PICARD Pascale, THE ROMAN NORMAN Antoinette.
Guinor Renoir: The color of sculpture.
Silvana Editoriale
Regular price
€39,00
| N° d'inventaire | 30085 |
| Format | 24.5 x 29 |
| Détails | 296 p., illustrated, publisher's hardcover. |
| Publication | Milan, 2023 |
| Etat | Nine |
| ISBN | 9788836653867 |
Richard Guino (1890-1973) was a Catalan sculptor born in Girona, where he began his training at an early age, which he continued at the La Llotja School of Art in Barcelona, before entering Aristide Maillol's studio in Paris in 1910.
From the outset, Richard Guino envisaged a career as an independent artist, stimulated by the search for a modernity whose language he discovered and which he accompanied with his young convictions. Caryatids, metopes, and figures then populated the studio he chose to set up in Montparnasse, in the heart of Paris's artistic avant-garde. Through the art dealer Ambroise Vollard, and in 1913, he sold two of his first sculptures to the Moscow collector Ivan Morozov and designed his first large sculpted model. His aesthetic concerns were then motivated by the question of the torso and the fragment, but also by the sensuality of the nude, whose expression he renewed under the influence of Maillol.
Guino was only twenty-three years old when his virtuoso practice of sculpture brought him to the point of becoming, from 1913 to 1917, the sculptor of Auguste Renoir's work. The painter's reputation was then immense and, at the initiative of Ambroise Vollard, he agreed to design sculptures taken from his painted repertoire which were produced in total collaboration. The atypical nature of this association, which combined painting and sculpture, was to have a decisive impact on Guino's developing career, which from 1919 onwards broadened his interests to include the decorative arts.
From the outset, Richard Guino envisaged a career as an independent artist, stimulated by the search for a modernity whose language he discovered and which he accompanied with his young convictions. Caryatids, metopes, and figures then populated the studio he chose to set up in Montparnasse, in the heart of Paris's artistic avant-garde. Through the art dealer Ambroise Vollard, and in 1913, he sold two of his first sculptures to the Moscow collector Ivan Morozov and designed his first large sculpted model. His aesthetic concerns were then motivated by the question of the torso and the fragment, but also by the sensuality of the nude, whose expression he renewed under the influence of Maillol.
Guino was only twenty-three years old when his virtuoso practice of sculpture brought him to the point of becoming, from 1913 to 1917, the sculptor of Auguste Renoir's work. The painter's reputation was then immense and, at the initiative of Ambroise Vollard, he agreed to design sculptures taken from his painted repertoire which were produced in total collaboration. The atypical nature of this association, which combined painting and sculpture, was to have a decisive impact on Guino's developing career, which from 1919 onwards broadened his interests to include the decorative arts.
From the outset, Richard Guino envisaged a career as an independent artist, stimulated by the search for a modernity whose language he discovered and which he accompanied with his young convictions. Caryatids, metopes, and figures then populated the studio he chose to set up in Montparnasse, in the heart of Paris's artistic avant-garde. Through the art dealer Ambroise Vollard, and in 1913, he sold two of his first sculptures to the Moscow collector Ivan Morozov and designed his first large sculpted model. His aesthetic concerns were then motivated by the question of the torso and the fragment, but also by the sensuality of the nude, whose expression he renewed under the influence of Maillol.
Guino was only twenty-three years old when his virtuoso practice of sculpture brought him to the point of becoming, from 1913 to 1917, the sculptor of Auguste Renoir's work. The painter's reputation was then immense and, at the initiative of Ambroise Vollard, he agreed to design sculptures taken from his painted repertoire which were produced in total collaboration. The atypical nature of this association, which combined painting and sculpture, was to have a decisive impact on Guino's developing career, which from 1919 onwards broadened his interests to include the decorative arts.