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Medardo Rosso - Second Impressions

Medardo Rosso - Second Impressions

MEDARDO ROSSO (1858-1928)

The Italian artist Medardo Rosso is a key figure in the development of modern sculpture. His portraits and figure studies have long been considered sculptural equivalents to Impressionism's concern with light at the expense of form. This insightful book-the first comprehensive study of Rosso's art-presents an artist more deeply concerned with materials, process, and the reproduction of his works than previously imagined. Rosso's fascination with technique is explored in detail from art historical, technical, and phenomenological perspectives. Drawing on a wealth of new archival material and close-up study of the sculptures, the authors show that Rosso's waxes-his best-known works-were not modeled by hand but cast with the help of gelatin molds. The authors compare wax, plaster, and bronze casts of the same subjects to show that the manipulation of materials for visual effect was at the heart of his work. The book also reproduces and analyzes Rosso's fascinating photographs of his own sculpture, which offer important clues to the charged relationship he sought to create between viewers and the mysterious busts and figures he made.

Pris ved	1	Stk		698,00 DKK

Emne	Skulptur
Kunstner	Medardo Rosso
Forfatter	Harry Cooper, Sharon Hecker
Sprog	Engelsk
Illustrationer	113 farve + 6 s/h
Format / Sideantal	21x 26 cm./ 176 s.
Udgivelsesår	2003
Indbinding	Indbundet
Forlag	Yale University Press
Antikvarisk

Antal

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ISBN
Lev.	3-5 dage

MEDARDO ROSSO (1858-1928)

The Italian artist Medardo Rosso is a key figure in the development of modern sculpture. His portraits and figure studies have long been considered sculptural equivalents to Impressionism's concern with light at the expense of form. This insightful book-the first comprehensive study of Rosso's art-presents an artist more deeply concerned with materials, process, and the reproduction of his works than previously imagined. Rosso's fascination with technique is explored in detail from art historical, technical, and phenomenological perspectives. Drawing on a wealth of new archival material and close-up study of the sculptures, the authors show that Rosso's waxes-his best-known works-were not modeled by hand but cast with the help of gelatin molds. The authors compare wax, plaster, and bronze casts of the same subjects to show that the manipulation of materials for visual effect was at the heart of his work. The book also reproduces and analyzes Rosso's fascinating photographs of his own sculpture, which offer important clues to the charged relationship he sought to create between viewers and the mysterious busts and figures he made.