Light work: Looking at the work of Medardo Rosso

I discovered and became a devotee of Medardo Rosso (1858-1928) when in graduate school, studying Painting and Sculpture. Last night I attended the closing reception of his works at the Center for Italian Modern Art (CIMA). What a great opportunity this exhibit provided seeing one of his sculptures in person is uncommon, here were 12! Even more enlightening to me, were the 30 drawings and 55 photographs. I am fascinated with his painterly approach to sculpture. Here is an artist who was attempting to ‘dematerialise’ (his term) the sculptures he was making. Light and shade become tools as he manipulated the distinctive characteristics of cast plaster and cast wax (as well as bronze). He chose his materials with this intention that light should combine with the surface to create the form. The play of light on the surface, used to produce an effect of color, is a key element in the finished piece. His aim was to integrate the object with the atmosphere. His method of casting is visible in the final product. In his retention of accidental marks and flaws, the viewer is invited to witness the methods used in the construction of the object. The plaster support beneath the wax surface becomes part of the reading of the sculpture. The tension between materiality and perception are the true subject matter of these works. This sculpture entitled "La conversazione" (the conversation) is a fine example of this. Capturing a moment in time, the standing figure approaches two seated females. Tension is generated as the figures seem to dissolve back into the actual material of the sculpture. Here is one of his "fragment" sculptures. The handling is so rough, it appears spontaneous and form-less, until one notices the beautifully modeled baby's hand and suddenly the baby's head and the mother's breast appears. The drawings were a complete revelation to me. I felt I was getting a lesson when I looked at these drawings. They are completely atmospheric, including detail only to convey the sense of place. Rosso made many photographic studies of work created at an earlier time. At first, observing that he staged the sculptures under different lighting conditions I thought he was using photography as a straightforward, decision making tool for a work in progress. Then I saw that he took photographs of his photographs and that he manipulated the photographs themselves. The multiplicity of ways in which he viewed a single work gave me a deeper insight into his use of materials in service of his art. Looking at the exhibit as a whole, considering the drawings and photographs in conjunction with the sculptures, it was easy to see the fascination he had with ephemera, material and perception. All in all a fascinating exhibit I discovered and became a devotee of Medardo Rosso (1858-1928) when in graduate school, studying Painting and Sculpture. Last night I attended the closing reception of his works at the Center for Italian Modern Art (CIMA). What a great opportunity this exhibit provided seeing one of his sculptures in person is uncommon, here were 12! Even more enlightening to me, were the 30 drawings and 55 photographs. I am fascinated with his painterly approach to sculpture. Here is an artist who was attempting to ‘dematerialise’ (his term) the sculptures he was making. Light and shade become tools as he manipulated the distinctive characteristics of cast plaster and cast wax (as well as bronze). He chose his materials with this intention that light should combine with the surface to create the form. The play of light on the surface, used to produce an effect of color, is a key element in the finished piece. His aim was to integrate the object with the atmosphere. His method of casting is visible in the final product. In his retention of accidental marks and flaws, the viewer is invited to witness the methods used in the construction of the object. The plaster support beneath the wax surface becomes part of the reading of the sculpture. The tension between materiality and perception are the true subject matter of these works. This sculpture entitled "La conversazione" (the conversation) is a fine example of this. Capturing a moment in time, the standing figure approaches two seated females. Tension is generated as the figures seem to dissolve back into the actual material of the sculpture. Here is one of his "fragment" sculptures. The handling is so rough, it appears spontaneous and form-less, until one notices the beautifully modeled baby's hand and suddenly the baby's head and the mother's breast appears. The drawings were a complete revelation to me. I felt I was getting a lesson when I looked at these drawings. They are completely atmospheric, including detail only to convey the sense of place. Rosso made many photographic studies of work created at an earlier time. At first, observing that he staged the sculptures under different lighting conditions I thought he was using photography as a straightforward, decision making tool for a work in progress. Then I saw that he took photographs of his photographs and that he manipulated the photographs themselves. The multiplicity of ways in which he viewed a single work gave me a deeper insight into his use of materials in service of his art. Looking at the exhibit as a whole, considering the drawings and photographs in conjunction with the sculptures, it was easy to see the fascination he had with ephemera, material and perception. All in all a fascinating exhibit