Italian Sculptors of Today Page: 9
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the monument is foreign to the taste of today, it is enclosed and the antithesis
of the space surrounding it. Guerrini has introduced space into his monuments
and, the larger the monument, the less he has worked the surface. At first sight
his monuments seem great blocks of natural rock, but then one perceives that
they are human images, vital and dramatic, idols created in a prehistoric pe-
riod and capable of prolonging their life into a future without end.
The artistic development of Luciano MINGUZZI (born 1911) has been slower
than that of his colleagues because he has elected to explore the qualities of his
style in depth rather than expand towards wider horizons. He only abandoned
figurative art a few years ago; he gave forms very sensitive surface treatment,
they were images in movement, light and poised in space according to an athlet-
ic ideal. Then, a little at a time, the figurative and narrative content disap-
peared, as well as the necessity for completing the human form with head and
arm, even if harmful to the plastic whole. Minguzzi's evolution shows us the
necessity for the non-figurative in modern sculpture. The surfaces vibrate as
if they were alive, the forms billow out with their own intimate interior rhythm,
no longer impeded by the factor < nature ,,. In detaching himself from natu-
ral objects Minguzzi has lost nothing of his humanity or liveliness, but he has
gained much in severity and in the organic content of his style.
The two POMODORO brothers, Arnaldo (born 1926) and Gib (born 1930),
early became famous as goldsmiths. The novelty and charm of their jewelry
won admiration in spite of its weirdness. The rapid maturity and perfection they
attained in the jeweler's art naturally brought them face to face with problems
of monumental sculpture. The brothers are still very young, their eyes open to
the world of international art; and it is only natural that these two young men
should be interested in different kinds of media and in their interaction, to which
art informel has given prominence, as well as to those problems of space ab-
sorbed into the image proper, and that they should have found original solu-
tions for these problems. The brothers work together but have different artis-
tic temperaments, Arnaldo tends to stress pictorial values, whereas Gi6 is partic-
ularly creative from the standpoint of plasticity.
Umberto MASTROIANNI (born 1910) obtained international success as a young
man, particularly in France, even though his art is not based on either the
French or the cubist tradition. Mastroianni felt a spiritual affinity to Boccioni,
to the dynamism of the Futurists and to their passionate approach, and he con-
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Dallas Museum for Contemporary Arts. Italian Sculptors of Today, book, 1960; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth176575/m1/11/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Dallas Museum of Art.