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Medardo Rosso

Medardo Rosso

MEDARDO ROSSO (1858-1928)

With his figures, the Italian sculptor Medardo Rosso succeeded in contributing decisively to the development of modern sculpture. 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. Rosso–s focus was 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 and allowed 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.
This publication, a survey of the artist–s work, makes clear that though Rosso limited himself to very few motifs, their many different versions translated into independent works.

Pris ved	1	Stk		798,00 DKK

Emne	Skulptur
Kunstner	Medardo Rosso
Forfatter	Dietere Schwarz
Sprog	Engelsk
Illustrationer	70 farve + 24 s/h
Format / Sideantal	21 x 27,5 cm./ 176 s.
Udgivelsesår	2004
Indbinding	Indbundet
Forlag	Richter
Antikvarisk

Antal

Køb

ISBN	978-3-933807-95-6
Lev.	3-5 dage

MEDARDO ROSSO (1858-1928)

With his figures, the Italian sculptor Medardo Rosso succeeded in contributing decisively to the development of modern sculpture. 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. Rosso–s focus was 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 and allowed 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.
This publication, a survey of the artist–s work, makes clear that though Rosso limited himself to very few motifs, their many different versions translated into independent works.