Word: richier
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Dates: during 1950-1959
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...runs back 200 years. André Susse, 49, the seventh in the Susse line of foun-drymen, is a meticulous craftsman and connoisseur. Over the years, Susse Brothers has played host and helper to such far-flung makers of sculpture history as Constantin Brancusi, Jean Arp, Henry Moore, Germaine Richier, and the painter-sculptors Picasso, Giacometti, Braque, Dali and Chagall...
...techniques employed at Susse are "lost wax" and "sand casting." The lost-wax method of classical and Renaissance sculptors was revived by Susse especially to cope with the intricate broken surfaces of such moderns as Richier, Reg Butler and Giacometti. A plastic mold of the model is constructed and provided with a system of vents. A wax skin the thickness of the desired bronze is then spread over the inside of the mold, and the core is filled up with plaster. Then the wax is melted away through the vents, and molten bronze poured in. When the bronze cools...
...female form crouched ready to spring; a Shepherd with half-decayed body tottering on three spindle legs looked more like an abandoned sheep carcass than a human figure. The reason for this nightmare in Paris last week: 82 pieces finished in the last twelve years by French Sculptress Germaine Richier...
Rated in the forefront of French art ever since she won first prize in sculpture at São Paulo's 1951 Bienal, Sculptress Richier, 52, does not see beauty as the world usually views it. Says she: "I am more attracted by the trunk of a dead tree than by an apple tree in full bloom." Along with such dissimilar sculptors as Swiss-born Alberto Giacometti and Brit ain's Henry Moore, Germaine Richier takes her stand as a Pygmalion-in-reverse. Rather than working inert sculptor's materials to the polished, lifelike perfection of idealized...
...Richier rejects the suggestion her work is morbid. Says she: "I merely try to see below the surface of things." As an example she points to Tauromachy (see opposite), in which the sculptress has interposed a preview of destiny between the viewer and the bullfighter enjoying his moment of triumph. Explains Richier: "He killed the bull, but he knows he too is going to die some day." By taking her inspiration from the forms the clay suggests as she works, Germaine Richier has opened the door to subconscious promptings which French critics find "disturbing, irritating, but teeming with life...