Allonge, Atelier, Suite
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Richard MacDonaldAllonge, Atelier, Suite2014
2014
About the Item
- Creator:Richard MacDonald (1946, American)
- Creation Year:2014
- Dimensions:Height: 21 in (53.34 cm)Width: 15 in (38.1 cm)Depth: 6.5 in (16.51 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Laguna Beach, CA
- Reference Number:Seller: ATE022NU1stDibs: LU49013346562
Richard MacDonald
There are artists and there are masters. Richard MacDonald will go down in the history of sculpture as Picasso did painting, as an unequivocal master of the art.
Only a number of people can master craftsmanship, far fewer, the art of the human form. Figurative sculpture is a language MacDonald speaks with astounding fluency, and as with any language, MacDonald’s creative drive is formed from a need to share the universal dialect of the human figure with those who understand it; this is the unique privilege the artist affords his viewers.
MacDonald captures the beauty, romance and essence of the human spirit in motion. Influenced by the expressiveness in the figures of Renaissance master Donatello, the emotional intensity of works by 19th century French sculptor Auguste Rodin, and the power of Michelangelo’s sculptures, MacDonald’s inspirational, sensitive works are precisely of the moment, yet profoundly historic by reference. And they dance rhythmically for all to see — in the leap and grace of the dancer, the power of the athlete, the gesture and passion of lovers, the spirit rises, and MacDonald captures it.
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Richard MacDonald’s sculpture Duality, originally introduced to collectors under the working title of Yin and Yang II, represents a prin...
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“Study for the Rose, Half Life” draws on Richard MacDonald’s highly developed sensitivity for the experience of the dancer, and displays all the quiet beauty of a private moment of reflection.
In half-life size the supple and delicate form of the ballerina has real substance—an almost-breathing presence that immediately draws us to wonder at the thoughts of the ballerina toying with the ribbon on her shoe. Her youth and preoccupation give a sense of life and warmth to the sculpture; the beautiful line of her arm draped over the bar is a study in the effortless grace of the well-trained dancer. Her soft cheek rests on her shoulder, and we feel the tenderness of her childish daydream—yet she holds the posture of an accomplished professional. A study in contrasts, this piece has the timeless appeal associated with the ballet works by Degas, with the unmistakable character that can only be attributed to Richard MacDonald himself.
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