Word: sculptor
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...first exhibition in Paris in 1932, Calder asked artist friend Marcel Duchamp what he should call the new moving metal sculpture. Duchamp replied, "Mobiles." In the twenty three years since, "Mobiles" have all but replaced chandeliers, and their originator has become the first native American sculptor to win international recognition...
...face to face with a strange and disturbing race of men-huge, monolithic, slab-sided figures in stone and bronze, their heads little more than squared blocks, arms often missing or merged with their torsos. They are the work of Vienna-born Fritz Wotruba, 48,, Austria's leading sculptor and one of the few major new art talents to emerge from postwar Europe. Last week a 300-ton display of Sculptor Wotruba's monumental figures opened at Boston's Institute of Contemporary Art, the first stop before starting on a coast-to-coast tour...
Wotruba aims at metaphor, not visual likeness. Like most other modern sculptors, he has jettisoned the tradition that sculptors must turn out figures so lifelike that blood almost flows in the marble veins. Wotruba gets inspiration from the stone block itself. As a result, his figures are roughhewn, still bear the sculptor's chisel marks. And they remain emphatically stonelike, with a sense of the prehistory mystery which man has long attributed to curiously shaped boulders and strange stone outcroppings. This gives an awesome touch to Wotruba's figures, as effective in their blunt massiveness as the matchstick...
After Hitler. As a sculptor, Fritz Wotruba would have long since become a world figure if it had not been for Hitler and World War II. The son of a poor Czech tailor, Wotruba was put to work at 14 as a metal worker, took art lessons at night. Although he was 18 before he finally became a sculpture student, by 23 he had sold a major work, Monumental Giant, to the city of Vienna. But what was the beginning of a brilliant career was cut short by the arrival of Hitler, and the Nazi campaign against what they called...
Stick Men Gone Wrong. Claire McCardell works in a tiny cubbyhole above Seventh Avenue, surrounded by button boxes, swatches of material, scrapbooks and half-finished dresses. She has an artist's sense of color and a sculptor's feeling for form; wherever she goes, she keeps both eyes peeled for new ideas. "With these dames," says her partner, Adolph Klein, "you don't know where they get their inspiration. It may be from the crack in the wall." With Claire, most of the inspiration comes from the fabrics that salesmen are forever trying...