How many works of art does Harry Bertoia have?
But, just as Bertoia rarely signed his work, feeling that his gift to the universe needed no man’s mark on it to be appreciated or interpreted, the sculpture speaks for itself and needs no definition or classification. An estimate of total Bertoia sculptures is in the tens of thousands—a phenomenal number of works for a man who passed at age 63.
Is there such a thing as a Bertoia sculpture?
There are so many varieties of Bertoia sculpture that it is perhaps too broad to plunk them all in one category. But, just as Bertoia rarely signed his work, feeling that his gift to the universe needed no man’s mark on it to be appreciated or interpreted, the sculpture speaks for itself and needs no definition or classification.
What kind of bronze did Harry Bertoia use?
The curvy fountain-type pieces were lovingly welded one rod at a time in the 1960s, shifting each new rod enough to give the desired shape. Most were bronze or copper. Bertoia never balked at technical difficulties, but rather managed to invent new techniques if needed.
Where did Harry Bertoia learn to do welding?
An in-progress Catalogue Raisonné is being compiled by the HarryBertoia Foundation. Bertoia learned welding at Santa Monica City College in California in the late 1940s, and immediately began to experiment in his personal evening time.
But, just as Bertoia rarely signed his work, feeling that his gift to the universe needed no man’s mark on it to be appreciated or interpreted, the sculpture speaks for itself and needs no definition or classification. An estimate of total Bertoia sculptures is in the tens of thousands—a phenomenal number of works for a man who passed at age 63.
What kind of material is the Bertoia sculpture made of?
Materials vary from bronze, brass, copper, gold-plated steel, with some of the bushes patinated. Bundled wire and sprays were generally stainless steel, but occasionally bronze or copper.
The curvy fountain-type pieces were lovingly welded one rod at a time in the 1960s, shifting each new rod enough to give the desired shape. Most were bronze or copper. Bertoia never balked at technical difficulties, but rather managed to invent new techniques if needed.
An in-progress Catalogue Raisonné is being compiled by the HarryBertoia Foundation. Bertoia learned welding at Santa Monica City College in California in the late 1940s, and immediately began to experiment in his personal evening time.
There are so many varieties of Bertoia sculpture that it is perhaps too broad to plunk them all in one category. But, just as Bertoia rarely signed his work, feeling that his gift to the universe needed no man’s mark on it to be appreciated or interpreted, the sculpture speaks for itself and needs no definition or classification.
