|
Malvina Hoffman (June 15, 1885,〔Hill, May Brawley, ''The Woman Sculptor: Malvina Hoffman and Her Contemporaries'', Barry-Hill Galleries Inc., NY, NY 1984 p. 29〕〔Hill, May Brawley, ''The Woman Sculptor: Malvina Hoffman and Her Contemporaries'', Barry-Hill Galleries Inc., NY, NY 1984〕〔Rubenstein, Charlotte Streifer, ''American Women Artists: from Early Indian Times to the Present'', Avon Publishers 1982 p. 176〕 sometimes given as 1887〔Alexandre, Arsene, ''Malvina Hoffman'', J.E. Pouterman, Editeur, Parios, 1930 p.11〕 – July 10, 1966), was an American sculptor and author, well known for her life-size bronze sculptures of people. She also worked in plaster and marble. Stanley Field, director of the Field Museum of Natural History in Chicago, commissioned Hoffman to create sculptures of people representing members of the diverse groups of humans in cultures around the world that became a permanent exhibition at the museum entitled "Hall of the Races of Mankind", which was popular for both for its artistic and cultural values.〔Field Museum〕 It was featured at the Century of Progress International Exposition, the Chicago World's Fair of 1933 that celebrated the centennial of the city. The museum also published a ''Map of Mankind'', featuring her sculptures in a border surrounding a map of the world that was distributed widely with an informative, large-format booklet that made Hoffman's sculptures very well known. Portrait busts of significant individuals of that time and depictions of people in their everyday lives were frequent works executed by Hoffman. Dancers were the subjects of the works that brought her earliest recognition and she continued to sculpt dancers throughout her career, some individuals repeatedly, such as Anna Pavlova. She was highly skilled in foundry techniques as well, often casting her own works and she published a definite work on historical and technical aspects of sculpture, ''Sculpture Inside and Out''. ==Life and career== Malvina Hoffman was born in New York City, the daughter of the concert pianist, Richard Hoffman. She gravitated toward sculpture at an early age, demonstrating her talents. By the age of fourteen she was taking classes at the Art Students League of New York. She later received help from the sculptors Herbert Adams, George Grey Barnard, and Gutzon Borglum, who was a friend of her family. Another family friend, Alexander Phimister Proctor, allowed her the use of his MacDougal Alley studio for a summer. It is interesting to note that as a young girl the artist had the rare opportunity of seeing Swami Vivekananda.〔http://www.ramakrishna.org/Hoffman/hoffman.htm〕 In 1910 Hoffman moved to Europe at the age of twenty-three when her father died. Accompanying her mother, they first lived in Italy before moving to Paris. After three unsuccessful attempts, she eventually was accepted as a student by Auguste Rodin after sitting on his door step and refusing to leave. Rodin’s essence of teaching as per her statement is ‘ “Do not be afraid of realism”.〔(A Little Girl Who Remembered Vivekananda )〕 He later convinced her to return to Manhattan to spend a year dissecting bodies at the College of Physicians and Surgeons. The education she received there was invaluable, honing her remarkable skill of rendering anatomical features that was evidenced highly when she embarked on her ambitious project to sculpt the anthropological series. While working for the Red Cross during and after World War I, Hoffman traveled to Yugoslavia where she first met sculptor Ivan Meštrović, with whom she would study a decade later. She was commissioned to execute several war memorials following WWI, both domestically and internationally. 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「Malvina Hoffman」の詳細全文を読む スポンサード リンク
|