View the recommended itinerary
PERMANENT COLLECTION
Recommended itinerary
« Go back to the previous page
Eduardo Chillida
San Sebastián, 1924 - 2002
1956
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.]

The Bilbao Fine Arts Museum Archive was created in response to the need to gather, conserve, classify and divulge the contents of the documents generated by Museum's many different Departments over its hundred-year-old existence.
Thus, it satisfies the requirements of current laws of the Basque Autonomous Community, such as Basque Cultural Heritage Law 7/1990 and Decree 232/2000 by dint of which Archive Services and other regulatory norms concerning Basque Documentary Heritage are approved and regulated. Preliminary studies are currently being carried out prior to implementing an integral documentary handling system.
The Collections mainly comprise minutes of the Boards, annual reports, registries of works of art, annual inventories, general correspondence and a large and varied collection of photographs, the majority of which depict the Fine Arts Museum building. Those Collections related to the activities of the Modern Art Museum are rather more limited. A large percentage of these documents is currently in the process of being digitalised and computerised.
In addition to the documentation generated purely by the Museum itself, the Archive also conserves documents of historical and artistic interest from different private donations or acquired by the Museum itself with particular attention being given to documents concerning Basque artists. In this particular field, the following stand out: the Gutiérrez de Zubiaurre Collection that has gathered correspondence between the brothers Valentín and Ramón and sister Pilar de Zubiaurre and work undertaken by Bilbao art critic, Ricardo Gutiérrez Abascal during his exile as Professor of the National School for Architecture at the National Autonomous University of Mexico, but who is perhaps better known under his pseudonym of Juan de la Encina. Another outstanding donation of documents is that related to the painter, Balerdi that includes correspondence, photographs, slides, etc., the majority of which deal with exhibitions of the artist's work. In the field of acquisitions, the Uranga Collection includes some quite extraordinary collected letters covering correspondence with artists such as Ignacio Zuloaga, Francisco Durrio, Darío de Regoyos and Manuel Losada, amongst others.
Collections are at the complete disposal of researchers who previously confirm the reasons for their consultations by calling telephone number (+34) 94 439 60 60.
Here is a selection of the exceptional documents we custody in our Archives:
Telephone 94 439 60 60
Fax 94 439 61 45