Pina also produced a bronze version of this bust, modelled in Montpellier during the First World War. He was by no means the first sculptor to have treated the cult of the great composer Beethoven. Guiseppe Grandi, Max Klinger and Emile-Antoine Bourdelle all produced representations of Beethoven that express his genius in terms of an intense pathos and temperament. What set Pina's bust apart was the Rodinesque play of form in the expressive attitude of the modelling, which deliberately suppresses accuracy of detail for a generalised depiction of inner emotion. Pina's bust of Wagner, while sharper in the definition of form, is treated in a similar manner and with a hallmark emphasis on the rendition of the eyes. In 1920 Pina sent his Bronze bust of Beethoven for exhibition at the Venice Biennale which may be identified as the one in the 'museum of Venice' mentioned in de Pawlowski's biography of the artist published in 1929.
G. de Pawlowski, Alfredo Pina, Paris, 1929, unpaginated; A. Panzetta, Nuovo Dizionario degli Scultori Italiani dell'Ottocento e del Primo Novocento, vol. II: M-Z, Torino, 2003, p. 695
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