Pietro Consagra (1920-2005)

Professions: Sculptor; Painter; Engraver

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  - Pietro Consagra , 1920-2005 Colloquio bronzo, marmo e legno

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  PIETRO CONSAGRA

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  Pietro Consagra , 1920-2005 Impronta Solare bronze

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  Pietro Consagra (1920-2005)

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Pietro Consagra Biography

(b Mazaro del Vallo, 4 Oct 1920). Italian sculptor and writer. After studying at the Accademia di Belle Arti in Palermo (1941–4), he moved to Rome, where he met Renato Guttoso. He was a founder-member of the group FORMA in 1947. By 1948 he had produced his first abstract sculptures (e.g. Homage to Christian Zervos , bronze, 1400*410 mm; Rome, G.N.A. Mod.). Consagra developed abstract metal reliefs comprising silhouetted forms built up of overlapping rhythmical shapes, which catch light to create a sense of depth. He achieved a balance between geometrical forms and figurative elements. Consagra produced small preparatory drawings for his works, which were cut out rather than modelled from wood, bronze, aluminium and steel. His writings included Necessità della scultura (1952), a response to Arturo Martini’s La scultura lingua morta (1945), and works on particular aspects of his projects. From 1952 he participated in the Venice Biennales, where he had one-man shows (1956, 1960 and 1972). In 1961 he co-founded the group Continuità. Throughout his career he had numerous public commissions such as the bronze sculptures for the Garden of Pinocchio (1963) in Collodi, near Lucca, a bronze sculpture (1966) for the Foreign Ministry in Rome and the cemetery gates (1977) in Gibellina. During the 1960s he concentrated on the analysis of Cubist space and volume. His art is characterized by concerns with the nature of matter and signs, explored in a variety of materials and colour, and through the interplay with their environments of works that had holes or were transparent (e.g. Transparent Steels). However, throughout his career he maintained a thematic continuity in subject-matter and style. Man’s role within a changing world is a subject that dominates his work, from abstract spatial figures known as Dialogues (1954–62) to the Hanging Aluminiums (1964) and the larger environmental projects, for example Frontal City (steel, 1500*500 mm, 1968; Rome, Studio Consagra). He experimented with colour in such works as the Planets series (1987).

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