Abstract
This article examines the impact of Italian sculpture by artists such as Francesco Messina, Arturo Martini, Marino Marini or Giacomo Manzu on both art criticism and sculptors in Spain. Their works, characterized by the capture of expressive figures in ordinary situations, were well-received by critics like the influential Eugenio D’Ors, who aspired to recuperate the classical roots of Spanish art in the style of the Italian Novecento art movement. This Italian influence made an extraordinarily deep impression on the Spanish sculptor Cristino Mallo.
Highlights
En el presente artículo se analiza la recepción que tuvo la escultura italiana de artistas como Francesco Messina, Arturo Martini, Marino Marini o Giacomo Manzù, tanto en la crítica artística como en los propios escultores españoles
This article examines the impact of Italian sculpture by artists such as Francesco Messina, Arturo Martini, Marino Marini or Giacomo Manzù on both art criticism and sculptors in Spain
Their works, characterized by the capture of expressive figures in ordinary situations, were well-received by critics like the influential Eugenio D’Ors, who aspired to recuperate the classical roots of Spanish art in the style of the Italian Novecento art movement
Summary
En el presente artículo se analiza la recepción que tuvo la escultura italiana de artistas como Francesco Messina, Arturo Martini, Marino Marini o Giacomo Manzù, tanto en la crítica artística como en los propios escultores españoles. Caracterizadas por la plasmación de figuras rotundas en situaciones cotidianas, fueron bien vistas a los ojos de críticos que, como el influyente Eugenio D’Ors, pretendían la recuperación de las raíces más clásicas del arte español al estilo del Novecentismo italiano.
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