Medardo Rosso


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Rosso, Medardo

 

Born June 20, 1858, in Turin; died Mar. 31, 1928, in Milan. Italian impressionist sculptor.

Rosso received no formal artistic training. He worked in Milan, in Venice, and—after 1886—mainly in Paris. In his many-figured compositions and his portraits of children, Rosso sought to render the changeability of nature, to impart picturesquely amorphous and fluid qualities, and to achieve softly modeled forms and a texture receptive to light. Rosso often worked in wax. His sculptures include The Golden Age (1886–87, Musée du Petit Palais, Paris), Laughing Girl (1889, Museum of Fine Arts, Leipzig), Motherhood (1889, Municipal Gallery of Modern Art, Turin), and Veiled Woman (1893, National Gallery of Modern Art, Rome).

REFERENCES

Borghi, M. Medardo Rosso. Milan, 1950.
Barr, M. S. Medardo Rosso. New York, 1963.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
They bring to mind Medardo Rosso's Post-Impressionist "melting sculptures"; the absurd, grotesque distortions of Surrealism; and, less obviously, the self-dramatizing rippling quality of painterliness at its most intensely, randomly, and aggressively expressionist.
As Rodin rose to fame, and became regarded in the early 20th century as the master of Impressionist sculpture, some contemporary critics recognised another artist as the true revolutionary--the Italian sculptor Medardo Rosso (1858-1928).
Taking inspiration from Italian sculptor Medardo Rosso (1858-1928) and writer Wilhelm Jensen's fictional character Gradiva, Al-Hadid will realize her vision with the support of an ambitious curatorial team.
Hovering between history and biography, which characterize the intimate areas unfolded by the literary archives, it is possible to glance at the contours of that part of Italian culture that Olga had witnessed: the visits to the Socialists of Siena; contacts with Sibilla Aleramo and Giovanni Cena and the philanthropic activity for the people of the Agro Romano; the encounter with Madame Helbig and the European musical aristocracy; her friendship with the painters Felice Carena and Armando Spadini, with the sculptors Angelo Zanelli and Medardo Rosso, with the writers Emilio Cecchi, Giuseppe Prezzolini, Giuseppe Antonio Borgese, Ugo Ojetti, Ardengo Soffici, Vincenzo Cardarelli, Giuseppe Ungaretti, Scipio Slataper, Giani Stuparich, Ferruccio Ferrazzi, and many others.
However, it certainly gives a new historical context to their explorations of the boundaries between presence and impermanence versus the third player in this exchange, the Italian "impressionist" Medardo Rosso, whose beeswax-over-plaster Child in the Soup Kitchen (1893/cast ca.
The core collection of pieces acquired in the 1960s, by Arp, Moore, Hepworth, Noguchi, Calder, and Miro--all well-known, deservedly admired but, for the time, not particularly adventurous sculptors--was expanded to include more unpredictable works that document the entire trajectory of twentieth-century sculpture in all its aspects, from figuration to abstraction: a fine selection of Auguste Rodins, a stunning group of Medardo Rosso's enigmatic wax on plaster figures, a mouth-watering assortment of Henri Matisse's bronzes, eight David Smiths, and signature works by living artists, including Anthony Caro, Claes Oldenburg, Donald Judd, Magdalena Abakanowicz, Richard Serra, and more.
Works by Giovanni Boldini, Federico Zandomeneghi, Giuseppe de Nittis and Medardo Rosso will feature alongside paintings, drawings and artworks by Degas.
Commentators describe her subjects as "Madonnas, angels, and queens," and this is undoubtedly justified by their artistic lineage--echoes of Constantin Brancusi and Medardo Rosso, of Marie Laurencin and Alexej von Jawlensky, of Futurism and Art Nouveau, but also (as Leslie Cozzi shows in the catalogue) of early Christian and Renaissance art are legion.
The "main stage" revealed a second painted piano and a large woolen rug (KonninGratz/Himachuri/Konningratz/ HimiChuri, 2013), this time placed atop a large stage, the rear wall of which bore Enrico David's large painting Untitled, 2013, its ostensible protagonist's face echoed by Emily Young's massive onyx sculpture Archangel I, 2004, which sat on the stage like an oversize update of Medardo Rosso.
(Though it's a complex speculation, it seemed evident here that connections might be traced between Icaro and the masters of Italian and international sculpture, such as Medardo Rosso or Umberto Boccioni, who moved beyond the aesthetic dimension of sculpture.) Icaro presents his work to the public as fertile terrain for critical analysis, forcing us to take a position, both physically and intellectually.