View full screen - View 1 of Lot 21. Uccello: a Brancusi.
21

Arnaldo Pomodoro

Uccello: a Brancusi

Arnaldo Pomodoro

Arnaldo Pomodoro

Uccello: a Brancusi

Uccello: a Brancusi

Authenticity guarantee

What is guaranteed?

Arnaldo Pomodoro

b. 1926

Uccello: a Brancusi


signed Arnaldo Pomodoro and numbered 4/6 (on the base)

bronze

14½ by 21 by 18 in.

36.8 by 53.3 by 45.7 cm.

Executed in 1981-82; this example is number 4 from an edition of 6.


This work is registered by the Fondazione Arnaldo Pomodoro under number AP 447.

This work is in good and sound condition overall. All elements are present and stable. There are textural variations to the surface inherent to the artist's working method and chosen media. There is soiling in the crevices along with some areas of oxidation. There are very minor scratches, accretions and discoloration throughout, visible upon close inspection.


The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

Thomas Segal Gallery, Boston

Acquired from the above by the present owner

Sam Hunter & Arnaldo Pomodoro, Arnaldo Pomodoro, Milan, 1995, p. 70

Flaminio Gualdoni, Arnaldo Pomodoro: Catalogo Ragionato della Scultura, vol. II, Milan, 2007, no. 689, p. 622-623, illustrated

Boston, Thomas Segal Gallery, Arnaldo Pomodoro, 1984

“The perfection of Brancusi was so beautiful and mysterious…at a certain moment I said to myself, really this perfection of the form in our time is inappropriate; it has to be destroyed. For me, the ‘destruction’ element in form was my most important discovery, and the most authentic both in terms of myself and my times.” — Arnaldo Pomodoro


Reacting against Constantin Brancusi’s geometric reflective and polished surfaces that transmit a sense of perfection, and motivated by Paul Klee’s cubist surface patterns and Jackson Pollock’s energetic gesturalism, Arnaldo Pomodoro, one of Italy’s most prominent avant-garde representatives of the mid-sixties, led neo-constructivist bronze sculpture towards a new direction. The exploration of negation and destruction of form is one of his recurring themes, through which he conveys a sense of today’s world transformation, addressing the problematic of our age with deliberate surface perforations and erosions. 


The present work depicts Pomodoro’s ambitious approach to sculpture. As the title of the piece indicates, Uccelo: A Brancusi seems to be a direct rejection of one of Brancusi’s most famous works, Bird in Space. Pomodoro’s piece allegorically and literally embodies the theme of destruction as it both breaks from the tradition of sculpture and is itself fragmented in its middle. The contrast between the smooth surface of the triangle and the textured inner layers creates a complex work which interplays with positive and negative space, presence and absence, exquisitely capturing this tension between past and present as well as life and death.