San Sebastián, 1924 - 2002
Wrought iron, 28.5 x 63 x 25 cm
Acquired in 2003
Chillida’s work varied between what we might term informalist calligraphy (in other words, rapid, continuous lines and traces) and more compact forms of "imprecise geometry" close to spatialist techniques and concerns. The variation in style from work to work often depended on the media used, the sculptor being particularly sensitive to the different plastic values of his preferred materials, iron, wood, alabaster, concrete and terracotta. Trembling Irons II is part of a group of sculptures Chillida exhibited in Paris in 1956 and which brought him international recognition. Clearly appreciable in the work is the linear development of the iron, its incisive graphic nature, and the associations with the labours of the blacksmiths who produced farm tools, arms and other primitive instruments. Indeed, Trembling Irons II seems to "abstract" the shape of a plough, converting it into a sign pointing to the infinite and thus transforming it into an object of metaphysical significance. What the artist conveys is the arduous search for exacting expression, by using cast iron, which takes time and no little effort to transform, to transfer the flexible development of spontaneous graphics into physical space. Although Chillida originally studied architecture in Madrid, he soon turned to sculpture. After a sojourn in Paris, he returned to the Basque Country in 1951. In 1958 he won the Grand Prize for Sculpture at the Venice Biennial. Heir to a tradition of sculpture in iron launched by Picasso, Julio González and Pablo Gargallo, Chillida is one of the essential sculptors of the second half of the 20th century. His collaboration with philosophers such as Heidegger and Cioran and poets of the stature of Jorge Guillén give an idea of the essentialist leanings of his work as a whole. [J.V.]
Presentation of restored works and a new grant for training
Early this year, Iberdrola intensified its commitment to the Bilbao Fine Arts Museum by providing welcome support for the annual conservation and restoration programme for artworks in the Museum collection. At the same time, it is to continue to finance educational programmes at the Museum targeting special needs publics.
Open enrollment period for the new course
"From realism to impresionism. Art between 1850 and 1900" is a programme of eight conferences organized in collaboration with the Fundación Amigos del Museo del Prado and to be held from January 08, 2013 until February 12, 2014.
Documentary film about Néstor Basterretxea
The exhibition organized by our museum in the beggining of the year, is the thread that tie together this documentary film, highlighting the importance of one of the most relevant basque artists of the XX Centu...
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Goya, Gentileschi, Zurbarán, Ribera, El Greco, Murillo, Sorolla, Gauguin, Chillida, Bacon … The finest gems have always gone by their own names, and ours have first name, surname, emotion and plen...
The Impressionist Adventure
If you would like to learn more about the life and work of Darío de Regoyos, please join one of our Sunday guided tours at 12 noon. The Museum’s guides will help you gain a better understanding of Regoyos’s pai...