Signature: incised with the artist's name and number 1/3 on the base
Honolulu, University of Hawaii Art Gallery; Long Beach, California State University, The Art Museum and Galleries; Wasau, Leigh Yawkei Woodson Art Musuem; Tyler, Muskegon Museum of Art; Wichita State University, Edwin A. Ulrich Museum of Art; Tuscaloosa, University of Alabama Art Gallery; Museo de Monterrey; Victoria Regional Museum Association; The Alexandria Museum; Norman, University of Oklahoma Museum of Art; Eugene, University of Oregon Museum of Art, The First International Shoebox Sculpture Exhibition, January 1982 - December 1983, p. 24, illustrated (another example exhibited)
Flaminio Gualdoni, Ed., Arnaldo Pomodoro: Catalogo ragionato della scultura, Tomo II, Milan 2007, cat. no. 678, p. 619, illustrated
The Merryman Collection, Palo Alto
Acquired from the above by the present owner in 1985
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