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Eduardo ChillidaSpanish Artist signed limited edition original art print chine colle drypoint1982
1982
$4,700
£3,579.56
€4,125.97
CA$6,575.27
A$7,390.17
CHF 3,848.60
MX$89,882.71
NOK 49,247.60
SEK 46,701.24
DKK 30,793.49
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About the Item
Eduardo Chillida (Spain, 1924-2002)
'Korapillo II', 1982
chine colle, dry point on japanese paper
25.6 x 19.7 in. (65 x 50 cm.)
Edition of 50. Original 63 of which 50 belong to the regular edition. P/A: 8, H.C.: 5
Unframed
ID: CHI1038-013
Hand-signed by author
It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 290 – 291. Nr 82003.
____________________________________________________
He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements.
Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes.
Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own.
His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production.
The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999).
Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon Prize (1978, with Willem de Kooning). , the Grand Prix des Arts in France (1984) and the Jack Goldhill Prize from the Royal Academy of Arts in London (1996).
In 2000 he opened the Chillida-Leku Museum in San Sebastián, a monographic exhibition space.
(Source: biographieses)
- Creator:Eduardo Chillida (1924 - 2002, Spanish)
- Creation Year:1982
- Dimensions:Height: 25.6 in (65.03 cm)Width: 19.7 in (50.04 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Miami, FL
- Reference Number:1stDibs: LU1854213279692
Eduardo Chillida
Eduardo Chillida studied in Madrid and then went to Paris, where he was influenced by Pablo Palazuelo in his first figurative work, done in plaster and clay. Other influences were Frank Lloyd Wright, Albert Giacometti and Joan Miro. In 1950, he began doing printmaking lithography, woodcuts, etchings, drypoints and silkscreens. His graphics are not related to his sculpture but are creative expressions unto themselves. During the 60s, his graphics tended to be massive black lines on white, giving the appearance of realistic shapes.
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By Eduardo Chillida
Located in Miami, FL
Eduardo Chillida (Spain, 1924-2002)
'Korapillo I', 1982
chine colle, dry point on japanese paper
25.6 x 19.7 in. (65 x 50 cm.)
Edition of 50. Original 62 of which 50 belong to the regular edition. P/A: 7, H.C.: 5
Unframed
ID: CHI1038-012
Hand-signed by author
It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P. II 1973-1985. Chorus – Verlag, pp 288 – 289. Nr 82002.
____________________________________________________
He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements.
Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes.
Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own.
His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production.
The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999).
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"Bidegin", 1972 signed original etching chine colle limited edit Spanish artist
By Eduardo Chillida
Located in Miami, FL
Eduardo Chillida (Spain, 1924-2002)
'Bidegin', 1972
etching, chine colle on paper Velin Arches 250 g.
Image size: 12.75 x 9.25 in. (32.5 x 23.5 cm.)
Sheet size: 29.8 x 21.9 in. (75.5 x 55.5 cm.)
Edition: 67. 50 numbered, 7 P/A (Artist Proofs), and 7 H.C.
Unframed
ID: CHI1038-011
Hand-signed by author
It is documented in Chillida, E. (1999). Eduardo Chillida – Opus P.I 1959-1972. Chorus – Verlag. pp 314 – 315. Nr 72015.
____________________________________________________
He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements.
Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes.
Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own.
His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production.
The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999).
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Located in Miami, FL
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'Bilbao – Mundial 1982', 1982
silkscreen on japanese paper
37.5 x 23.7 in. (95 x 60 cm.)
Edition of 150. P/A: 25, H.C.: 50
Publisher: Maeght
Unframed
ID: CHI1038-010
Hand-signed by author
____________________________________________________
He began his career in 1943 studying architecture at the University of Madrid, but in 1947 he dedicated himself to drawing and sculpture, and in 1948 he moved to Paris, then the world capital of the arts. Although he abandoned his studies, his work betrays his architectural training, showing an underlying sense of structural organization, as well as discipline in materials, planning of spatial relationships, and scale of elements.
Over the years, the artist turned to materials that showed his investigations into conceptual questions and metaphysical concerns. Chillida's first stone and plaster creations oscillated between the human world and the natural world using figures and images of landscapes.
Consistently guided by the quality of space, density and rhythm, his works consider ways in which mass and volume contain space. His public works, which exist on a more massive scale, not only inhabit the space but also determine a qualifying space of their own.
His monumental sculptures, designed for both urban and more secluded spaces, are permanently installed internationally and constitute an important facet of his artistic production.
The main retrospectives of Chillida's graphic and sculptural work have been mounted by the Museum of Fine Arts in Houston (1966); Carnegie Institute, Pittsburgh (1979); National Gallery of Art, Washington, DC (1979); Guggenheim Museum (1980); Miramar Palace, San Sebastián (1992); and Museo Nacional Centro de Arte Reina Sofía, Madrid (1999).
Chillida received numerous awards, including the Grand International Prize for Sculpture at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...
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