Essays by Christoph Brockhaus, Luigi Ambrosini, Birgit Brunk, Ettore Cozzani, Leonetta Cecchi, Erich Franz, Dieter Schwarz, Gottlieb Leinz, Ludwig Hevesi, Giovanni Lista, Julius Meier-Graefe, Pieraccini, Margherita Sarfatti, Ardengo Soffici, et al.
Hardcover, 8.75 x 11.5 in. / 152 pgs / 103 color | 4/2/2004 | Out of stock ISBN 9783933807953 | $50.00
The book compiles sculptures, photographs, drawings, writings and a selection of letters by Italian sculptor Medardo Rosso (1858–1928), a pioneer of modern sculpture hailed as a precursor to Italian futurism.
Published by Pulitzer Arts Foundation. Foreword by Cara Starke. Text by Jodi Hauptman, Sharon Hecker, Tamara H. Schenkenberg, Matthew S. Witkovsky.
The Italian artist Medardo Rosso (1858–1928) was instrumental in expanding the definition of sculpture for the modern era.
Focusing on everyday people as his subjects, Rosso portrayed fugitive physical or emotional states, employing innovative casting and modeling techniques in plaster, bronze and wax, his signature material. Medardo Rosso: Experiments in Light and Form features nearly 100 works of sculpture, drawing and photography, and explores Rosso’s efforts to capture and manipulate light. It presents extensive installation photography, documenting the works on view within the variable natural and artificial light of the Pulitzer Arts Foundation building. The book also features original scholarly essays by the exhibition co-curators and other contributors, as well as an illustrated checklist—presenting a selection of Rosso’s lesser-known experiments in drawing and photography, in addition to some of his most celebrated sculptures.
Published by Richter Verlag. Essays by Christoph Brockhaus, Luigi Ambrosini, Birgit Brunk, Ettore Cozzani, Leonetta Cecchi, Erich Franz, Dieter Schwarz, Gottlieb Leinz, Ludwig Hevesi, Giovanni Lista, Julius Meier-Graefe, Pieraccini, Margherita Sarfatti, Ardengo Soffici, et al.
With his figures, Italian sculptor Medardo Rosso succeeded in contributing decisively to the development of modern sculpture. The artist's points of focus were the moment when the sculpture was perceived and the fusion of the figure with its surroundings. He worked almost exclusively on portrait heads; wax became a substitute for bronze, allowing him to work the surface of the sculpture to its finest perfection and to use different hues, adequate expression for the fleetingness of the apparition. And they are fleeting--one hardly knows if the portrayed faces are receding from the sculpture's surface or pushing up against it. In Paris, where Rosso spent the greater part of his life, he found understanding friends in Edgar Degas and the collector Henri Rouart, while friendship with Rodin miscarried because of the rivalry between the two sculptors. At around the turn of the century, Rosso's sculptures could be seen at many large European exhibitions; the Futurists would soon hold him up as a model. This publication, a scholarly survey of the artist's work, makes clear that although Rosso limited himself to very few motifs, their many different versions translated into independent works.