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Angelo BassoPaolo And Francesca1989
1989
About the Item
Angelo Basso
Bronze
1989
Paolo And Francesca-
Size: Size: 42 x 12 x 12 in
Signed and marked 92/95
"ITALIAN MASTER OF THE MODERN BAROQUE"
The story of the love of Acis and the sea-nymph Galatea appears in Ovid's Metamorphoses There the jealous Cyclops Polyphemus, who also loves Galatea, comes upon them embracing and crushes his rival with a boulder. His destructive passion comes to nothing when Galatea changes Acis into a river spirit as immortal as herself. The episode was made the subject of poems, operas, paintings and statues in the Renaissance and after.
Angelo Basso is one of Italy's most prominent figurative sculptors -- an heir to the Baroque tradition of the 1600s.
Basso captures the lush, assertive style of that period in his evocative female figures. His lithe, confident women miraculously glide through sea waves with the rich flowing movement of the Baroque style. Basso's figures are immortalized in magic moments of life or captured in the delicate grace of a courtly dance.
At the age of 18, Basso enjoyed his first solo show in Italy and, since then, has exhibited internationally in Germany, England, Sweden, Denmark, Holland, Switzerland, Japan, Australia and the United States.
Commissions include a sculpture presented to the Vatican's Contemporary Art Collection, Rome.
- Creator:Angelo Basso (1943)
- Creation Year:1989
- Dimensions:Height: 42 in (106.68 cm)Width: 12 in (30.48 cm)Depth: 12 in (30.48 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Rochester Hills, MI
- Reference Number:1stDibs: LU2335211671282
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During his stay in the French city, Arturo Uslar Pietri, Alfredo Boulton, and Finita Vallenilla supported the artist both financially and logistically, and in February of 1930, the trio of friends arranged another exhibition for him at the Club Venezuela. Narvaez describes his exhibition as follows: “(…) in it I feel that the sculptural work is more my own, done with more assurance, a response to my pursuit of large planes, stylisation and synthesis.”3 By then, as Boulton himself noted in his book about the artist, Narvaez departed from most of the artistic traditions that prevailed by that time in Venezuela. In 1931 he returned to Caracas and established his atelier at the Barrio Obrero in Catia. The atelier became the hub of the intellectual life of the time. “In those years, the atelier of Francisco Narvaez was the hub of the greatest Venezuelan hope. Nothing comparable to it can be found either before or since.”4 From that year onwards, exhibitions, projects, trips, and awards we multiplied. He was awarded the President of the Republic of Venezuela Prize, the National Sculpture Prize of the 1st Official Venezuelan Art Salon, and the John Boulton Prize of the 3rd Annual Venezuelan Art Salon; for the Military Academy, he produced a spectacular relief entitled La Patria. In 1945, commissioned by the architect Carlos Raúl Villanueva, he produced two groups of sculptures known as Las Toninas, both located in the O’Leary Square. There, as he himself states, he incorporates some baroque patterns into the figures to the source itself: “It is a work of balance between the decorative requirements and the sculpture of planes and angles.”5 In 1948 he was awarded the National Painting Prize. 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