Page 31 - Studio International - December 1965
P. 31

Sculpture  returns  to  Athens



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                                  dichotomy  already  noted  in  Rodin,  the  attempt  at  a  of  Delphi,  a  comparison  which  underlines  a  funda­
                                  balance between the idealised projection of man and a  mental difference in the role of art.
                                  personal identification with  his torment.          On  the  other  hand  Henry  Moore's  Standing  Figure
                                   An  interesting  variant  on  this  theme,  and  in  some   (Knife-edge).  which  readers  may  remember seeing at
                                  ways less directly in the  Hellenic tradition. would have  the last  Battersea  Park exhibition,  made  a  very  Greek
                                  been the work of middle-European artists-Lehmbruck,  impression with its impersonal.  heroic,  god-like air  of
                                  Barlach,  Rik  Wouters.  Epstein.  Permeke.  even  Marcel  being above mortal involvement.
                                  Gimond, Lipshitz. Laurens.  In Lehmbruck, for instance.   These  comments.  I  hope,  indicate  the  variety  of
                                  the  elongated.  Flemish  nude  is  a  suffering  Madonna,   thematic  treatment  which  could  have  raised  a  fine
                                  not  a  militant  Athena,  to  which  the  sturdy  figures  of  exhibition to an altogether more valuable experience.
                                  Maillol  and  Renoir  can  be  traced.  Here.  perhaps,  is   With  such  innovators as  Picasso,  Matisse,  Brancusi,
                                  indicated  the  influence  of  Christian  thought,  of  the  Archipenko,  Arp,  Boccioni,  Ouchamp-Villon. and the:r
                                  expressionism which stems more from the  North, and  lesser  followers,  one  was  on  to  anothPr  r..ind  of
                                  a  hint  of  theatrical  posing  in  the  direct statement  of  exhibition.  These artists and the  questions they raise
                                  emotions.   This  theatrical  quality  was  evident  in  a  could well have been saved up for the second Biennale.
                                  work like Zadkine's Orpheus.  with its angular gestures   Here one opens up vast are.35 of discussion, the stylistic
                                  of  anger  and  despair-emotions  the  ancient  Greeks  influences  from  Africa,  the  problem  of science  versus
                                  reserved  for  their  theatres  rather  than  their  sculpture.   empiricism,  ideas  versus  facts,  the  suspicion  of  a
                                  Even  Marini's  giant  bronze  horse  seemed  to  be  tradition weakened by academicism-indeed the virtual
                                  protesting too much in contrast to the famous Charioteer  breakdown  of  conceptions  handed  down  by  the
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