All art is contemporary…Episode #4

22 December 2020

“You can create a sculpture either by addition or by subtraction”.

Sculpting works by subtraction; this is how – subtracting from the marble – the Head of a Nymphwhich dates between the I and II century A.D., is created. Its ideal, done up and balanced beauty is impressive.

On the other hand, in the XII century, the limestone brings to light the Bipartite capital with acanthus leaves and plant racemes with a loggia, which shows that the architectural function and the beauty of the shape coexist.

Also sculpting walnut wood, in work Judging Jesus Christ and Angels of doomsday of the XIV century, works by subtraction, but it adds color through the pictorial gesture. The work strongly states the cutting features of Nordic sculpture in the Middle Ages.

The art of founding, as it was defined by Pliny the Elder in the I century A.D., is – instead – the one used by Medardo Rosso, who, with the incredible Ecce Puer of 1906 approx., shows all the charm of a non-monumental approach to sculpture through wax. 

The same charm that resides in the sensuality of the bronze Roman male torso, a material that – through its resistance to traction, reflection effects and capacity to retain the details – has often been utilized to create dynamic compositions.

The same is created starting from founding and welding by Franco Garelli, born in 1909. The emblematic bronze sculpture The guest (S.P.1) of 1961 shows the evolution of the Italian sculpture towards the informal.

Finally, the earthenware by Ambrogio Casati Somali Water Carrier, of 1936, describes a timeless ritual, from the Roman hydrophorasup to now, of impressive both documentary and artistic value.

In the image, on the top left side: Imperial Roman production, Head of a Nymph, I – II century A.D. marble, height cm 26, courtesy of Flavio Gianassi – FG Fine Art (London). Follows: Ambrogio Casati, Somali water carrier, 1936, earthenware, cm 165 x 50, courtesy of Galleria Arte Cesaro (Padua). Follows: Medardo Rosso, Ecce Puer, 1906 approx., wax, cm 47 x 34 x 20, courtesy of Galleria Russo (Rome). Follows: Provençal Sculptor, Bipartite capital with acanthus leaves and palnt racemes with a loggia, last quarter of the XII century, limestone cm 25 x 24 x 24, courtesy of Longari Arte Milano (Milan). 
On the lower left side: Sculptor from Southern Germany, Judging Jesus Christ and Angels of doomsday, end of XIV century, carved and painted walnut high-relief, cm 44 x 53,5 x 12, courtesy of Flavio Pozzallo (Oulx). Follows: Roman male torso, I – II century A.D., bronze, height cm 37, width cm 59, courtesy of Flavio Gianassi – FG Fine Art (London). Follows: Franco Garelli, The guest (S.P.1), 1961, bronze, cm 84(h) x 95 x 37, courtesy of Galleria Del Ponte (Turin).