Eduardo Chillida

Biographical Sketch

Eduardo Chillida was born in San Sebastián, Spain on January 10, 1924. Studied architecture at the University of Madrid's Colegio Mayor (1943-36), but broke off his studies in 1947 to attend the private art academy Círculo de Bellas Artes in the same city. In 1948 Chillida moved to Paris, became friends with the painter Pablo Palazuelo and created his first figurative sculptures in plaster and clay. He returned to San Sebastián in 1950 and married, and then returned for some time to Paris. During a move to a new studio in neighboring Hernani in 1951 his earlier works were destroyed. A new beginning was in order. He created his first abstract iron sculptures and installed a hearth for working iron in his studio. Became friends with the composer Edgard Varèse and the architect Frank Lloyd Wright and in 1959 began working in wood and steel. Became friends with Alberto Giacometti. Did his first works in marble in 1962, and dedicated himself to travelling the following year. He later met Joan Miró. Began working in alabaster in 1965. Met Martin Heidegger in 1968 and in the following year, Alexander Calder. In 1971, taught as guest professor at the Carpenter Center for the Visual Arts at Harvard University in Cambridge, where he befriended the poet Jorge Guillén. In 1972, Marcial Vidal began collaborating with Chillida. Moved to Monte Igueldo in San Sebastián in 1982. Two years later, he created clay sculptures at the potter Hans Spinner's house in Grasse (in the south of France). The Chillida Foundation was established and in 1991, Chillida bestowed a stipendium for the first time. It went to the sculptor Koldo Jáuregui. Chillida lives and works in San Sebastián. He has received countless awards and honors.

Since 1954 his works have been shown in the most famous international galleries and museums. One of his most important public sculptures is the concrete 'Hommage to Tolerance' done for the World Fair in Sevilla in 1992. Eduardo Chillida is the main representative of non-concrete sculpture, following J. González. The materials he uses are metal, wood and stone. His spatially reduced painterly view of solid and void is reflected in his graphic work as well, namely in the series which was developed 'freehand'. Some of his masterpieces are Dream Anvil I-XI 1954-62; Hommage to Kandinsky, 1965; Three Holes, 1973/74; Goethe's House, 1982; The Poet's House, Stele, 1991. ek

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References:

Eduardo Chillida. Catalogue, Kunsthaus Zurich 1978/88;

Beyeler Basel 1982;

Pieter Coray, Lugano 1987;

Eduardo Chillida. Zeichung als Skulptur 1948-1989. Städtisches Museum, Bonn and Westfälisches Landesmuseum, Münster 1989;

Claude Esteban, Jacques Dupin: Eduardo Chillida. L'Espace entre les Doigts. Ausstellung Antibes 1992; Eduard Trier, Nina Koidl: Eduardo Chillida. Skulpturen. Collagen. Zeichnungen. Gravitationen. Druckgraphik. Mappenwerke. Ausstellung Bayer A.G. Leverkusen 1995;

Christoph Vitali/ Thomas M. Messer: Der Baskische Bildhauer Eduardo Chillida, Schirn Kunsthalle Frankfurt 1996;

Eduardo Chillida Skulpturen aus Ton. Exhibit Catalogue, Museum Bellerive, Zurich (as well as Sundern, Lund, Düsseldorf) 1997.

Registers of works:

Edited by Werner Schmalenbach: Eduardo Chillida. Frankfurt am Main Ullstein 1977 in three volumes: Zeichnungen, Akte 1948-1951; Hände 1949-1974; Formen 1957-1968;

Oeuvrekatalog Eduardo Chillida Graphik. Chorus Verlag Munich 1986-1996;

Octavio Paz: Chillida. Werkkatalog. Paris Maeght; Jacque Dupin: Chillida. Galerie Maeght, 1981;

as well as a register of works by Martin van der Koelen from 1986;- (daten ergänzen)

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Note:

The references given are not meant as a list of the best works available on the subject, but simply reflect the author's sources.

Registers and catalogues of works are included when known and correspond to the information given in the index.