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Moment's MonumentMedardo Rosso and the International Origins of Modern Sculpture$
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Sharon Hecker

Print publication date: 2017

Print ISBN-13: 9780520294486

Published to California Scholarship Online: January 2018

DOI: 10.1525/california/9780520294486.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 21 October 2020

“Impressionist Sculptor”?

“Impressionist Sculptor”?

The Impossibility of Categorizing Rosso

Chapter:
(p.61) 3 “Impressionist Sculptor”?
Source:
Moment's Monument
Author(s):

Sharon Hecker

Publisher:
University of California Press
DOI:10.1525/california/9780520294486.003.0004

This chapter examines the shift that emerged in Medardo Rosso's art from 1883 onward, when he made a new series of sculptural experiments that came to be labeled Scapigliato, Verista, and Impressionist by several critics. Another critic associated his art with the techniques of the Tuscan Macchiaioli of the previous generation; by 1887, it was being explicitly associated with French Impressionism. The chapter analyzes what might have been known in Italy about French Impressionism in the 1880s and assesses its reception in the art and literature of the time. It follows with a close analysis of Rossos innovative sculptures of urban subjects like Carne altrui (Flesh of Others) and La Portinaia (Concierge, both 1883–84), whose broken-up, painterly surfaces became permeable to transient effects of light, shadow, and atmosphere.

Keywords:   Medardo Rosso, sculptural experiments, Scapigliato, Verista, Tuscan Macchiaoli, French Impressionism, Carne altrui, La Portinaia

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