Description

Immediate dispatch from Somerset. Book in excellent unread/unused condition. See images. Fantastic book.

About the book >.>.> Sculpture was described by Caro in a 1966 interview as “heavy and real”. This he said was both its advantage and its disadvantage. He added that he wanted to create sculpture that was corporeal while at the same time denying its corporeality. The same overarching idea informed seven decades of his creative output and.. paradoxical as it may seem was also the driving force that prompted him to produce seemingly contrasting sculptures over such a long period. Certainly the insistence with which he pursued his vocation remained a constant and is evident even in figures from the very earliest days of his career. His early drawings bear witness to the influence of Picasso not the Picasso of the 1930s not the Picasso whose montages were inspired by Julio Gonz?lez but rather the Picasso of the man holding a lamb. The bodies are reduced to sketchlike closely inter connected forms; the black contours jostling on the picture plane and filling it right to the edges. Yet during this time Caro was less interested in Cubist construction than in the expressive intensity revealed by such figures as the warrior or the bull. Even more so than in his drawings his bronzes betray the endeavour to outline and define a space through the axial lines of the sculpture determined by the legs and the spears of the warriors and by the limbs of the bull. These are not to be read anatomically but rather as an almost abstract space defining skeleton over which the skin is spanned (MP)