Max Herold - Awakening

The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the highest expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also been a central theme in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism.

As this lithograph for Max Herold demonstrates, the human figure is conceived entirely in terms of compositional rhythm. We can see how the figure references a typically Cubist gigantism, which in turn harks back to the sculptures of primitive civilizations. The entire subject is traversed by a sinuous and intricate interweaving of lines.

Max Herold's conception of the human figure seems to draw inspiration from Henry Moore's sculpture. The same centrality of the anthropomorphic figure is present, but deformed, elongated, following the rules of a biomorphism that almost represents a regression to a primordial state. In reality, these deformations have a great expressive value in the sinuous, curvilinear rhythm and in the dialectic between solids and voids.

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