Word: sculptors
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Dates: during 1950-1959
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...World One Knows. In the same tradition, Sculptor Aristide Maillol's woodcuts for a 1924 edition of Virgil's Eclogues reduce the human figure to a flattish, quietly harmonious arrangement of ink lines, yet retain the emotive power of illustration. The observer automatically identifies himself with Maillol's figures; looking at the illustrations, he moves in a world he knows. Villon's new illustrations to the same cycle of poems (see below) employ color and perspective to create an even more recognizable, i.e., convincing, world...
Rome's Alberto Burri even managed to be pleasantly shocking. His "pictures" consisted chiefly of ripped, patched and pasted burlap. Sculptor Mirko (last name, Basaldella) exhibited four metal abstractions in four separate styles, each startlingly successful. His Chimera has the still aliveness of an ancient Chinese bronze; his Architectonic Element is a single sheet of brass cut and bent to take the light as elaborately as a great scarred cliff...
...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...
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...