Medardo Rosso sustained a concept of sculpture related to the idea of the suspended instant and of apparition, which in the last instance denoted immateriality and timelessness. This implied an alliance with surrounding matter and an inevitable tendency towards its dissolution in light energy. This does not mean, however, that he denied sculpture its material entity, on the contrary, he recognised the quality of matter as the crucible for all forms rather than its subordination to a kind of formal solidification of fiction. ...
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Medardo Rosso sustained a concept of sculpture related to the idea of the suspended instant and of apparition, which in the last instance denoted immateriality and timelessness. This implied an alliance with surrounding matter and an inevitable tendency towards its dissolution in light energy. This does not mean, however, that he denied sculpture its material entity, on the contrary, he recognised the quality of matter as the crucible for all forms rather than its subordination to a kind of formal solidification of fiction. He therefore championed a kind of sculpture which, having an immaterial bias, was more visual than tactile and with regard to which the observer's point of view was an essential aspect. The fact that his fame and universality are recognised only in relatively reduced circles is the best evidence of the fact that what began as a kind of conspiracy to silence his unquestionable worth with very immediate objectives in mind has resulted in a grave omission from the history of art, repeated "ad nauseam" with the utmost triteness. Gloria Moure, currently director of the Centro Galego de Arte Contemporanea, Santiago de Compostela, offers a comprehensive view of the work of Medardo Rosso. Besides an abundance of visual information, including most of Rosso's own photographs, hitherto unpublished, the book features interesting theoretical contributions from Francisco Calvo Serraller, Luciano Caramel and Gloria Moure herself, accompanied by a manifesto by Boccioni which constitutes an unequivocal statement of the sculptor's worth, echoed in the texts by present-day sculptors such as Giovanni Anselmo, Tony Cragg, Luciano Fabro, Juan Munoz and Thomas Schutte, alongside acareful selection of articles and letters by the artist which brings us into his way of understanding his art or, which amounts to the same thing, his life. 232 full-colour illustrations
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Add this copy of Medardo Rosso to cart. $223.26, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 1997 by Ediciones Polígrafa.
Add this copy of Medardo Rosso to cart. $250.00, very good condition, Sold by Design Books rated 4.0 out of 5 stars, ships from New York, NY, UNITED STATES, published 1997 by Ediciones Polígrafa.
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Seller's Description:
Near Fine in Fine jacket. This is a near fine hardcover copy with a fine dust jacket with no wear. Completely clean inside and out, but for a small private owner handstamp on the inside front cover. Text in English. Standard reference on this important Italian sculptor. Medardo Rosso (1858-1928) born in Turin, worked in Paris from about 1890 to the end of World War 1. He was a contemporary and friend of Auguste Rodin. Edited by Gloria Moure with essays by several modern scholars and sculptors. Illustrated with 232 color plates. Biographical sketch. Bibliography. 10" high X 8" wide, 325 pages. This book will be securely wrapped and packed in a sturdy box and shipped with tracking.
