| 翻訳と辞書 |
| Lorenzo Domínguez ： ウィキペディア英語版 |
Lorenzo Domínguez
Lorenzo Domínguez (Santiago de Chile 1901-Mendoza, Argentina 1963) was a prolific Latin American sculptor whose art is a deliberate and personal synthesis of pre-Columbian and Rapa Nui (Easter Island) aesthetics with a European artistic formation.
== Introduction ==
Lorenzo Domínguez's art is the antithesis of the idea of "autochthony" and "cultural unity". In fact, his life of constant and lasting migrations across continents and through multiple countries could be used as an example of the limitations of a nationalistic approach to the history of art. He was born in Santiago de Chile in 1901.〔Pro, D.F. Tiempo de Piedra. Lorenzo Dominguez, pages 15-26.〕 He spent his childhood and adolescence in Santiago, but as a child he stayed for a whole year at a boarding school in Malaga, in southern Spain. During his youth he spent ten years in Madrid, Spain, where he began to sculpt. At thirty, he returned to Santiago de Chile. There, he continued sculpting and began teaching sculpture at the university. During the Spanish Civil War he went to Barcelona〔(El Escultor Chileno Lorenzo Dominguez ) La Vanguardia, Barcelona May 28, 1938. Page 3.〕 for a few months. He then spent a year in Paris, frequenting some famous sculpture workshops. At forty, he moved to Argentina, where he lived for almost twenty years in the cities of Mendoza and Tucumán, teaching at the university and creating sculptures, embossed metal plates and drawings. In January 1960, he traveled to Easter Island〔Dominguez, L. Las Esculturas de la Isla de Pascua〕 or ''Rapa Nui'', where he spent thirteen months studying the Island's artistic treasures and creating drawings and sculptures of his own. He returned to Argentina in February 1961. In 1963 he died in Mendoza at the age of sixty-one.
Defining him as Chilean, or Argentine or European because of the place in which he was born, or learned to sculpt, or worked, would be reductive. Lorenzo Domínguez was a Latin American artist who lived his artistic life under the sign of certain syncretisms. Before his encounter with Easter Island, the artist synthesized the Spanish and French artistic perspectives acquired during his formative years with certain Latin American pre-Columbian artistic features, like privileging stone over other classical sculpting materials such as bronze or wood, or privileging local stones over the more traditional Carrara marble, or using the technique of direct carving. The encounter with the moais and petroglyphs of Easter Island, is not felt by Lorenzo Domínguez as the incorporation of a "foreign" element, but as a continuity: in his eyes, Easter Island, with its “stones that look like sculptures and its sculptures that look like simple stones” gives form to Michelangelo's dream of "sculpting the mountains", as he says in his Easter Island journals.〔Domínguez, L. (Diario de la Isla de Pascua, 1960-1961 ). Page 29. Entry for 03/09/1960.〕 The encounter with Easter Island and with an aesthetics signed by both monumentality and line, offers Domínguez the opportunity for a new synthesis of European, Latin American pre-Columbian and Rapa Nui artistic elements.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
■ウィキペディアで「Lorenzo Domínguez」の詳細全文を読む
スポンサード リンク
| 翻訳と辞書 : 翻訳のためのインターネットリソース |
Copyright(C) kotoba.ne.jp 1997-2016. All Rights Reserved.
|
|