European Master Sculptures on View
Aurora Ca単ero (1940 - ) Angelitos Gemelos (Twin Angels) Bronze, green patina, 1996, #22/75 185cm height 30cm x 30cm base Signed and numbered on back of skirt Born (1940) and educated in Spain, Ca単ero has been working in bronze for more than 30 years. She creates poetic and whimsical meditations on the human spirit. Her figures transcend the physical properties of solidified metal and take on a life and emotional character to themselves. They are constantly confronting a moment of truth, whether about themselves or the world surrounding them, and emanate a mysterious trepidation between what just happened, a past barely hinted at, and what is going to happen next.
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Arman Fernandez (1928 – 2005) La Mandoline (Untitled) Bronze, 2003, #17 / 100 62cm x 30cm x 30cm Signed “Arman” on top of plinth I specialize very much in… everything,” the French-born American artist Arman told an interviewer in 1968. “I have never been — how do you say it? A dilettante.” Regarded as one of the most prolific and inventive creators of the late 20th century, Arman’s vast artistic output ranges from drawings and prints to monumental public sculpture to his famous “accumulations” of found objects. His work—strongly influenced by Dada, and in turn a strong influence on Pop Art—is in the collections of such institutions as the Metropolitan Museum of Art in New York, the Tate Gallery in London and the Centre Pompidou in Paris.
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Emile Laporte (1858 – 1907) Young Fencer Bronze, brown patina, 1878 50.5 cm height x 10.5cm x 11.5cm Signature on plinth
Emile Laporte was a French visual artist who was born in 1858 in Paris. Numerous works by the artist have been sold at auction, including 'Young Boy and Goat' sold at De Vuyst 'Old Masters, Modern & Contemporary Art' in 2013 for $13,022. The artist died in 1907.
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Mauro Corda (1960 - ) L’Energie (Energy) Bronze, varied patina, #4/8 58cm x 27.5cm x 11.5cm Signature on top of base
As a sculptor, Mauro Corda (1960) is sensitive to colour. He not only uses the most diverse patinas, but he also applies chrome, silver, gilding and paint to his bronzes. Starting from the same colour sensitivity, Corda has gone on to other materials than bronze. He has cast sculptures in aluminum and iron. And as he regularly spends time in the Italian Pietrasanta, he also works in marble and terra cotta. It is astonishing to see how this wizard commands the diverse techniques necessary for the varied material applications. But the material experiments lead back to Mauro Corda’s central theme: to portray persons in the most diverse roles, environments, and situations.
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Marie-Madeleine Gautier (1956 - ) La Contrebasse (Against the Bass) Resin Sculpture, 1997, #1/8 41cm x 30cm x 30cm Signed on the backside “MMG”
Marie-Madeleine was born, in 1956, in her grandfather's windmill in Normandy, France. She studied at the Beaux-Arts de Paris where her teachers encouraged her vocation to be a sculptress. MMG searches for a balance between oppositions. She says, “I try to prove that it's because of our differences that we value each other. To move in with people who think the same thing than you is sterile. To compare different ideas make us evolve. It's the same for the peoples: the knowledge and recognition of other cultures make them evolve.”
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Rosa Serra (1944 - ) Primavera (Spring) Bronze, 1995, #3/3 23cm x 22cm x 13cm Signed on back of plinth
The thematic detour that has made Serra famous occurred because she happened to be friends with former International Olympic Committee President, Juan Antonio Samaranch. Samaranch, impressed by Serra’s creative gifts, asked her if she would accept a commission to create sculptures representing the different Olympic sports. Though Serra admitted that she knew nothing about sports, she accepted Samaranch’s invitation, inspired and motivated by the challenge of taking on a subject that was completely unknown to her. Nearly three decades later she has become so renowned for her sculptures–praised by critics for having force and motion without being mere replicas of a sport or athletic movement or gesture– that athletes from diverse disciplines have commissioned her to make sculptures.
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Aurora Ca単ero (1940 - ) Escalera VI (6) (Ladder) Bronze, 1992, #23/25 150cm height 15cm x 25cm base Signed and numbered on side of head
Born (1940) and educated in Spain, Ca単ero has been working in bronze for more than 30 years. She creates poetic and whimsical meditations on the human spirit. Her figures transcend the physical properties of solidified metal and take on a life and emotional character to themselves. They are constantly confronting a moment of truth, whether about themselves or the world surrounding them, and emanate a mysterious trepidation between what just happened, a past barely hinted at, and what is going to happen next.
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Aurora Ca単ero (1940 - ) Escalera VII (7) (Ladder) Bronze, 1993, #12/25 152cm height 15cm x 25cm base Signed on the back of head
Born (1940) and educated in Spain, Ca単ero has been working in bronze for more than 30 years. She creates poetic and whimsical meditations on the human spirit. Her figures transcend the physical properties of solidified metal and take on a life and emotional character to themselves. They are constantly confronting a moment of truth, whether about themselves or the world surrounding them, and emanate a mysterious trepidation between what just happened, a past barely hinted at, and what is going to happen next.
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Auguste Rodin (1840 – 1917) Le Penseur (The Thinker) Bronze, #8/295 Signature on the base in the back
When conceived in 1880 in its original size (@ 70cm) as the crowning element of The Gates of Hell seated on the tympanum, The Thinker was entitled The Poet. It is theorized that he represented Dante, author of the Divine comedy which had inspired the Gates, leaning forward to observer the circles of Hell. The pose of this figure owes much to the seated portrait of Lorenzo de Medici carved by Michelangelo (1526 – 1531). The Thinker was exhibited individually in 1888 and thus became an independent work. Enlarged in 1904, its colossal version proved even more popular: this image of a man lost in thought, whose powerful body suggests a great capacity for action, has become one of the most celebrated sculptures ever known.
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