Arnaldo Pomodoro (b. 1926)
incised with signature and number 'Arnaldo Pomodoro 2/2' (lower right)
27 x 27 x 2 1/4 in. (68.5 x 68.5 x 5.7 cm.)
Executed in 1982-83. This work is number two from an edition of two plus two artist's proofs.
Signature: incised with signature and number 'Arnaldo Pomodoro 2/2' (lower right)
Portofino, Galleria Civica d'Arte Moderna del Castello di Portofino, Arnaldo Pomodoro, March-July 1983 (another example exhibited).
Boston, Thomas Segal Gallery, Arnaldo Pomodoro, January-February 1984 (another example exhibited).
F. Gualdoni, ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Milan, 2007, vol. II, p. 625, no. 702 (illustrated).
Steven Wirtz Gallery, San Francisco
Acquired from the above by the present owner, 1987
About Arnaldo Pomodoro
Arnaldo Pomodoro thinks of his massive, architectural sculptures as “crystals, or nuclei, or as eyes, or signal fires,” he says. ”I see them as relating to borders and voyages, to the worlds of complexity and imagination.” Drawing on his training in architecture, Pomodoro’s concerns center on the relationship between each individual sculpture and the space in which it is installed. Early on, admiration for Paul Klee prompted the artist to translate Klee’s linear drawings into dimensional elements in his early relief sculpture. Ultimately, however, Pomodoro became known for large, free-standing geometric forms, especially columns, cubes, pyramids, spheres, and discs. Works such as Rotator with a Central Perforation (1969)—a bronze sphere—exemplify his smooth, streamlined style and devotion to idealized shapes, often reminiscent of Constantin Brancusi. Unlike many of his contemporaries, Pomodoro insists on partaking in the physical fabrication of his work.
Italian, b. 1926, Morciano di Romagna, Italy, based in Milan, Italy