{"product_id":"wolfgang-alexander-kossuth-il-cristo-2","title":"Wolfgang Alexander Kossuth - The Christ","description":"\u003cp style=\"text-align: justify;\"\u003eWolfgang Alexander Kossuth was born in Pfronten, Germany, in 1947. After completing his studies, he moved to Naples in 1968, where he graduated in violin. He won the international violin competition at La Scala in Milan. From 1970 to 1972, he played in the orchestra while simultaneously studying composition and conducting. In 1975, he made his debut as conductor with the La Scala Orchestra. In 1979, he abandoned his budding musical career to devote himself to sculpture. Since then, illustrious figures from the worlds of music, literature, and dance have become protagonists of his works, including Alberto Erede, Leonard Bernstein, Mario Del Monaco, Giuseppe DiStefano, Luciana Savignano, Milva, Valeria Moriconi, Mario Soldati, Sergiu Celibidache, Sandor Vegh, Sierk Schroder, Ottavio Mazzonis, Andrea Jonasson-Strehler, Liliana Cosi, Alessandra Ferri, Massimo Murru, and Roberto Bolle. In 1981, the portrait of Mario Del Monaco was inaugurated at the Museo della Scala, and in 1986, the statue of Domenico Scarlatti was inaugurated at the RAI Auditorium in Naples. In 1992, the sculpture Simona became part of the collection of the Paaw Museum in Wassenaar, the Netherlands. In 1993, the portrait of the poet Vittorio Sereni was placed in the Civic Museum of Luino. The large sculpture dedicated to Niccolo' Paganini was placed in the Carlo Felice Theater in Genoa. In 1995, the sculpture Salome and in 1997 the sculpture Innamorata became part of the collection of the Bandera Museum in Busto Arsizio. In 1999, the work Maternità became the symbol of UNICEF of the Republic of San Marino. In 2003, she received a plaque from the choreographic studies center - Teatro Carcano - in recognition of her artistic work, particularly dedicated to the art of dance. In January 2004, he was awarded the President of the Republic's plaque on the occasion of the exhibition \"Flight: From Icarus to Our Day.\" Alexander Kossuth, who, as his biography describes, abandoned the language of music to focus his creativity on sculpture, is a clear example of contemporaneity that escapes the fashions of the time. Nothing classical, except for a few references to symbols and characters from mythology, links Kossuth's work to Hellenistic or classical Roman sculpture. The figure is never portrayed or immobile in Kossuth's work, which seeks muscular and emotional tension in each piece. Some figures, such as Daniela and Summer Faun, seem ready to snap, elastic bands of flesh and bone that defy the anatomy of the human body to exalt the refinement of a dance movement, the intensity of an embrace, the precariousness of a balance. The richness of detail, the refined depiction of a working muscle, the smooth sheen of surfaces, never seek photographic realism, never challenge the limits of sculptural skill. Sculpture isn't intended to be an exercise in style for Kossuth, who, after demonstrating innate prowess, begins with this fact, like a storytelling alphabet. It's not a matter of complacency in sculpting, but rather a surreal exploration of the limits of the human body, of an otherworldly beauty that transcends descriptive detail, even when depicting figures familiar to the masses. A portrait of Roberto Bolle or Alessandra Ferri isn't simply a tribute to prestigious names on the international art scene. It's a pretext for research into the human body and the harmony of its movements. This analysis becomes pure introspection when Kossuth approaches a face. Mario Soldati's bronzes reveal much more about him than a photograph, and the choice to leave the surfaces of the clay from which the bronze waxes were cast reveal a refined depiction of Soldati's unbreakable bond with the earth. Refinement and elegance, lightness and balance, have found their ideal expression in the use of bronze and resins. Bronze, cast using the lost-wax process, has always been one of the most fascinating materials for sculpture. Its plasticity, the warmth the metal imparts to compositions, the ability to smooth and patina its surface with different hues, make this material unique. The complexity of movement, the dimensions, and the constant search for detail severely test the skill of those who cast these works. The dark patinas allow light alone to delineate muscular tension, the relief of a face, the connection of multiple figures. Bronze never takes on a \"statuesque\" dimension, understood as a material suited to commemoration, celebration, or staticity. Instead, it seems to carefully depict the softness and elasticity of skin, flesh, and muscle, continually indulging the sculptor's research. For Kossuth, bronze becomes a means to achieve the initial idea, never a limit to its expression. Thus, even majestic works like the portrait of Bolle, which stands nearly two and a half meters tall, maintain the elegance and lightness afforded by metal. He died on December 31, 2009.\u003c\/p\u003e","brand":"Cannata Francesco Giuseppe","offers":[{"title":"Default Title","offer_id":56210684445058,"sku":"FCAN001","price":15000.0,"currency_code":"EUR","in_stock":true}],"url":"https:\/\/venderequadri.it\/en\/products\/wolfgang-alexander-kossuth-il-cristo-2","provider":"Venderequadri","version":"1.0","type":"link"}