Giacomo Manzù Italy / 1908 - 1991 Cardinale seduto (1970)
Details
Sculpture - Bronze - Brown patina
Signature stamp "MANZU/NFMM"
41 x 29 x 24,5 cm
Variante unica
Photo certificate by the Fondazione Giacomo Manzù (Giulia Manzoni, the artist's daughter), arch. 36/2023
Provenance
Private collection, Italy
Lot essay
Cardinale Seduto (1970)
When Giacomo Manzù attends a ceremony in St. Peter's Cathedral in Rome in 1934, he is deeply impressed by the image of the Pope flanked by seated cardinals. Struck by the solemnity of the silhouettes, he embarks on a formal reflection that he will pursue for the rest of his career. He explores all possible variations on the enveloped bodies, the architecture of their cloaks, the shadow effect of the folds and the robustness of the concealed body.
The seated cardinal's wide robe is the foundation of a pyramid ending in the pointy top of a miter. It is a conical entity anchored by solidity, as suggested by the plump volume and the sturdy bronze. The silhouette is motionless. Its minimalistic shapes merge with his serene aura. The cardinal appears to be lost in meditation. The anonymity, austerity and monumentality render a universal character.
The relationship between Manzù and faith was a rather fragile one. He repeatedly claimed to be an atheist. For him, his sculptures had no religious approach. His motive was fascination for shape, the imposing silhouettes and the grandeur of the cardinals. His sculptures were a celebration of the greatness of form.
From 1938 until his death in 1991, Manzù produced more than 300 versions of his cardinal. It is by far the most iconic theme in his entire oeuvre.
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Details
Sculpture - Bronze - Brown patina
Signature stamp "MANZU/NFMM"
41 x 29 x 24,5 cm
Variante unica
Photo certificate by the Fondazione Giacomo Manzù (Giulia Manzoni, the artist's daughter), arch. 36/2023
Provenance
Private collection, Italy
Lot essay
Cardinale Seduto (1970)
When Giacomo Manzù attends a ceremony in St. Peter's Cathedral in Rome in 1934, he is deeply impressed by the image of the Pope flanked by seated cardinals. Struck by the solemnity of the silhouettes, he embarks on a formal reflection that he will pursue for the rest of his career. He explores all possible variations on the enveloped bodies, the architecture of their cloaks, the shadow effect of the folds and the robustness of the concealed body.
The seated cardinal's wide robe is the foundation of a pyramid ending in the pointy top of a miter. It is a conical entity anchored by solidity, as suggested by the plump volume and the sturdy bronze. The silhouette is motionless. Its minimalistic shapes merge with his serene aura. The cardinal appears to be lost in meditation. The anonymity, austerity and monumentality render a universal character.
The relationship between Manzù and faith was a rather fragile one. He repeatedly claimed to be an atheist. For him, his sculptures had no religious approach. His motive was fascination for shape, the imposing silhouettes and the grandeur of the cardinals. His sculptures were a celebration of the greatness of form.
From 1938 until his death in 1991, Manzù produced more than 300 versions of his cardinal. It is by far the most iconic theme in his entire oeuvre.
360° zoom
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