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拍品专文
'They are attempts to define space. They are called anvils but, though made of iron, they dissolve like dreams: they are pure space, bodiless and nameless’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Carnegie Institute of Art, Pittsburgh, 1979-1980, p. 17).
'The meditation between the hammer, the anvil and iron is carried out by the body of the blacksmith’ (O. Paz, quoted in G. Carandente, Chillida, Barcelona and Madrid 1999, p. 8).
‘The anvil and the dream are only another, more energetic formulation of the duality governing Peine del viento or Rumor de limites. The transportation also affects the relationship between the two terms of the metaphor: the anvil acquires the property of the dream, and, like the comb and limits, denies itself, is transformed into its opposite, and so becomes again empty space’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Pittsburgh, Carnegie Institute of Art, 1979-1980, p. 15).
A lyrical homage to the physical act of creating sculpture, Eduardo Chillida’s Yunque de Sueños VIII (Anvil of Dreams VIII), 1954-59, takes its poetic title from the artist’s notion of forging a new art of the sublime on a metaphorical anvil. Wrought in the heat of the blacksmith’s inferno, Chillida shaped metal in its most organic, molten state through hammering and firing into a visual expression of the artist’s philosophy. The Yunque de Sueños sculptures articulate the essence of Chillida’s aesthetic aims, mixing what Carola Giedion-Welcker once described as 'precise craftwork... free imagination, 'iron’ discipline and winged fantas’ (C. Giedion-Welcker, quoted in Eduardo Chillida: Praise of Iron, exh. cat., Valencia, IVAM, 2002, p. 203). One of seventeen exquisite small-scale works created by the artist between 1954 – 1966, other works from this series now form part of are found in the collections of IVAM, Institut Valencià d’ Art Modern, Generalitat, Valencia; The Menil Collection, Houston; Städel Museum, Frankfurt; Kunsthaus Zürich, Zurich; Öffentliche Kunstsammlung Basel, Basel (on permanent loan); Munson-Williams-Proctor Arts Institute, Utica and Museo Nacional Centro de Arte Reina Sofía, Madrid (on long-term loan). Having resided in the same collection since 1964, the present work was exhibited Stedelijk Museum, Amsterdam, Schirn Kunsthalle, Frankfurt, and The Museum of Fine Arts, Houston.
As the title suggests, Yunque de Sueños VIII exists both in the world of material reality and in a metaphysical dream world, based upon both philosophical ideals and artistic imagination. Poet Octavio Paz saw the way that the opposites play off each other as one of the fundamental aspects of Chillida’s work. Speaking of this series, Paz declared: 'The title of this series obeys the same poetic logic as do the earlier works: the anvil and the dream are only another, more energetic formulation of the duality governing Peine del viento or Rumor de limites. The transportation also affects the relationship between the two terms of the metaphor: the anvil acquires the property of the dream, and, like the comb and limits, denies itself, is transformed into its opposite, and so becomes again empty space’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Pittsburgh, Carnegie Institute of Art, 1979-1980, p. 15).
Created in praise of his materials, Yunque de Sueños VIII celebrates the art of the blacksmith, retaining the rhythmic notched marks of hammer strokes. Chillida articulated twisted branches which seem to extend organically - grasping and embracing the void, imparting life into the dense materiality of the iron. In this way, the solid iron serves as much as a celebration of its own materiality as it is an acknowledgement of the fabric of space around it. The metal both penetrates and is penetrated by the mysterious, intangible space surrounding it, suggestive of a dynamic tension between the form and void. Chillida considered the ‘material’ of negative space to be just as intrinsic to his sculpture as iron; space being a material ‘so quick that you can’t see it’, and iron and its steel alloy as being ‘very slow’. The harmonious meeting of materials of different speeds is at the heart of all of Chillida’s work. In Yunque de Sueños VIII the interruption of space by the iron seems to establish a fertile dialogue between metal and space, the materials meeting at the juncture in time which the artist defined as ‘the limit’. The physical forms carve the void between them in the viewer’s mind as a physical entity. The crooked fingers extended from the sculpture’s centre grasping at the infinite space suggests a lyrical interplay between the form and void.
Perched atop a stoic wooden plinth, the forged elements of the sculpture seem softened by the natural tactility of the wooden base. Chillida’s intuitive handling of the roughhewn, wooden base from which the metal form extends continues the artist’s poetic investigation into material oppositions. Through the elegant pairing of materials, Chillida conjures broader relationships, as Paz observes, between axe and trunk, lightening and tree, while remaining evidence of the purity of their elemental materiality. The pure and unembellished materiality of Yunque de Sueños VIII embodies the artist’s philosophical exploration of form. As the artist suggests, 'they are attempts to define space. They are called anvils but, though made of iron, they dissolve like dreams: they are pure space, bodiless and nameless’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Pittsburgh, Carnegie Institute of Art, 1979-1980, p. 17).
'The meditation between the hammer, the anvil and iron is carried out by the body of the blacksmith’ (O. Paz, quoted in G. Carandente, Chillida, Barcelona and Madrid 1999, p. 8).
‘The anvil and the dream are only another, more energetic formulation of the duality governing Peine del viento or Rumor de limites. The transportation also affects the relationship between the two terms of the metaphor: the anvil acquires the property of the dream, and, like the comb and limits, denies itself, is transformed into its opposite, and so becomes again empty space’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Pittsburgh, Carnegie Institute of Art, 1979-1980, p. 15).
A lyrical homage to the physical act of creating sculpture, Eduardo Chillida’s Yunque de Sueños VIII (Anvil of Dreams VIII), 1954-59, takes its poetic title from the artist’s notion of forging a new art of the sublime on a metaphorical anvil. Wrought in the heat of the blacksmith’s inferno, Chillida shaped metal in its most organic, molten state through hammering and firing into a visual expression of the artist’s philosophy. The Yunque de Sueños sculptures articulate the essence of Chillida’s aesthetic aims, mixing what Carola Giedion-Welcker once described as 'precise craftwork... free imagination, 'iron’ discipline and winged fantas’ (C. Giedion-Welcker, quoted in Eduardo Chillida: Praise of Iron, exh. cat., Valencia, IVAM, 2002, p. 203). One of seventeen exquisite small-scale works created by the artist between 1954 – 1966, other works from this series now form part of are found in the collections of IVAM, Institut Valencià d’ Art Modern, Generalitat, Valencia; The Menil Collection, Houston; Städel Museum, Frankfurt; Kunsthaus Zürich, Zurich; Öffentliche Kunstsammlung Basel, Basel (on permanent loan); Munson-Williams-Proctor Arts Institute, Utica and Museo Nacional Centro de Arte Reina Sofía, Madrid (on long-term loan). Having resided in the same collection since 1964, the present work was exhibited Stedelijk Museum, Amsterdam, Schirn Kunsthalle, Frankfurt, and The Museum of Fine Arts, Houston.
As the title suggests, Yunque de Sueños VIII exists both in the world of material reality and in a metaphysical dream world, based upon both philosophical ideals and artistic imagination. Poet Octavio Paz saw the way that the opposites play off each other as one of the fundamental aspects of Chillida’s work. Speaking of this series, Paz declared: 'The title of this series obeys the same poetic logic as do the earlier works: the anvil and the dream are only another, more energetic formulation of the duality governing Peine del viento or Rumor de limites. The transportation also affects the relationship between the two terms of the metaphor: the anvil acquires the property of the dream, and, like the comb and limits, denies itself, is transformed into its opposite, and so becomes again empty space’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Pittsburgh, Carnegie Institute of Art, 1979-1980, p. 15).
Created in praise of his materials, Yunque de Sueños VIII celebrates the art of the blacksmith, retaining the rhythmic notched marks of hammer strokes. Chillida articulated twisted branches which seem to extend organically - grasping and embracing the void, imparting life into the dense materiality of the iron. In this way, the solid iron serves as much as a celebration of its own materiality as it is an acknowledgement of the fabric of space around it. The metal both penetrates and is penetrated by the mysterious, intangible space surrounding it, suggestive of a dynamic tension between the form and void. Chillida considered the ‘material’ of negative space to be just as intrinsic to his sculpture as iron; space being a material ‘so quick that you can’t see it’, and iron and its steel alloy as being ‘very slow’. The harmonious meeting of materials of different speeds is at the heart of all of Chillida’s work. In Yunque de Sueños VIII the interruption of space by the iron seems to establish a fertile dialogue between metal and space, the materials meeting at the juncture in time which the artist defined as ‘the limit’. The physical forms carve the void between them in the viewer’s mind as a physical entity. The crooked fingers extended from the sculpture’s centre grasping at the infinite space suggests a lyrical interplay between the form and void.
Perched atop a stoic wooden plinth, the forged elements of the sculpture seem softened by the natural tactility of the wooden base. Chillida’s intuitive handling of the roughhewn, wooden base from which the metal form extends continues the artist’s poetic investigation into material oppositions. Through the elegant pairing of materials, Chillida conjures broader relationships, as Paz observes, between axe and trunk, lightening and tree, while remaining evidence of the purity of their elemental materiality. The pure and unembellished materiality of Yunque de Sueños VIII embodies the artist’s philosophical exploration of form. As the artist suggests, 'they are attempts to define space. They are called anvils but, though made of iron, they dissolve like dreams: they are pure space, bodiless and nameless’ (O. Paz, quoted in ‘Chillida: From Iron to Light’, Chillida, exh. cat., Pittsburgh, Carnegie Institute of Art, 1979-1980, p. 17).