Arnaldo Pomodoro in the gardens of the Royal Palace. Sculptures. 1962-2000.
Skira| N° d'inventaire | 23750 |
| Format | 24 x 30 |
| Détails | 152 p., paperback. |
| Publication | Milan, 2002 |
| Etat | Nine |
| ISBN | 9788884912459 |
The gardens of the Palais-Royal have hosted the works of Arnaldo Pomodoro, who always wanted, in his own words, the dramatic intensity of his works to be both "tempered and revealed by natural light."
Arnaldo Pomodoro was deeply influenced as a child by the Italian landscapes of his native region, around Montefeltro. In the 1960s, the artist became more interested in sculpture in urban spaces. His three-dimensional forms began to emerge.
These sculptures reveal divergent tensions between opposing concepts and emotions. We feel the oppositions between the ancient and the contemporary, the mechanical and the organic, or even the metaphysical. The enlargement of the size and scale of his sculptures went hand in hand with the increasing complexity of his work.
The artist himself says: "I sometimes have the impression that people find my sculpture mystical, but I don't think that's the case. I see the ruptures, the eroded parts, the potential for destruction that comes from our era of violence and disenchantment."
His dominant themes remain the same. His sculptures combine respect for the past and admiration for technology, tempered by the anxieties of the harsh realities of our post-industrial era. Nevertheless, his work remains profoundly optimistic. The artist says that "above all, he does not want his work to be read in a pessimistic way." His taste for monumental sculpture is explained in his own words: "Through my artistic expression, I want to develop strong but constructive emotions."
The gardens of the Palais-Royal have hosted the works of Arnaldo Pomodoro, who always wanted, in his own words, the dramatic intensity of his works to be both "tempered and revealed by natural light."
Arnaldo Pomodoro was deeply influenced as a child by the Italian landscapes of his native region, around Montefeltro. In the 1960s, the artist became more interested in sculpture in urban spaces. His three-dimensional forms began to emerge.
These sculptures reveal divergent tensions between opposing concepts and emotions. We feel the oppositions between the ancient and the contemporary, the mechanical and the organic, or even the metaphysical. The enlargement of the size and scale of his sculptures went hand in hand with the increasing complexity of his work.
The artist himself says: "I sometimes have the impression that people find my sculpture mystical, but I don't think that's the case. I see the ruptures, the eroded parts, the potential for destruction that comes from our era of violence and disenchantment."
His dominant themes remain the same. His sculptures combine respect for the past and admiration for technology, tempered by the anxieties of the harsh realities of our post-industrial era. Nevertheless, his work remains profoundly optimistic. The artist says that "above all, he does not want his work to be read in a pessimistic way." His taste for monumental sculpture is explained in his own words: "Through my artistic expression, I want to develop strong but constructive emotions."