plastic,
or, to use
Gabo's words,
as
is
both
real
and
illusionist
sional sculpture
The
movement, as well
followers are
less
on
art.
living in
Buenos
in transparent compositions
social
planning. Such a
to
order that
programme
man,
to find
is
constructivist
its
Brazilian
Mary
art
fullest
utilitarian technics
chromium-plated
is
the
by
the
(fig.
by
163)
harmony of movement
in space,
of the
experience
seems
(e.g. Brasilia).
total
realization
the
non-
function
This
rest.
its
circular
movement and
librium between
America
which
Vieira in
to
the
is
(fig.
Madi group
to
of plexiglass
of the work of
aesthetic function
new
arts in a
four-dimen-
beyond the
calls
initiators,
particularly in
Gyula Kosice,
and explores
is
of nature seems
as
his
production.
own
The
who makes
social
function,
the
The
integration of the
arts,
which
taken up as a vocation by Andre Bloc who, apart from theoretical pronouncements and
his
work
own
artistic
solutions
the
works
it
Bloc's original
task
may have
is
shown here
He
Kenneth
167),
movement
(fig.
them
to his purpose,
of a
arts.
cedures, they are intended as protests against the domination of the machine.
concern of the
of
as
Though
(fig. 165).
it
by
to create
made of
into practice
by making mobiles
for a
139.
Makta Pan
children's hospital.
Sculpture 53
* Twelve Americans,
184
ed.
Dorothy C.
architecture.
Miller,
New
York
it
would seem
However,
1956.
am
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
;
142.
Magic
Iron
Ettore Coll a
Circle, 1958
Height 55"
Photo: La Medusa,
Rome
143-
2,
1958
Bronze 24'
"
s
.-;
26 3
"
'
144-
Cesar
Petite
Iron
Height
"
14''
s
Width
"
145-
Franco Garllli
Figure Ema, 1958
Iron
Height 61"
__-
Al
147-
XAND1
1(
CAI mi)
Museum
of
Modern
1
Photo:
[46.
I.1.1
Aiii.o
CimiiDA
Terrosa, 1957
Iron
Art,
[eight N7"
New
>onated by the
Museum
(Soielii
York
artist
Sunami)
148.
of Fain V, 1956
53
"
',
Photo: Author
149-
Nino Franchina
Nike, 1958
Height io6 1 / 4
"
Rome
i.SO.
Luciano Minguzzi The Dragons, 1958 Iron and bronze Height 157V2" Photo: Author
I5i.
Levcrkusen Municipal
Museum
"
8
On
152.
NOKBERT KRICKE
III 1 /,"
78V
x 70
"
Leverkusen Municipality
Photo: Author
153.
Walter Bodmer
Sculpture, 1957/58
Iron 24 s
"
4
>:
58'
"
4
Photo: Author
IS4-
David Smith
Australia, 1951
Steel
155.
Max
Bill
156.
Robert Jacobsen
Construction, 1950/54
Iron
iS 1; 8 "
x 20
"
l
,
x 20
,/'
Stcdelijk
157.
Andre Voiten
Construction with Crystal, 1956 Steel Height 63" Photo: Peter Marcuse
I58.
BERNHAED LUGINBIJHL
Composition, 1959
Iron
i7 3
"
/
l3 3 / 8 "
13V
Kunstmuseum, Berne
Photo: Leonardo Bczzola, Berne
159-
Castle, 1957
New
i6o.
Fresco, 1945
Brass
51
"
'
34
,"
13'
i6i.
Brass
59"
Hans Uhlmann
Rondo, 1958/59
3
"
35 / 8 X 31V2"
i62.
Naum Gabo
Spiral
Theme, 1941
Plastic
Height 7
.,"
Museum
of
Modern
Art,
New York
Photo:
Museum
163.
Mary
Vieira
Sphere-Tension, 1956/5S
Aluminium
i2 5 / 8 "
x 25V4" Floersheim
collection,
Chicago
>
Andre Bloc
Height 27'
Photo:
Ciillcs
"
B
Ehrmann,
Bois-Colombes Seine
104.
Jose de Rivera
Constructions, 1954
Photo:
Museum
Wrought chrome-nickel
(Soichi
Sunami)
steel
Height 9 1 /*"
Museum
of
Modern
Art,
New York,
donated
66.
Gyula Kosice
Sculpture, 1959
Plexiglass
Height 23
Kenneth Martin
Screw Mobile, 1959
Phosphor-bronze
Height 24 7 / 8
"
i6S.
Disaster, 1959
Bronze 9'
"
s
x 23 s
"
Photo:
BramWisman, Amsterdam
169.
Raoul Ubac
170.
"
/4
Private collection
171.
Stainless steel
collection,
Neviges
xi
.J!
172.
Voy age,
1 948
Stable Gallery,
New
*73.
174-
Hans Arp To be
lost in the
83
"
,
long,
medium
3
/4
",
small
"
/8
the
chapter where
last
somewhat unusual
it
and turn
terms
While
of the earth
face
to
or -
to avoid the
is
intended - sculpture as
is
known from
is
what
first
the past, the introduction into sculpture of landscape and the sur-
own
right
is
new and
recent
phenomenon.
Not
that analogies
treated (e.g.
tions
sculpture
title
To
shows,
be lost in the
it is
Verhulst, a
ments.
(fig. 170).
Low
it
like a piece
brought out
(fig.
168)
of
if it is
by
the
pulpits in the
effectively
Dutchman Hans
As the
significance
from
illustrated
(fig.
But the
nature.
woods
as properties in
Baroque sculpture -
e.g. in
church
first
time they are made the chief and only subject of a sculptural composition. Cimiotti's
idiom
is
worked
Rome
for a
emerged from
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
and motion.
While Cimiotti
up
wholly attached
as
169) transform, as K.
(fig.
an
artist
to the spectacle of
H. Goerres puts
it,
tree
and
from
the
(fig.
days of Creation. Against the uniform pattern of the millstone, ready-made and thus
is
beginning to
theme of the
cess
piece, in
still
liquid
Voyage
(fig.
is
toured Playground
valleys
one
as a piece
infinite
expanse of waving
way
the
spirals.
his
space in the
is
172) strikes
Compared with
from
solid
Noguchi, who
of Japanese extraction and familiar with Far Eastern art, nature is always
is
is
as
it
an epitome. Yet
if
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
factors,
such
it
can
as the thick
much
role
material, for
artists (as in
Happenings),
it is
Dubuffet,
modern
'landscape sculpture'
Another aspect
Louise Nevelson
who
is
art
is
predominant tendency in
others, the
There
a Surrealist one.
illustrated in
of Jean
The Voyage
is
an
affinity
between Surrealism
of Max
(fig.
wood
176), a
composition by
aroused by the experience of what in her case seems to be a townscape. She evokes far
more than
search in
life
world, the heavenly spheres, the places between land and sea
'My
total conscious
the dusks.
The
On the other hand Arnaldo Pomodoro's metal relief The Land Surveyor's
177) presents an analysis
of
mind
Table
as optional
for the
is
(fig.
geological cross-sections,
objective
.'
artist's
(fig.
175)
with their
These
Lardera's
garden,
artifact
at
own reality; not representations of earth but metaphorical equivalents for it.
sculptural paraphrases of landscape may be followed, in conclusion, by Berto
its flat
at the
Days
(fig. 178). It is
part of a landscape
fact
of
its
between
while
the
its
being
otherness, an
set in
organon of interpretation,
landscape adds to
its
own
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
it is
- after
category.
all
its
place in the
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.
museum or the
book belong
we
To
private house
of purpose
artist,
tion.
excluding, that
There
is
is,
their
monuments or intended
monumental
status to
as
such by
an improvisa-
nothing in the 20th century to compare with the vogue for monuments
Nor
as
it is
works
true, erected as
Meunier's Monument
monuments only
to
'revivals'
Constantin
here,
we
would repay
It
aberrations to
The
own
monument from
the
monument',
detailed investigation.
has been said that our century, having tired of the type of symbolism traditionally
its
of the old
rejection
Van Doesburg
bolic
gone hand
lias
in
an abstract
in process
ideas
show
examples
of Tatlm or
that a
new sym-
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
fully
of the
the
unknown
political prisoner
The most
celebrated public
Rotterdam.
cry
rounded by the
made
its
monument of
palpable in bronze,
Auschwitz.
it rises
is,
no doubt, Ossip
in the midst
new
and
at
erected as a warning
(fig. 179),
sluices, basins
figure, pierced
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
more
angle,
is
an
Henry Moore's
created as
Upright Motives
(fig.
180)
in their
temporary
surroundings during an open-air exhibition. Since then, singly and in groups, they have
rightful function as a
monument
interpreted as
modern
compared
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
plastic forms.
interpretation
monument on
The Hague
central
so far
theme
(fig.
a specified
The work
sum of his
a synthesis
is
on
in other compositions
exploration of what
so as to provide a clear
is
figural
224
be
in his art.
pronounced than
site.
over-life-size rider to
and convincing
more
rela-
model
the
artist's
to invent
is
more
recent Projected
182)
stage
task
(fig.
memorial
town
by
social impact.
tone,
movement and,
'The
in general,
every device that will influence the environment' and he added in i960, in connection
;
related to
is
longer
in
life
Town
exist.
mean
planning will
respect.'
of social
life
he
as
is
town
life as
all
we know it will no
forms of
game
Reg
Butler's
of
is
in every
life
architecture'),
combined with
at Essen:
interrelatedness
his ideas,
known
de Loo Gallery
all its
and urban
Van
at the
many
levels
of meaning,
Monument of an Un-
much
nearer to the
young Berlin
the
calls
sculptor,
Helmut Wolff,
for the
memorial
at
some-
envisaged by
is
Auschwitz
(fig. 184). It
must
as
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
up
The
a system
last
of axes
Eiffel
but the
no
Tower, the
It
town
outside
their
be entirely de-
create
called
is
mark
(fig.
is
and landscape.
as architecture
prompt one
a relatively widespread
earliest piece
modern development:
of constructivist sculpture,
Charles R. Mackintosh,
as
Pevsner has
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
Hugh H. Stubbins,
category.
new
It is
suffice.
One of
the
most
is
Konrad
that plasticity in
significant, to
my
mind,
is
the
225
86),
by the
historians
Steiner, the
of the art.
founder of anthro-
modern
was not
made by
from
is
Steiner
What is
model
by
this
technique.
from
in reinforced
of abstract sculpture:
little
The Goetheanum
wood,
medium
was
sculpture.
The
the original
structure
is
at
its
setting, in the
midst of
Goethe-
mountain
Le Corbusier's church
anum. Certain
at
Ronchamp
(fig.
187)
is
in
many
by Le Corbusier, such
The emphasis
and an organic
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
artificial
lake
water tower
(fig.
which belongs
One
by Eero
for General
Motors
at Detroit
aesthetically
among
Saarinen.
is all
form and
the
more
striking: a
a high standard
of glass,
steel
of
age.
rounded shape
its
stability offers
at the
aesthetically valid.
form an
artistic
ments
artificial
172).
The
lightness
into the
work of
art,
Noguchi's Garden
is
experiences
the Japanese
it
both
Its
Garden
(fig.
189)
lies
with watercourses,
226
Its full,
When the wind blows through this wall of water, space and movement combine to
create plastic
man.
excellence have
artistic
combination of bold
we
as sculptural
form and
as
is
drawn
organized space.
of
The
instances
ship
we
have so
architecture.
The
extreme and,
fact, little
of the two
arts has
been
made
and
beyond the
as architecture
of the
tasks
purist youth,
and requirements of
Thus, apart from a few early essays ojugendstil inspiration, the rigorous
art.
by modern
architects
of the
arts has
been tackled
this
all
embellish-
an architectural
in
setting.
we
member
modern
two
partners are
modern
sculpture and
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
categories
combination). This
is
it
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
harmonizing.
Bouwcentrum Wall
work
and ruined
Ins chisel.
cities, is
potentialities
it
Relief in Concrete
(fig.
Rotterdam
191),
is
190).
mind,
Here the
shows what
when
start.
though he had a
artistic
and symbolic
made by Gunter-Ferdinand
as
(fig.
my
to
monolith under
in
is,
is
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,
relief in
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
life
their
it is
rhythm
that
makes
explicit
archi-
its
sectional steel.
Function and ornament are also combined in the buttressing wall designed by Karl
Bad
garden
laid
Salzuflen
(fig. 192).
wall
to shore
is
up
plain structure
this
thus in
is
main
transposes the
it,
architectural
But Ehlers
discerned a sculptural clement in the clear, plastic articulation of the building and
It
the
com-
made up
and
By
contrast, Spatial
Office at ViUingen,
Though
it
Wall
(fig.
193), designed
for the
Revenue
is
it,
to be taken primarily as
it
an
sity
surfaces
same time,
it
somewhat
movement of
a highly refined
the
The
Univer-
transparence of the
The work
stairs.
transposes the
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
a 'signifying'
structure as a
and a functional
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
of Kurt Schwitters in
composition it
tained in
comprehensive work of
this
(fig.
at
his
MERzbau
is
(fig.
200),
feature
usual spatial schema of verticals and horizontals to a wild congeries of shapes set at
more
scrap
of various
sorts.
His
228
of
spirit
seems to
live
on
all
175.
Bernard Rosenthal
176.
(detail)
Wood,
!-
Zini
V"
(
177.
TT
Arnaldo Pomodoro
94V2" x 53
^MM
7 K.
Hi
i,
1958/59
Stainless steel
and iron
i'
6"
ll' 6"
Private collection
179-
Ossip Zadkine
The Destroyed
City, 195
21' 4"
Photo: Author
i8o.
I,
2 and
7,
c.
10'
11'
Photo: Author
181.
Equestrian
Marino Marini
Monument, 1958/59
settlement
16' 5"
Gcmeente s'Gravcnhage
J
^V>
^|
Lk
H
ip
'
-^^r
laTi
V~
if
K
,:
^B
v'~'
'!
tlK
II
HHI
'
;-
...
i
1
It
'
"K
i82.
Constant
Projected
Monument
for
25
183.
Monument
of an
Political Pris6ner,
1952
Design for a
Unknown
Reg Butler
F. L.
Kenett,
plaster
i7'/ 8
"
London
184.
85' 4"
for an
Wood
36' 1")
1S5.
The Square
Matthias Goeritz
Entrance to the
satellite
town,
Mexico City
Reinforced concrete
Height
121',
Length 164'
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
iSS.
Eero Saarinen
General Motors Co. Technical Center, Detroit, 1951/56
Water tower
of stainless steel
Height
c.
131'
189.
UNESCO
sa^n^H
igo.
Relief at the
W.
c.
28' 3",
Length
63'
One
itself
than Josef
work
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
in brick, flat
stretchers
the facing courses. Against the horizontal emphasis of the brickwork the composition
up
sets
me
have called
it
"America".'
(fig.
199). Instead
artist
reliefs,
and
their balanced, as
The
ranged in
The
a steel framework.
natural,
six tiers
possibilities offered
were
it
angular
same establishment by
for the
artist,
Owings and
Merrill.
by
sculpture
was put up
It
consists
198),
when
it is
in close collab-
of roughly
rect-
is
interrupted
by
discoid shapes
them
spatial effect
colour.
The
the wall
and
light
becomes
clearly visible
two
it
from the
practical tasks
screening wall
is
street, it acts as
its
But while it
colour makes
an
essential
component of
work of sculpture
in
its
Elvira in
Munich (fig.
low facade.
August
It
has
own
at least
no longer
buildings, not
dominant one.
good
by
it fulfils
that,
right.
to unite sculpture
architects, repelled
conspicuous so
it
its
example
separates
Far
It is
makes no concession
to
it
and
modern
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
An
example
is
senkirchen (architects
by Norbert Kricke
zweiEbenen
in
new
for the
Though added
to the building as an
by
its
to the decora-
also contributed.
relief serves a
right,
{Surface
theatre at Gel-
tion of
start for a
purpose
it
between the projecting studio and the main structure while counteracting the weight of
the large, dark wall to
winch it
is
genuine
offer a
prets
and
enrich
it
(fig.
152),
from a
movement. As
Conceived
plastic experience.
Herbert Ferber's
by providing
Synagogue
as
static
one
But
it is
whole. Kricke
to
is
effects.
New
Jersey
195) also
(fig.
they
spirit,
artistic
fountain
in Millburn,
at close quarters
an architectural
in
of the structure
of his
its
reference
enough
it is
for
it
on buildings was
thing different
the
showroom
in
New
York
(fig.
its
the exaltedness of
art.
But
Italian's
its
is
no
positively related
203)
is
to provide a contrast.
offence if a
work of art
due not
is
useful as
of its beauty.
consists
it
of re-
make up a
is
least to the fact that Nivola forgoes strong plastic effects and gives his relief little
depth.
tone.
must not
It
clearly
It is
curring patterns, technological symbols and free vegetal forms which together
rich
of
distract
its
'intimate'
is
reserved in
refer the
industrial products.
The
main category
this
have suggested
arts, is
is
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
Its relative
position
not, be subordinate
it
may
may
it
main
its
architectural partner to
combines sculptural with architectural forms - witness the well-known screening wall
carved by Henry
Moore
for the
Time and
(fig.
compact column
vis-a-vis
shaft
by
it
Life building in
is
even.
it:
The
open
bold,
structure
and the
Hamburg
the
sculptor,
it
by
counterpoints
facing
London.
series
architectural
Moreover
a vertical accent.
negative forms.
The same
park theatre
at
Henri-Georges
the architecture
Grenchen.
On
Max Bill's
granite Construction
and
positive
(fig.
stele's
(fig.
207) designed
by
Adam for the square in front of the new museum in Le Havre challenges
by
vast dimensions.
its
Its
flat
its
determined orientation
like a ship's
Apart from the university town of Caracas, the most comprehensive, and the most
interesting,
example of an attempted
badly placed
as
Silhouette, a reference
on
art
the
and architecture
is
undoubtedly
Noguchi's garden in
this
ensem-
Harvard Uni-
(fig.
monumental
(fig. 189).
Moore
of
been mentioned
reliefs
synthesis
wide square
(fig.
in front
210) in travertine.
one hand to
its
way it
its
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
lines
park with the bizarre contours of the old houses behind them
two-fold penetrability
is
life
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
calls
'plastic
the
relating
autonomous work
conference
calm background
'stabile'
as it
is
itself
perpetually in
the
the
209) stands in front of a travertine-faced wall of
(fig.
fits
to
it.
unesco
events'
spirit.
rising skyline
at
sails strike
constantly
as a spiritually related
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
structure
and architecture
programme
as
as
in point
free
last
at the Paris
World
his role
as
must be an
an afterthought
under the
(fig.
with the
site it
(1946), erected
No
is
impressive
by
as a
while the
static quality
and in
Naum
But
itself.
as solid
movement of its
much by
the pres-
made of
volume and
enterprise.
The
boldest and
was there
to
articulated space,
free reciprocity
spatial construction
of
holds
most forward-looking of
It is
work
248
as
this particular
symbol of human
years ago
Motors
oBird Soaring
vertical ascent
call. Its
by
own
been realized
its
new name
is
this relationship,
has, so far,
deserves.
answer the
dream
it
to decorate buildings,
cast
steel
want
encounter in which the task of the sculptor would be to mediate between built-up
it
is
Independence
is
of 20th-century
De
art
comes
To
if farsighted,
was a
difficult,
were
The
vegetable kingdom.
took a tree
The
which shoot up
full-height
to
all
these
as his
house
(fig.
model and
213),
this
of the building
crete foundation
and the
had
as tall as the
He
from them
the stem
problems in the
embedded
splits
up
crest
theme on
the
a smaller scale.
Transparent, open to space and predominantly vertical, the composition stands out
against the
is
relationship
is
taken as a campanile, a
matter of individual
interpretations
is
taste
is
would be
rash to suggest
one another.
the presence
it is
this
on
few
arts is
war
already
upon
us.
But
there can be
autonomy of the
in the last
disciplines possible.
for
is,
Rotterdam
pillar
the fact that here the confrontation of sculpture and architecture has
of one
no doubt
begun
that
to be ripe
other's art.
249
IV
Form and
The previous
chapters
my
in the
United
informel' flourished in
States.
illustration.
'art
The
time have since been driven back by the powerful onslaught of new movements
tendencies have gained a
at a
more
effected a significant
'Reality',
reflect
it is
New generations
new
sculpture of
Pop
reality.
exclusive product
by
now
another kind of
side
new
is
mental sculpture,
tion of
States
old
variety of art forms. Geographically, too, the accent has shifted; the
Art
is
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
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
possibilities,
but also
250
latter a recent
facilitate
Monochrome
appropriate to
'art
which
and
in turn
its
material'
is
of two-dimensional representation
rules
come
as a
which
assumes a
number of
affects the
functions
usually intensive
is
and non-associative,
it
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
forms. This in
itself
dimensions of 'minimal'
art
or
'ABC'
art
as
at the
Man is no
their own standard:
is
mere
dictate
mean-
ings.
The
constant 20th-century
phenomenon of
formal hygiene of Op
realistic figures
artifice.
a particularly
Machines make
art
and
particu-
Hard edge,
art.
The absurd
is
are art.
which
art,
Movement
'artificial'
change and represent continuity. Indeed, the situation in sculpture has never been
controversial as
it is
in the 1960s.
it
who
as
as intervals
new
spectator,
of time,
sees
trend as
however,
only contem-
tenden-
we
With
respect to the
problem of form,
developments. In
tally related
would be
fact,
it
difficult to find
can be reduced to
an avant-garde sculptor
at
who
still
Modern
chisels
sense.
fundamen-
However,
it
Sculpture
No. 4
(fig.
251
23
1),
why
becomes understandable
it
homage
to Brancusi, the
young
the
sculptors of today
is
much
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
proves that
Edward Higgins
it is
impene-
on
this
it is
architectural
(fig.
Piece
of
forms into an
also
Both
Piece,
Moore
has
artistic unity.
steel
combine
dispar-
in Higgins'
the
air,
from
certainly
225) and
the base
essential part
structions
its
also
the other hand, the visual forms alone create this impression.
(fig.
distinct
trable, the
1964-67
Freed from
much
work
in Brancusi's sculptures,
The new
component,
space.
two
is
base.
immense
indispensable. In his
it
requires
(fig.
in their
a functional
it is
if
yet, since
drastic step
such as Endless
addition,
devoted
Works
pay particular
effect
of suction;
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
if the figure
is
problem of inner
three-dimensional puzzle, Samson can be dismantled into ten building bricks and
reassembled. Each piece has
its
own
and an articulated
form
since
everyone
who
252
plastic
is
191.
Gunter-Ferdinand
Relief in Concrete
(detail), ig
Hildegardis Gymnasii
Colog
it.
this still
of the
27' 3"x37'|
Dr Wolfgang
Salcki
Colog
^-
I9J.
I
192.
Karl Ehlers
LVA
Clinic,
Bad
193-
17' 1"
2' ii
Revenue
"
3
/8
1.
I 1
1
NB
194-
chrome
steel
c. 5'
Sculpture, 1957
3"
9' 10"
4'
195.
Millburn,
New
York
(Arch. P.
12'
8'
196.
August Endeix
Photo Marburg
23'
42' 8"
197-
Way
in
Two
Planes, 1957/59
Theatre
at
Gelsenkirchen (Arch.
W.
Ruhnau, O. Rave, M.
v.
Hansen)
198.
Harry Bertoia
Steel
and
alloys
Screen Wall
Height
i6',
New
York
(Arch. Skidmore,
Owings and
Merrill)
199-
Relief, 1950
The
Redwood
:;:.
200.
Kurt Schwitters
MERZbau, begun
1920 Hanover
(destroyed 1943)
201.
Josef Albers
Brick
The
Architects Collaborative)
Cambridge, Mass.
Photo: Walter R. Fleischer
202.
belfry, 1955
Institute of
Technology, Boston
203.
Costantino Nivola
Photo: Hans Nauuith,
Olivetti
showroom,
New
York (Arch.
Peressutti,
New York
tf
Figun
Mitbl
"
204-
Fritz
Wotruba
Figure, 1959
Marble
Height
(Arch.
Roland Rainer)
205.
Hans Kock
Granite
stele,
1957 58
Primary School
at
^sEGaam
hen. Switzerland
granite, 1957 58
Diameter 71"
, H e ,- Ge o, A,
5
s, P , re
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)
:o9-
the
UNESCO
^^i
210.
**<
Henry Moore
Roman
travertine
In front of the
Length
16' 5"
UNESCO
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,
steel
85'
In front of the
Photo: Author
illustrated in
Among
other
where substance
fact,
ment
is
new
too,
is
would be vain
it
itself.
to
Among
European
its
at,
beyond
artists,
it
its
move-
sculptors,
Nor-
logical conclusion.
mobile sculpture has increased. Apart from George Rickey, other, younger
reproduction can give only a vague idea of their actual appearance. Classical mobiles
were
pass
set in
from
motion by draughts of
air
motion per
artistic
it is
Dada, Pop
art
to
to exact kinetics,
'relief ' as
a separate category.
assemblage, has
is
se.
is,
now
and similar
styles, as
shown by
art
form through
the
However,
component of an
medium of neo-
Museum
problem of meaning.
Two
let
us turn to the
much
have become
clearer: the
human
Moore's sculpture.
ever get far
and human
Marlborough
whose
Gallery,
all
'I
even
an anthropomorphic
still
fundamentals of Henry
sculpture
London
associative or
relationships are
away from
(catalogue of the
Berrocal,
scale
any
we
shall,
is
or should,
human body'
1965).
fulfils
one of the
image of man.
were discussed
Naum Gabo
earlier,
Detail of the
Rotterdam Construction
Photo: Author
leave
it
it
gave no
title
to his sculpture
(fig.
steel plates,
Yet
by
closed
human
hinges, represents a
by the Austrian
artist
66).
Hoflehner emphasizes erotic impulse and Higgins the sexual apparatus; Ernest Trova's
human
figures
(fig.
217),
Study: Falling
Man
as
(L.
of voluntary movement,
however, are
who
showing man
will.
figures reveals their industrial provenance; only the medical instruments attached to
them
distinguish the
anonymous
moved
together, stacked
up or
same time,
as
The
shifted about.
218)
hands and
in,
(fig.
title,
the figures
themselves can manipulate, and their different organs determine their orientation in
wisdom.
Realistic
and
surrealistic
from
figure seen
Homme
the rear
pcussant
is
la
accurately
observed and reproduced; the torn, scarcely stitched-up epidermis and the robot-like
stride
turvy the
:
But
man is
striding
new
was almost
He
of comforting
der
realistic feature is
is
why
the
trying to
as
though
were not
it
when he
man
show
reality,
it
solid.
everything
man
The
spectator
it
enter.
topsy-
may won-
like air,
why
man overcomes
'One day
his
memory. He checked
man
equipment.
Ins
source of all his myths since antiquity: the organization of a space and a time
the
is
and
extinct,
slats
Today action is
.'
.
which only
(catalogue of
the Stadtisches
occurrence, as
when
the
odd about
whom
the spectator
this situation, it
postman or milkman
must
identify.
At
The
setting
- shabby doors
278
peian
bronze
is
The
man suddenly
stiffens in
caste,
remote from
life
'What
again.
is
effect',
ary doings.
effect
stairs in
me
interests
a series
is
person can have moving through space around several objects placed in careful relationship', said Segal, referring to the artistic
in plaster
carries
Pop
The
artist
with
(fig.
Dada
somewhat reminiscent of an
it is
by Hans Arp
(fig.
with no
later
its
222), the
first
relief,
which
preserved in
is still
many ways
art.
of painted sheet
has in fact hugely magnified one of his pictorial motifs and transposed
trends, in
art.
to be a
its
into a
it
early relief
original
form
key to present-day
Hans Arp
have become
is
coming
younger
sculptors.
Surrealist painters,
The
early
object
since today
it
as irrelevant, are
if there is
replicas
it
had
from
it is
a mass
nevertheless misleading
of identical
time has intervened in the original purpose, not by covering the thing
by
made,
his ceuvre
is
of
A typical example
which points
objects.
itself
Here
with the
dimension.
All
art.
approach to
form
in space.'
art
and
art
is
a play
reality itself, as a
And he
adds
slices
artificial,
therefore an analyti-
this description
'I
wish to be
like
is
279
certainly
is
his
he models by
is
of
of
man
of Gulliver on
In recent years
American
much of the
determines
was
arbitrary, as
common
artistic
fascination
technology
the steel
on
we undergo
experiences
These
scale.
from
artists
is
size
not
scale.
a smaller scale,
and would
[vide the
more or
his travels.
painters
effect
them
a curious reversal
less
art,
from Pop
sculptors. Starting
lose
;
its
reference to the
would
lose
modes of modern
merely look
scale,
of
handiwork.
(fig.
on an enormous
and
scale,
forms
cylindrical
but in
of this and
spite
still
sculpture as the measure of man. Smith's Cubi usually have built-in pedestals supporting
show
tions
Stijl
movement (w figs.
a greater freedom of
stay in the
encounter which
obvious
space.
is
links, for
been discussed
States in
European
new
style.
The two
artists
have
Even Smith's
United
early
During a
Compared with
early linear
works
(see fig.
no longer
related to architecture
is
light
steel
renounces
the colour
(fig.
280
228)
it
is
associative;
it
between
art
all,
and nature.
as in
Prima Luce
we have
aluminium
sculptures
associations.
tures
The
(fig.
(fig.
more
96)
recent
which Paolozzi
Pop
paradoxical
sculpture.
steel serve to
Paolozzi
like
an isolated figure
is
who
common aim
by
young English
It is less
assimilated Caro's
to let sculpture begin again at 'zero hour'. Phillip King, for example,
who
artists
(fig.
229),
made of plastics,
is
volume from
King cut
interior.
his artistic
programme.
expansive, an
whose
also relies
Form and
there are
no
Among
quoted
the
many major
pupils of Caro
of sculpture
we may
is
at will.
it
fact.
value, since
no room
simply a sculptural
on
form above
alone makes
it
single out
(fig.
23
1)
who
William Tucker,
material.
is
But the
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
is
also
be
achieved.
interesting to
steel sculpture
from
which can
by
the
German
artist
Erich Hauser
(fig.
230).
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
in 'dangerous' situations.
related works,
To
when he
distinguish these
steel
poises crystalline-shaped
volumes
respects
more of an emotional
effect
as 'conceptual'
King's objects are also presented as basic shapes without modification but Hauser, in the
;
281
process of creation,
work,
The
is
Unlike
many of the
effects: it
light
is
is
from within.
It
certain intellectual
Olymp
such
as this
its
own
this
who on
it
'non-
with the
art,
in the old-fashioned
its
balls
of the
whose
weave
his
own thoughts
aspect of
around
it.
artist
now
is
rolling see-saw
motion
and
like plants
title itself
The
which responds
way.
is
Haese's construction,
sometimes look
as in the case
by hand
sculpture
By
of minimal
'Though
of craftsmen and
rows of sliining
has to be built-up
puritanical school
writing
at a
structures'
'fabricators'
(fig.
by
(fig.
factories;
demands.
compare
interesting to
work of
down
specific
It is
(fig.
makes
part
little
with no
fibreglass, a material
made of grey
plays very
it
work
new
exponents of the
play their
still
am
aware of resemblances.
or clouds or waves,
it is
If
my sculptures
laws of motion and follow the same mechanical principles.' (Rickey, 16 years of Kinetic
Sculpture,
The
recollections
as Laszlo
of those
isolated forebears
its
1966.)
manifold light
who were
is
(fig.
235), constructed
Museum
of Harvard University
and
logical to include
Schoffer
(see fig.
15),
Moholy-Nagy's
many
artists
last
work in
two
282
of the
kinetic
work
(fig. 22),
between
as
It
therefore seems
this discussion
of today's
dis-
mockery
as
New
of pure
after periods
(machines a dessincr),
Hommage
Yet
c'est le provisoire'.
York) and
production has recently become more firm in execution and functioning. Instead of
being a kind of junk
which
art',
The
Le Rotozaza No.
basic principles
to
from
by planned
(fig.
his
now
236),
artist,
on
display
one
the
of kinetic
mouvement
partout et tou-
art.
Invention and precision also characterize the kinetic sculptures of Pol Bury,
new
of this imaginative
hand
of perfectionism,
is
who
who
artists
by
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
trickle
point of depature.
between the
difference
return to
The
'fabricators'
(fig.
is
238), constructed
down
from indus-
and the
essential
to overflow at the
is
composed of
identical geometric
forms, but the disposition of the columns follows a free, irregular rhythm. Donald
in a simple
row as
identical.
The four
(fig.
239), are
industrial units
of
is
is
mass-produced.
all
Louise Nevelson,
from
who
prefabricated parts,
form
precision; the
technological
visation,
it
has
from the
start
now
effects.
a transparent architecture
charm of
the old-fashioned
(fig.
240).
Her
metamorphosed bric-a-brac
gives
way
to
does not entail an absence of thematic references; the dream world of the
imagination
is
Kcmeny's
repertoire for
fig. 29).
who
in Zoltan
last
(fig.
of varying
omous but
artist,
points
who
declared:
'I
which
the elements
itself. Its
do not
Kemeny's
relief consists
of rectangular
setting
is
harmony between
of the
all
Kemeny's
and
his
not auton-
of the architectonic
is
differentiate
artist,
und Sozialwissen-
beyond
many
years (see
works by the
schaften at St Gallen
many
it
to the language
relief is
reflection
the variety of
This work, together with Norbert Kricke's Wasserwald, reintroduces the problem
at
arts
classified in a particular
discussed in the context of their formal qualities and intrinsic significance. This applies
also to a
other genuinely
monumental work,
of the
it
as a spatially
The mighty
granite blocks,
suspended by a giant
fist,
belongs to both
in hazardous balance as
arts.
though
effect
of the
dialogue between negatif-vide and positif-plein which Chillida considers the ideal of
sculpture in space.
Chillida's
scale,
and a
geometric clarity - formal qualities which link Chillida with more recent sculptors. Yet
it
would be
'hard-edge' sculpture.
(fig.
hard-edge
is
certainly a
form of artistic
work
way
of
surfaces
applied to the
(fig.
245).
Although
the spatial
as
expression,
and volumes
is
dynamism and
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
as a
;i4-
London
Piece, 1967
Bronze Memorial
to
V.
*
*
lit
:..''
[criel
215-
Miguel Berrocal
Samson, 1963
Bronze
8 5/g"
Galcrie
Thomas, Municli
216.
/8
"
X 43
Edward Higgins
Untitled, 1967
Welded
and epoxy
X 35" x 12"
steel
35"
(closed)
Leo
Castelli Gallery
New
York
The Pace
Gallery.
New York
Man
New
finish, silicone
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
2i9-
Jean Ipousteguy
Homme
poussant
la
porte
1966
Plasler for
bronze
Depth 49V4"
Galerie Claude Bernard
Paris
220.
George Segal
Woman
in
doorway
1965
Plaster
65" x
tedclij k
and
19V
wood
x 18V2"
Museum
ii.
(or
steel
Photo: Author
222.
Hans Arp
First
DADA-Relief 1916
Painted
wood
.,"
7'/ 8 "
223.
Marcel Duchamp
Porte-bouteillcs
1914/1964
Ready-Made Height
Galleria Schwarz,
Photo: Bacci
25 1 / l
Milan
Attilio,
Milan
"
24.
5 Slices
New
glue, Liquitex
New York
46" x 40"
X 96"
225.
Photo Leo
:
1 9 62
Castelli Gallery,
Welded
New
York
Steel
Mr
226.
XX 2 29 64
Stainless steel
Height
no 3 //'
Ltd.,
London
K^zr
227.
1964 Aluminium Si
"
X 72" x 44
"
/8
Photo: Author
228.
229.
Phillip
Plastic
84 1 //
x 132V4" X 108V4"
230.
Erich Hauser
Steel 3/67, 1967
Stainless steel
i.
Br.
^*^^-
231.
part sculpture
No.
4,
1
1966 Fibreglass Four parts each 90
"
a
i8\' 8 "
Galcrie
232.
Robert Morris
New York
Untitled, 1965
Grey
fibrcglass
Dwan
<
233-
33
W'
X -7'
s"
23 s/s*
New
York
234-
George Rickey
Six Squares,
One
steel
32" x 16"
Schiff,
New
York
236.
235.
Laszlo
Moholy-Nagy
1922/30
Metal, glass and motor
,"
Museum
Museum
1,
1967
Iron,
wood, motor
Andre Morain,
Paris
237-
Poi Bury
iS balls
on
12 planes
forming
zigzag, 1966
4S 1
,"
X 21 5
"
8
.'"
238.
Executed
1954.
13 Plexiglass
"
139-
Donald Judd
Photo: Leo
Untitled, 1965
Castelli Gallery,
141'
30"
New York
240.
Model
for
Louise Nevelson
1967
X 12*
New York
Pace Gallery,
New
York
mm^m*mmm^
-J " J
works
(see fig.
incisions
More
movements
in space
We have
conforms to
Ris' personal
vocabulary of
interlocking of
is
an expression of
decisive as
new
artistic
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).
whose extensive
arcades
their
Du
Festival dei
qualities.
in spite
The
a tendency to the
of their monumentality
But
shown
whether a landscape or an
to their environment,
district, as in
Calder's stabiles
as in Spoleto, drive
through.
they
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.
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'
and environment
241.
was
served as an architectural
improve
it
is
solution to the
success; but if
new answer
problem
to the
that each
ZOLTAN KEMENY
Mural
St Gallen, Switzerland
(Architect: Forderer,
Otto
&
Zwiinpfer)
3*3
Books on
art
however
longing to the
past.
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
be done
is
it
to recapitulate briefly
is
and the appearance of new materials and techniques. This richness - which
the examples
in a state
recent - as be-
three headings
What
in
it is
is
book
is
made by
a 'dead language'
selec-
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
to appreciate.
common
often
me
as the
enough
most adequate.
'Sculpture
is
It
essentially
solid parts,
it
by Henri Laurens
their variations
and
aspects
of modern sculpture
Yet even
after
all
the
is
of rest and motion, weight and weightlessness, the statuesque and the mobile,
The
qualities that
tially statuary
the
of accounting for
What
all, it
- have today
as essen-
their opposites
on
seems, therefore,
in the variety
of
more
plastic
In
it
Western
see
it,
in a
word,
as dialectical
modern
no
sentation for the simple reason that sculptors have never ceased to shape objects and
figures
Space
living tradition
is
why
have given
my
title
of Form and
our time.
^^^mmmmrn
**>
of
242.
Eduardo Chillida
Photo:
Abcsti
Museum
mmmm
14'
14' 'A,"
The Museum
of Fine Arts,
Houston
243-
paint on aluminium
22V2" *
2 6"
Scott,
London
244-
Relief, 1966
''
2"
Rheinisches Landesmuseum,
Bonn
245-
of Spoleto, 1962
Steel
The
no claim
is
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
Museum,
Stedelijk
no. 132.
Better
Lit.:
Amsterdam.
Catalogus
der
Adam.
New
as painter
New
Haven.
artist.
with
texts
by
Nov. 1957
G.C.Argan. Albers. Milan, Toninelli, 1962
New Haven, Yale University
11, 1961
Jean Cassou.
known
tentoonstelling
May-June 1950
Quadrum
USA.
Yale University,
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.
text
by
the
ANTES, HORST
Born
April 1957
pp. 98
artist.
f.
177.246
1906, Zurich.
Began
as self-taught sculptor in
1936. Lives in
steel.
Lives
Schauberg, 1963
Eduard
artist, also
DuMont
Galerie
German
AESCHBACHER, HANS
Lit.:
Born
Heppenheim on
1936,
pavilion.
Trier.
Horst
Antes.
Museums Ulm,
Exhibition
1963
Catalogue.
German
Monumenten
Fig. 221
p.
279
323
ANTHOONS, WILLY
BAKIC, VOJN
Bom
Born
Has been
Brussels.
(Monographies de
Gakrie Appel
De
Michel Seuplwr.
Lit.:
1954
Lit.:
& Fertsch,
May
logues.
l'Art Beige)
Anthoons, 1966
Fig. 126; p. 177
BARLACH, ERNST
ARCHIPENKO, ALEXANDER
1887, Kiev. 1902-1905 studied painting and sculpture in Kiev,
Born
Germany. 1912
paintings'.
taught
at
settled in Paris.
1910
first
one-man exhibi-
Washington
New
Chicago. 1939 in
in
New
York.
Erich
Lit.:
und
Born
New York
at the
Dresden Academy,
Hamburg, 1891-1895
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.:
i960
Friedrich
Ernst Barlach:
Schult,
verzeichnis Bd.
I,
ARMITAGE, KENNETH
1946-1955 taught
Modern
at the
New
Peter Selz,
Born
Lit.
Images of Man,
New
in
London.
York, The
BEOTHY, FLTIENNE
Museum of
Art, 1959
i960
Fig. 53
ARP,
HANS
Max Ernst
Zurich. 1916
Dada period
Meudon and
Carola Giedion-Welcker.
From
settles in
Meudon
BERROCAL, MIGUEL
Born 1933
Algaidas (Malaga),
in
Open
Ferrant.
school of graphic
living since
art.
pieres (Seine-et-Oise)
Lit.:
Spain.
Had been
Hans Arp.
f-
191 1 con-
Museum of Modern
Denys
by
From
Italy.
Madrid
Lives in Cres-
and Verona.
Chevalier. Berrocal.
With Catalogue
1955-1965. Published
Galerie
Thomas,
Munich.
Ausstellungskatalog
Berrocal
mit
Art, 1958
1965
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
York, The
German
realites
Lit.:
p. 85
nected with the Blaue Reiter group, from 191 3 with the Sturm gallery
1946 mainly in
One of the
(JEAN)
settles in
Born
Born
are confiscated or
Hudson, 1968
Figs,
in,
112, 127, 174, 199, 208, 222; pp. 159 f, 177, 182,
AVRAMIDIS, JOANNIS
Born
1922,
Batum USSR.
guest professor at
Lit.:
Fritz
Kestner-Gesellschaft,
Batum. 1939-1943
in
at
Knoll Associates
as
Lit.:
USA.
Eduard
Trier,
1957
Angewandte
Plastik:
Works
in Barto, Pennsylvania,
Feb.-April 1967
324
Athens. Since 1943 has been living in Vienna, where he has studied
mainly under
BERTOIA, HARRY
Born
Zu den
form
1,
1957
245
f.
BERTONI,
Born
BOCCIONI, UMBERTO
WANDER
war, studied under Fritz Wotruba. Co-founder of the Art Club. Lives
in Vienna.
Lit.:
Wander
von Ulrich
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.
accident.
1959
XXXIII. Biainalc
Venice
Austrian
1966.
pavilion.
Exhibition
Lit.:
Marco
Valsecchi,
Giuseppe Marchiori.
Catalogue.
Umberto
Fig. 69; p. 89
in Krefeld,
brought up
in
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.:
Stadtisches
Kiinstlers u.a.
Sammlung van
222
BONTECOU, LEE
Born
193
in Providence,
Students'
Hovannes. Lives in
Lit.:
William C. Seitz.
Museum
Island.
Berlin,
1952-1955 studied
at the
Art
New
York, The
Bildende
Kunst (Kunstverein
'Amerikanische
Plastik
Berlin)
Jahrhundert'
20.
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,
Deutsche
Bauhaus
Neuchatel,
MAX
at the
II.
June-July 1962
Oct.-Nov. 1961
and
stelluns
Born
BILL,
p. 177
BODMER, WALTER
BEUYS, JOSEF
Born 1921
met Marinetti
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-
Billancourt, Seine.
Has been
since 1938.
April-May 1967
Born
New York
Grohmann,
BOURGEOIS, LOUISE
Died 1966
Born
1
from Bucharest
to
in India.
898-1902 studied
died in Paris.
Lit.:
Pierre Gueguen,
Charles Delloye,
Lit.:
Carola Giedion-Welcker,
Constantin
Brancusi. Basle,
Schwab,
1958
BLUMENTHAL, HERMANN
Born
till
Edwin
till
Scharff.
Christoph-Adolph Isermeyer:
Berlin, Gebr.
Mann, 1947
Born 1922
in Haine-St Pierre,
252
group. 1953
in Saulx-les-Chartreux (Seine-
et-Oise), France.
Lit.:
Fig. 54; p. 85
BURY, POL
f.,
325
CSAR (BALDACCHINI)
BUTLER, REG
1913, Buntingford. Studied architecture. 1950 took
Born
Unknown
Lit.
up
sculpture.
Monument
to the
Born
Lit.:
Peter Selz,
Bcrkhamstcad, Herts.
Modern
Modem
Images of Man.
New
York, The
Museum of
New
Art, 1959
XXbne
Siecle 16,
May
1961
Stedelijk
396, 1966
Art, 1959
New
Reg Butler,
1962
Figs. 74, 183; pp. 90,
225
180
CHADWICK, LYNN
Born
1914,
London. Studied
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.
Modern
New York,
The Museum of
Art, 195
No.
An
CHILLIDA,
Lit.:
Autobiography with
Pictures.
New
XXeme
York, Pantheon
Siecle 20,
1966
Books, 1966
Akademie der
EDUARDO
Born
31 (1950), 69-70
(1954), JJj(i959)
Calder ~
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.:
Kiinste, Berlin.
Quadrum
20,
1966
text
Figs. 20, 147, 209, 245; pp. 29, 180, 226, 247, 248, 284, 313
CALLERY, MARY
Born 1903, New York.
284
CIMIOTTI, EMIL
Born
Eduard
;
p.
von
York, 1959
Fig. 83
at the Villa
150
Trier,
DuMont
Schauberg, 1961
1967
CAPPELLO, CARMELO
Born
COLLA, ETTORE
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
St Martin's School
Lit.:
Lit.:
at
Editalia,
Anthony Caro's
latest
Rome,
1966
XI/i, 1967
Fig. 228; pp. 44, 280, 281
CONSAGRA, PIETRO
Born
1920,
Mazaro
CASCELLA, ANDREA
Born 1920
Spent
Lit.:
duction
by
Quadrum
Lit.:
Rome
1957
f.
326
della scultura.
1944.
many years on
Fig. 26; p. 31
CONSTANT (NIEUWENHUYS)
DERAIN, ANDRE
Born
Born
Lit.
1920,
Jan.-Feb. i960
first
Died
Lit.:
From
1909-1911 pottery.
period'. 1914
1921 in
1880,
exhibited
Rome
settled
down
in
Chambourcy.
in 1954.
Musee
Catalogue de l'exposition.
COUSINS, HAROLD
B.
Born 1916, Washington, D.C. Studied in Washington,
Paris. Has been living in Paris since 1949.
Lit.
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
COUZIJN, WESSEL
Amsterdam. Studied in Amsterdam,
Lives in Amsterdam.
191 2 in
Museum, Amsterdam.
Stedelijk
Lit.:
Catalogus
1904,
Louisiana.
1920-1930 worked in
Paris.
d' Andre"
1959
Born
New York.
tentoonstelling
D'HAESE, ROEL
Born
1921,
D'ALTRI,
Born
and
ARNOLD
Rome
Lit.:
Stadtisches
introduction
Museum
by Fritz
Leverkusen.
Laufer.
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-
DEGAS, EDGAR
Born
first
wax
work on account of
models.
From
failing eyesight.
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
1901,
Academy
after a
Paris.
Lit.:
'J.C.Delahaye' in
Quadrum
2, Nov. 1956
Contemporary Art. Milan 1964
New
York, The
Museum of Modern
Art, 1962
Figs. 32, 94; pp. 30, 32, 154,
222
327
DUCHAMP, MARCEL
ERNST,
Born
movement
in paint-
ing and simultaneity. 1912 abandons painting and begins the search for
new
New
films,
in Milan. Lives in
With
Was
settled in Paris.
own
Patrick Waldberg,
Lit.:
Eduard
Trier,
Le Point
text
and
murals for
New York.
{1913-1964).
etc.
Dada
Max
Max
Max
Cardinal, Paris.
Ernst,
Surrealist painting
Robert Lebel.
Lit.:
MAX
John
Russell.
Max
Ernst.
by
p.
279
ETIENNE-MARTIN
Born
DUCHAMP-VILLON, RAYMOND
Born
Cannes of war
Lit.:
Jacques Villon,
Centro internazionale
Lyons and
Aug.-Oct. 1959
Fig. 65
1957
FABBRI,
Born
-
Lit..
EHLERS, KARL
Lit.:
Numerous works of
89
AGENORE
XXeme
Steele 25,
1965
p.
159
sculpture in an architectural
W.
i.
FALKENSTEIN, CLAIRE
Stadtische
p.
setting.
350,
in
Stedelijk
Drome. Studied
injuries.
The Solomon R.
Lit.:
first
1913, Loriol,
1964
Born
1909,
in San Francisco
Fig. 192; p.
228
Lit.:
and
at Mills
California.
Taught
ENDELL, AUGUST
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
ed.).
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
einer
i,
neuen Architektur' in
897-1 898
Fig. 196; p. 245
246
Born 1880 in
Studied in
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
&
Faber,
Fig- 3 ;p- 13
-*
Born
in Italy. 1930
took up abstract
art
Grew up
New York,
Abrams, 1961
1963
328
FONTANA, LUCIO
GIACOMETTI, ALBERTO
FRANCHINA, NINO
Born
in Paris
and
Rome
moved
to Milan.
Has been
living alternately
Born
exhibition of
Italy.
first
lished contact
Giuseppe Marchiori,
Cesare Vivaldi.
Surrealists.
Paris.
Took up
About
1922 in
till
1930, estab-
(i957)
FREUNDLICH, OTTO
Born
Active
as painter
Took
War One,
in
Germany
Palma
Poland and
killed in a concentration
DuMont
no;
p.
Giacometti.
Rome,
Editalia,
1962
1962
camp.
Schauberg, i960
Fig.
Bucarclli.
for a
ings,
159
Drawings. 1965
Figs. 10, 48, 78; pp. 15, 84, 90, 149, 153, 221,
Born
Born 1915
to
moved
New York,
du
Mauricio
248
f.
at
GARELLI,
f.,
'Sobre
la libertad
de
la
creacion* in
Michel Tapie.
GONZALEZ, JULIO
Born
until 1927,
who was
Academy. 1906
1956
Pierre Courthion,
Moved
GARGALLO, PABLO
&
Witsch,
Madrid 1962
Fig.
text
225
FRANCO
Lit.:
Gomez Mayorga,
Paris.
1949
Griffon,
1961
Born
Middlebury,
GOERITZ, MATTHIAS
Charlottenburg. 1940 studied philosophy and art history. 1941-1945 in
Herbert Read.
Lit.:
279
NAUM
GABO,
n;
pp. 15 , 181
Fig. 6; p. 14
GRECO, EMILIO
GAUGUIN, PAUL
Born 1848
1
871
went
into banking
till
Born
Teaches
Lit.
at the
went
to
Rome.
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.
island
GRIPPE, PETER
Born
1912, Buffalo,
Lit.:
in
America.
329
HARTUNG, KARL
GUERRINI, LORENZO
Born 1914, Milan. Studied
Rome.
Lit.
in
Rome, Milan,
Rome,
in
Berlin since
1936.
first
in Paris.
Lit.:
13
Schauberg, 1959
Figs. 51, 141; PP- 85,90, 179
HABER, SHAMAl
1922, Lodz.
Grew up
in Israel.
Has been
HAUSER, ERICH
Born
March i960
Fig. 133; p. 178
HAESE, GUNTER
Bom 1924, Kiel. 1945-1948
Lit.:
self-taught
exhibition in the
Museum of Modern
1950-1958 studied
painter.
Art,
New
professor at the
lives in
Eduard
Trier. 'Erich
DuMont
Schauberg, 1963
von Peter
Born
DuMont
pavilion.
Schauberg, 1965
Trier.
Giinter
XXXIH.
Haese.
Exhibition
Catalogue.
German
Lit.:
the
1905, Constantinople, of
USA.
stock,
Lit.:
1925 in
New
Armenian
and teaching in
seit
Aus-
1945.
Rembrandt,
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
Paris.
to
May
1958
tion-Creation group.
Lit.:
HAJDU, ETIENNE
has been living in St Ives, Cornwall. 193 3-193 5 belonged to the Abstrac-
Fig- 37; P- 43
Lit.:
living
1962
Has been
HAGUE, RAOUL
Born
f.
BERNHARD
HEILIGER,
Eduard
sculpture with
DuMont
Born
1932-1933 in Florence.
Had been living
abstract sculptures.
Dec. 1958
Quadrum
Hamburg. 1929-1931
1908,
Born
Marlborough-Gcrson Gallery,
Oct.-Nov.
text
New
with
1965
HAJEK,
Born
Born 1930
scholarship
Lit.:
HIGGINS,
OTTO HERBERT
from the Kulturkreis. Lives
in Stuttgart.
i960
first
EDWARD
in Gaffhey,
lives in
New York.
Comfort
Tiffany Prize.
by Albert Schulze
Lit.:
In Metro
1,
Milan, 1961
228
HILTMANN, JOCHEN
Born
HARE, DAVID
Born 1917, New York. Began as a photographer.
ture. Lives in New York.
Lit.:
Hamburg. Trained
as
Hamburg
330
1935,
ioi;p. 154
Lit.:
Cologne,
DuMont
Hiltmann'
in
Junge
Bonn.
Kiinstler
64/65.
Schauberg, 1964
Fig. 171
p.
221
HOFLEHNER, RUDOLF
Born
on
figurative
Professor at Stuttgart
wood sculpture.
work from
1954.
at the 5th
195 1 turned
Has been
living in
Academy.
Born 1924
the Kunstakademie
at
Academie de la
Grande Chaumiere in Paris. Lives in Paris since 1950. Since 1956 'picture1958 'picture-cabinets', i960
objects', since
Lit.:
1945-1948 studied
in Diisseldorf.
'steles'.
Lit.:
at
art
DuMont
From
(constructions
USA.
Egon Kalinowski'
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
won
Biennale;
at the Galerie
Hanover
the
David
Gallery,
One-man shows
Loeb Gallery, New York
London. Lives in
Paris.
KEMENY, ZOLTAN
Born
Lit.:
Museum
Had been
Kemeny. Neuchatel,
Musee National
a"Art
became
du
Editions
Griffon,
Budapest.
in
text
Rumania. Studied
i960
Paris.
Lit.:
Transylvania,
Banica,
1907,
1930-1940 in
279
KING, PHILLIP
JACOBSEN, ROBERT
Born
first
wood
sculptures.
metal
iron.
Venice
Rheinlande und
Westfalen,
Dusseldorf.
Aus-
March i960
XXXIII. Biennale
Ibid.,
Jonescu.
The
Lit.:
ig66.
Danish
pavilion.
Exhibition
Catalogue
Fig. 156; p. 183
JENDRITZKO, GUIDO
Born
Hoch-
schule fur bildende Kiinste in Berlin. Karl Hartung's star pupil. Scholarship
from
Romana,
Florence. Lives in
1938, he
Lit.:
Wuppertal.
Lit.:
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
Cologne,
Museum
der Gegenwart
i,
3,
Ludwig Kirchner.
1930.
Stuttgart,
Kohlhammer,
1958
Fig. 71; p.
JUDD,
DONALD
Born 1928
1947-1953 studied
at the
Art
B.
Stedelijk
kleur,
Museum Amsterdam.
Ausstellungskatalog
KOCK, HANS
Born
Students' League,
Lit.
90
in
'Vormen van de
B. Rose.
1920, Kiel,
in
Hamburg. 1945-1947
at the
studied architecture
Landeskunstschule in
Hamburg under
Ham-
burg.
Lit.:
DuMont
May-June 1967
grew up
Brunswick. 1948-1952
Schauberg, i960
Fig. 205
p.
247
331
KOENIG, FRITZ
DuMont
May
Born 1924 on
literary
in
German
pavilion
the Kunstakademie
at
Lit.:
CORBUSIER
Trained
from working
Lit.
first spatial
ship
Lit.:
Trier.
USA
on
a scholar-
in Diisseldorf.
artistic activity in
August
284
in
ed.).
Potsdam, Kiepen-
Hoff,
Wilhelm Lehmbruck.
und
Klinkhardt
Berlin,
Trier,
Hamburg.
to Paris
heuer, 1922
at the
1910
Italy.
Lit.:
moved
LARDERA, BERTO
Has been
Wide
Martin, France.
Lit.:
sculpture.
Cap
LEHMBRUCK, WILHELM
Born
Born
NORBERT
Born
as architect,
Nov. 1962
95,
KRICKE,
No.
as engraver.
L'Oeil
314
Avant-
d'aujourd'hui.
July-Aug. 1961
Figs. 31, 56; pp. 32, 86,
LE
Wide
Argentina.
et al.
H9
GYULA
KOSICE,
i960
Kunsthaus Zurich. Exhibition Catalogue with texts by Eduard
1965
Fig. 79; p.
Oct.-Nov. 1958
Schauberg, 195S
Paris,
Paris,
Roll, 'Fritz
Lit.: Julimie
Munich Academy;
Werkmonographien, 1958
Werner Hofmann. Wilhelm Lehmbruck.
Knorr & Hirth, 1964 (2nd ed.)
January 1958
Munich,
Ahrbeck,
i960
Figs. 148, 178; pp.
180
f.,
222
LINCK,
Born
WALTER
LASSAW, IBRAM
in Berlin.
1930-1932 in
Born
and
1956-1957 taught
USA.
New
at the
Wcrkakademie
in Kassel. Lives in
N.Y.
Lit.:
Paris.
Paris.
Kestner-Gescllschaft, Hanover.
Ausstellungskatalog
Theo Eble -
by
&
&
II.
Fig. 21
LAURENS, HENRI
Born
by Braque.
Practised
Cubism
till
book
illustration, artistic
World
Exhibition. Apart
from
Le Point
xxxiii.
Numero
special consacre a
July 1946
Cecile
1956
332
p.
29
LIPCHITZ, JACQUES
Born
Paris.
emigrated to
died in Paris.
Lit.:
Neuchatel,
1959
Goldscheider, Laurens.
Lit.
Cologne, Kiepenheuer
&
Witsch,
New
York,
Cologne, Kiepenheuer
&
LUGINBUHL, BERNHARD
Born
Witsch, 1954
Fine Arts Associates.
Exhibition
New
artist.
York,
in
Lit.:
March 1957
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
90
Born
up
sculpture. Lives in
Trier,
Rosamonde
New
Art,
New York.
form
II,
from own
Quadrum
till
Fig. 49; p. 84
29
MANZU, GIACOMO
naturalization.
1945 in Switzerland.
Now
lives
Born
1908,
Bergamo,
at the
Brera
Academy and
Lit.:
(self-
Rome. 1904-1908
in Verona. Teaches
Carlo Ragghianti,
del Milione,
1965
1967
Fig. 39; p-
44
MARCKS, GERHARD
Born
Halle-Giebichenstein.
1946-1950
LORCHER, ALFRED
in
Academy
Academy. 1903
at the
Milan.
Stuttgart,
Studied
lives in
New York.
1956-1957
A. Elsen. The sculptural world of Seymour Lipton. Art Inter-
Born
Italy.
1957
SEYMOUR
New York.
first
Bruckmann, i960
1903,
carpets
pursuit.
i960
Born
made
becomes main
by
14, 1963
LIPSI, MAURICE
Born 1898, Lodz, Poland. In Paris since 1912. 1933 French
LIPTON,
1958
Fig. 17; p.
Lit.:
Lit.
MAILLOL, ARISTIDE
Born
Banyuls.
LIPPOLD, RICHARD
Neuchatel,
& Wagnalls,
1961
II.
&
898-1902
in Stuttgart.
of applied
at
the
art in
Munich
Cologne
Lit.:
at the
From
1933
onwards
in
Ahrenshoop/Ostsee.
since 1950.
1908-1915 in Berlin.
in Stuttgart.
von
MARINI,
E. Petermann. Stuttgart,
Kohlhammer, 1955
Fig. 80; p. 150
MARINO
Academy
LOTH, WILHELM
Born
sculpture.
1959
Lit.
Lit.:
by Kathe Kollwitz
to take
up
at the Villa
Ulrich Gertz,
Kiinstler 59/60,
Cologne,
DuMont
Schauberg, 1959
Galerie Springer, Berlin. Exhibition Catalogue, Oct. 1966
Fig. 47; p. 83
Umbro
Apollonio,
Monza.
Marmi.
ed.).
Milione, 1958
Entile Langui,
1954
Eduard
The
Eduard
Trier,
Trier,
Thames
224
333
MEADOWS, BERNARD
MARISOL, ESCOBAR
Born 1930
in Paris
Beaux-Arts,
Paris.
New
Quadrum
The Tate
Gallery,
London,
Lit.:
in
Quadrum
1959
6,
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,
1955 lectures
York, 1962
1964
Born
1915,
London.
1964
16,
in
Born
London
University. 1953
School in London,
at
first
'Brigitte
DuMont
Mcier-Denninghoff
Contemporary Arts
in
in
Junge
Kiinstler
screw mobiles.
New-
King's College,
'
Schauberg, i960
London.
Andrew
on
Forge, 'Notes
Quadrum
the Mobiles of
Kenneth Martin'
in
METTEL, HANS
1957
Kenneth Martin. Construction and Movement. Art International
Born
1924
at
XI/6, 1967
Scharff).
3,
Born
Lit.
Umberto
Fig. 70; p. 89
MATARE",
Born
EWALD
1932-193 3
1945).
at
the Diisseldorf
Academy
Massimo
in
sculpture.
on
Stadekchule.
(under
193 1 settled
confiscated. 1947
Has been
Berlin-Charlottenburg
Rome.
MASTROIANNI, UMBERTO
Staatsschule
Vereinigte
the
Eduard
Trier,
DuMont
up
Schauberg, i960
Fig. 50; pp. 84
(re-appointed in
f.
1965.
Lit.:
Eduard
MILANI,
Born
UMBERTO
1912, Milan.
Began
as painter.
Lives in Milan.
Lit.:
Franco Russoli,
'Umberto Milani'
in
II
Milione 44 nuova
serie,
MATISSE, HENRI
Born
ture.
1869,
moved
as a painter.
1917 settled
down
Museum of Modern
MINGUZZI, LUCIANO
Born
New
York, The
Lit.
Art, 195
New Decade,
Matisse. Introduc-
ed.
al
by
1961.
Milan 1962
New York,
Milan.
Jean Cassou.
in
tion
took up sculp-
by
Nov.-Dec. 1958
McWILLIAM,
Born
1931-1932 in
Lit.:
Paris. Lives in
The Hanover
London, 1956
London.
Gallery.
In
Rome from
1934.
At present
in
USA
Rome,
as director
of the Harvard
University Workshop.
London.
Lit.
New
Decade, ed. by
Andrew
p. 150
334
MIRKO (BALSADELLA)
Born
F.E.
Fig. 7; p. 14
MODIGLIANI, AMEDEO
moved
Born
Paris.
1909 met Brancusi and took up sculpture under his influence. 1915
to
MORRIS, ROBERT
Bom 193 1 in Kansas City,
New
Amedeo
G.Scheiwiller,
Skira, 1958
Geneva,
MULLER, ROBERT
Bom 1920, Zurich. 1939-1944
Richier).
Nagel, 1962
A.Ceroni.
Amedeo
New York.
Lit.:
Missouri. Lives in
1947-1950 in
Italy.
Has been
Lit.:
P- 153
7.
Germaine
Quadrum
1959
MOHOLY-NAGY, LASZLO
Born 1895
L'Oeil 63,
in Barsebarsod,
Expressionism. 1921-1923 in
in the
Weimar Bauhaus.
March i960
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,
Lit.:
Sibyl Moholy-Nagy.
Moholy-Nagy. Experiment
in Totality.
NEGRET, EDGAR
Born 1920
in Popayan,
moved
New
Columbia. Studied
York, studied
at the
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.
Lit.:
Fig. 243
p.
284
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.
Herbert Read.
Born
New York.
in
MOOY, JAAP
self sculpture.
first
Bergen-op-Zoom.
Lit.:
in
New York.
Lit.:
ed.
by
1958
NICHOLSON, BEN
Born 1894
in
Art,
Herbert Read.
Herbert Read.
Aug.-Sept. 1959
Marlborough
paintings
of
London. 193 3-193 5 member of the group 'Abstraction-Creation',
Paris. Since
Lit.:
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
1905,
sculpture (self-
till
Donald, 1966
Born
up
distinctions. Lives in
Lit.
Cesare Gnudi,
Lit.:
Born
New
Nicholson, Twelve
new
works'.
June 1967
Fig. 99; p. 154
Fig. 27; p. 30
335
."'
"-!
r-
'
.-'
.
,~
NIVOLA, COSTANTINO
PENALBA, ALICIA
Born
Born
Lit.:
'Angewandte
Zu den
Eduard
Trier,
Bertoia
Metro
8,
Plastik.
i,
191 8,
Buenos
Aires. 1948
moved
to Paris
Lit.:
L'Oeil 63,
1957
March i960
1963
Fig. 203
p.
Eduard
246
Trier. Alicia
Penalba.
XXcmc
Siecle 25,
June 1965
Fig. 113; p. 160
PEVSNER, ANTOINE
NOGUCHI, ISAMU
Born
mother.
Grew up
in Japan. 1918 in
USA.
1924 trained
American
as sculptor in
Lit.:
Herbert Read.
New
York, The
Museum of Modern
247
d'art
ii,
Art, 1948
1950
Rosamonde
Caracteres, 1956
Musee
OLDENBURG, CLAES
Born 1929
in
Stockholm, Sweden.
Chicago. 1959
Lit.:
XXXII.
Grew up in Chicago.
his studies at
first
USA.
Art
New York.
New
York.
Figs. 16, 88, 160, 211; pp. 16, 153, 181, 183, 225,
Art
Born
Paris.
1904
moved
f.
Born
since
Lit.:
stay in
Rome. 1919
in
London and
From
The
Phillips,
1949
Giulio Carlo Argan, Scultura di Picasso. Venice,
Quadrum
2, Nov. 1956
Arnaud, 1961
which has
Rodney
Paris,
first
MARTA
to Paris. 1906
1967
Fig. 224; pp. 279
PAN,
248
PICASSO, PABLO
this world'. In
Nov. 1966
du
Griffon, 1961
Institute,
Exhibition Catalogue
May
1950 completed
at the
International X/9,
Alfieri,
1953
PAOLOZZI, EDUARDO
Born
Hommage
at
Quadrum
1,
May
1956
POMODORO, ARNALDO
1958
Born
New
New York,
Museum of Modern
Art,
1959
May
i960
1926, Orciano di
Romagna,
Paris
Marlborough-Roma.
1965
May-July 1967
Italy.
G.Pomodoro'
in
La Biennale
34.
Venice,
Jan.-March 1959
336
Spadem,
Milan.
Lit.:
artist.
224
and Cosmopress,
given by
(Permission to reprint
Nov. 1966-Feb.
Geneva.)
Hamburg Academy.
Hirth, 1964
1967
London. 1947-1950
in Paris.
at
&
Exhibition
Catalogue.
Rome, Feb.-March
222
POMODORO, GIO
Born
RODIN, AUGUSTE
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,
Jan.-March 1959
Marlborough-Roma. Exhibition Catalogue. Rome, Jan.-Feb. 1964
Fig. 130; p. 168
World
Meudon; died
there in 1917.
Lit.
Rodin.
GERMAINE
RICHIER,
W.de
Haan, 195
Bernard Champigneulle. Rodin. London,
Born
delle.
pellier.
Lit.
terrible' in
L'Oeil 9,
Sept. 1955
Born
Andrew
Musee
ROEDER, EMY
C.Ritchie.
New
New
York.
The
New
Decade, ed. by
York 1955
Musees
Lit.:
nationaux, 1956
Peter Selz,
Modem
New
Images of Man.
New
York, The
Alfred Kuhn,
Emy Roeder.
Leipzig, Klinkhardt
& Biermann,
1921
Museum of
Art, 1959
Friedrich Gerke,
Emy
la
vault,
1966
Figs. 67, 120; pp. 90,
159
ROSENTHAL, BERNARD
Born
RICKEY, GEORGE
Born 1907
in
Lit.
1928-1929 studied
at the
Academie Lhote,
Paris. Since
Chatham,
New
Catherine Viviano,
by
The Kootz
Gallery,
1963
Fig. 175; p.
with foreword
Catherine Viviano,
New York.
222
George Rickey
282
ROSSO,
Born
MEDARDO
RIS, GUNTER-FERDINAND
Born 1928, Manfort. Studied painting
sculpture.
in Karlsruhe, Diisseldorf
and
Lit.:
DuMont
pavilion.
ROSZAK, THEODORE
Born
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
Madrid.
Lit.:
Exhibition
Born
Schauberg, 1961
RIVERA,
di
Impressionist
Cologne,
Accademia
Giuseppe Marchiori.
From
Paris,
Quadrum
2,
Nov.
1956
Peter Selz,
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-
exhibition in
April 1956
Lit.:
Brunswick,
1910,
USA.
Michigan,
Lit.:
1961 died in
Ann Arbor,
New York,
Born
SCHARFF, EDWIN
studied painting in Munich. 1911-
Edwin
Scharff.
Hamburg,
Stuttgart.
44
first
of the 'Triadisches
of the stage
class.
1906
Stuttgart.
Amden. 1912
Lit.:
Ballett'.
1919
first
Prestel,
at the
Lit.
New
York.
sculpture.
Had
Arts. Special
New
Gallery,
York.
Exhibition Catalogue,
Oct. 1964
43,83
SCHNABEL, DAY
May-July 1966
280
Steele 9,
1947
moved
to France. Lives in
SOMAINI, FRANCESCO
Born
1957
Fig. 138; p. 179
Lit.:
Paris.
Lit.:
Guy
Habasque, Jean
du
at the
Accademia
di Brera, Milan.
Editions
Editions
1926,
SCHOFFER, NICOLAS
Born
Ohio and
first steel
Lit.:
in
Catalogue. Introduction
1952
Born
44
been living since 1941 in Bolton Landing, N.Y. Died in 1965 near
Bennington, Vt.
Hildebrandt.
am
Frankfurt
SMITH, DAVID
Born 1906, Decatur, Indiana, USA. Educated
Employed for a time as metal worker. 1933
Marlborough-Gerson
Hans
Seitz.
Karlsruhe.
in
p.
p.
Akademie,
Claassen, 1956
SCHLEMMER, OSKAR
in
f.
GUSTAV
1906,
Gottfried Sello,
Born 1888
278
1966
Hamburg.
Neu-Ulm. 1904-1907
Hamburg from
19,
SEITZ,
1962
in
Michigan.
Braziller,
Lit.
New York
painter, then
Hills,
1887,
New
first a
New Jersey.
Quadrum
Kirkkonummi,
first
Brunswick. At
Stedelijk
Pop
SAARINEN, EERO
Born
New
Born
New York
Cassou.
Nicholas
Schoffer.
moved
to
Neuchatel,
Griffon, 1963
STADLER, TONI
Born
282
1888,
Munich. 1925-1927 in
Paris.
Munich.
SCHWITTERS, KURT
Born
1897, Hanover.
Lit.:
Hanover. 191 8
first
abstract compositions
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
Little
Lit.
Kestner-Gesellschaft, Hanover.
DuMont
Schauberg, 1967
Grew up
191 1 in Constance.
Paris.
Lit.:
in Switzerland. 193 1
Art
Arp
began
studies in
et Henri-Pierre
Rocher.
338
STAHLY, FRANgOIS
Born
STEINBRENNER, HANS
Born
furt (H.Mettel),
DRAGO
TRSAR,
Born
Lit.
Quadrum
Lit.:
DuMont
Cologne,
Schauberg, 1962
Fig. 64; p. 89
STEINER,
Born
RUDOLF
Hochschule in
TUCKER, WILLIAM
Lit.:
at the
Lit.
Rudolf Steiner,
Wege
first
Ibid.
UBAC, RAOUL
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.:
Basle, Holbein,
SHINKICHI
Born 1923
f.
UHLMANN, HANS
Born 1900, Berlin. Began as engineer. 1925 turned to sculpture.
Numerous commissions for modern buildings. Lives in Berlin.
:
Chicago and
Stedelijk
Andrew C.
moved
at Iris Clert's.
Signals, vol. 1,
No.
3/4.
(n. d.)
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
in
Lit.:
Stedelijk
Sept.-Oct. 1962
282
f.
VIANI,
TROVA, ERNEST
Lit.:
Born
artist.
1959
The Pace
New
VERHULST, HANS
1962
in St Louis. 1963
Reflections.
to Paris.
Born 1927
228
group Abstraction-Creation.
i960
TINGUELY, JEAN
moved
Seiler,
1965
1966
Fig. 23; p. 30
19,
VANTONGERLOO, GEORGES
Took part in
London, 1964
May
Quadrum
Born
Decade, ed. by
of
New York.
New
The
415, 1967
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.
New
Ritchie, 1955
Paris.
TAKIS
Born
up painting and
Galerie Parnass,
Lit.
Lit.
TAJIRI,
Born
1948
Lit.:
1910,
slate reliefs.
Stuttgart, 1958
in
Generation: 1965
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
The
Works
first
exhibition
New York.
New York,
1953-1966.
Gallery, 1966
ALBERTO
assistant
at the
Worked
as
Liceo Artistico in
Umbro
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.
Lit.:
1959
Fig. 184; p.
225
first
WOTRUBA, FRITZ
VISEUX,
Born
CLAUDE
non-figurative.
Lit.:
Born
he
Both
paints
first
Academy.
Lit.:
Peter Selz,
Modern
New
Images of Man.
New
York, The
Museum of
Art, 1959
Friedrich Heer,
Griffon, 1961
VOLTEN, ANDRE
Eduard
Born
Lit.:
Amsterdam.
Trier.
Jahrbuch 1965
83,247
ZADKINE, OSSIP
Born
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.
studied
in
Of Greek extraction.
Montana and
Trained
as
California. Lives in
Berkeley, California.
Lit.:
University Art
Raymond
Museum,
Lit.:
by Peter
Selz.
April-May 1967
&
Hirth,
1964
Ionel Jianou. Zadkine. Paris, Arted, 1964
224
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