The June showing of Peter Agostinis sculpture at the Salander-OReilly Gallery on East 79th Street in Manhattan brings a true masters touch of creative genius to this Spring and Summers New York Art Gallery scene. With its vivid, image-provoking title of Mid-Life Crisis, this uniquely characteristic and diverse collection of the artists work exhibits the highest definitive qualities of major schools and styles in the rich, complex history of World Art. Entering the gallery, the viewer is greeted by the silken surface and steely force of the Swell, made of hydrocal in 1965. One of a series of Swells, this amazing landmark in modern sculptural achievement at once defies and re-defines accepted and proven laws of physics in its seductive intrigue of tied inner tube forms contained to near bursting, threatening absolute explosive elegance pure, pristine dynamite grace. Within this piece, Eastern Asian full-form and fluidity meet Western power-packed compression, and align. Nearby, another well-known smaller sculpture entitled Squeeze (1964) is a plaster replica of the artists strong, sensitive hands kneading tight-skinned tubular forms into lifelike, billowing, breathing flesh. Its classic Italian form in American Pop Art medium give this piece unbounded limits as a powerful merging of style, form and period a sculpture of true significance within the history of international art. The artists index finger playfully arching above the work-in-process questions any challenge to Peter Agostinis valid place as a Founding Father and true genius in the history and development of Modern Art. Another Swell in hydrocal (c. 1965) exudes an uncanny feeling of feather lightness in flight, its ballooning, bulbous dimensions defying both weight and gravity. Its rope-lined seams of stretching, barely controlled power with fabric-like pleats beneath the rope-ties lend a sheer suggestion of draping to this otherwise naked revelation of exaggerated form. The tightly encased volumetric magnitude is similar to that found in many large, heavy-based and massive Buddha figures of Indian, Ceylonese and Chinese sculpture from the 5th and 6th Centuries A.D., as well as in stone figures and fragments from the Mayan ruins of Mexico. The terra cotta Untitled Head (1972), a gentle-featured, expansive, cloud-boulder sits stalwart, unconcerned of its peculiar duality of full, rounded, yet fractured forms. Its fragmented skull and nose in no way detract from its large, round baby-doll eyes and full, plush lips. The overall fullness and depth of the features are classical, but the eyes are shallow almost drawn as in Abstract Expressionism. And the endearing vertical line through the eye is unmistakably theatrical French and Art Nouveau. Agostini came close to discarding this piece when it broke and fragmented during its kiln firing, but was persuaded to keep it because of the artistic strength and validity of its altered state. Immortalized in bronze, the Old Apollo (1976) with its bony, yet muscular torso and sparse, thinning legs its powerful, yet gnarly hands and feet possesses a quiet, knowing countenance of incorrigible patience and acceptance of longevity. The elderly god stands watchful, fearless in his linear definition of aging grace. With back of right hand resting easily on right hip, he exhibits the uncanny relaxed, open-handed, languid strength so beautifully recognized in the male figures of Michelangelo. Butterfly in plaster (1959) has a rare quality of sophisticated buoyancy and weightlessness a new-born nymph taking flight, emerging from its satin pillow cocoon in a graceful curving twist of upward spiraling transformation. Within this piece live the exquisite convergence of classic Renaissance form, Rococo richness of style, and Pop Art conception and material. The artists characteristic signature of Agostini nonchalantly carved in subtle, low-relief in large and small capitalized print in the sculptures soft-pillow base emphasize even further this vibrant combination of period and world style. The amazing sculptural triptych display of bronze horses: Walking Horse (1971), Galloping Horse (1969), and Flying Horse (1939) all embody a pure, uninhibited and joyful outrageousness in their yogic postures and near-impossible dance-flight moves. The subtle nuances of their smooth classical forms combined with their dashing flare and dauntless unfurling of elegance enable them to soar above any pedestal or reproach. With each face carefully defined by the free, casual, but exacting touch of the artist, the four plaster Figure sculptures are definitive of feminine beauty and liquidity of form. Their flowing, graceful lines and rough-surface modeling are proudly indicative examples of the joining together of Renaissance, Impressionism and Abstract Expressionism. The exquisite and outstanding exhibition of Agostinis sculpture at the Salander-OReilly Gallery in Manhattan will run until the end of June, and Peter Agostinis brilliant influence and significance in the field of American and World Art will continue throughout the endurance of history. |
