Italian Sculptors of Today Page: 7
[98] p. : ill. ; 22 x 19 cm.View a full description of this book.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
INTRODUCTION
by Lionello Venturi
It is with real pleasure that I present this group of Italian sculptors to the Amer-
ican public because, in spite of a few omissions due to the impossibility of
obtaining examples of the work of certain artists, such as Marino Marini and
Manzo, who had too many prior commitments, it is a well chosen selection. The
works exhibited give a satisfying idea of the artistic qualities and various tend-
encies of Italian sculpture of today.
First of all it must be realized that these works exemplify the problems confront-
ing contemporary art, they renounce the illusory imitation of nature, they con-
centrate their attention on revealing the properties of the media, not in order
to stress weight or volume but to extract dynamic values essential to the vibra-
tions of life whereby matter is transformed into energy. The concept of space
has also changed; it is no longer isolated and enclosed as in classical art but
opens out so that the individual obiect can communicate with the world that sur-
rounds it.
To the general characteristics of modern art, which were worked out at the very
beginning of our century in Paris, Italian sculptors made their own contribu-
tion of originality - the Futurists transformed the disarticulated realism of the
Cubists into a passionate dynamism which met with great success, first in Eu-
rope and then in the United States at the Armory Show in 1913. Although the
debt owed to Brancusi, Arp, Picasso, Moholy Nagy and Moore, who blazed the
trail of modern sculpture, must be fully acknowledged, at the same time it
should be recognized that Italian artists have followed this lead in their own
particular way and have not only succeeded in developing individual personali-
ties but have also established a tradition of their own.
The foundations for the resurgence of Italian sculpture after 1945, whose course
has paralleled that of painting and architecture, were laid by Arturo MAR-
TINI (1889-1946) during the fifteen-year period 1925-1940.
Martini revolted against the academism that dominated Italian art during the
Fascist period. He was a gifted rebel whose imagination and talents were quick-
ened by his anarchical tendencies. Martini revealed to the Italian public the
sensibility and the moral stringency of primitive art, he contributed to the inter-
pretation of Impressionism in sculpture, and reached the stage of abstract con-
Upcoming Pages
Here’s what’s next.
Search Inside
This book can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Book.
Dallas Museum for Contemporary Arts. Italian Sculptors of Today, book, 1960; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth176575/m1/9/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Dallas Museum of Art.