This exhibition of Hiroyuki Hamada’s new sculptures comprises 11 works, both sculptures free standing and wall hanging. I hesitate to term all of the latter, “bas reliefs,” while several of the major works certainly are. And those are very similar in formulation to the free standing sculptures, although they are sans the hallmark pedestals, which stand to be part and parcel with the abstract forms they support.
Hiroyuki Hamada, #88, 2016 – 20, Painted Resin, 29 x 47 x 41″
The smaller wall hung pieces are more akin to bricolage painting; as folded, bent, and twisted scraps of what looks like metal or leather are affixed to flat, subtly toned, apparently wooden substrates. The larger works impart a distinctly Japanese aesthetic in their elegant, zen-like, and graceful simplicity of pure form; as such without any backing besides the wall -or they are free standing. What appear to be natural materials such as white or black ceramic tile, rusted iron, or stone are also displayed on bases of what look to be thoroughly rusted pipes. To be clear on this point: the artist considers these works painted sculptures. They are all constructed of synthetic materials. Hamada’s masterful use of trompe l’oeil surfacing is astounding. The rusty piping is in fact p v c and the aquiline shapes they support are carved insulation foam coated with painted plastreric resin. Polystyrenes have been popular with artists since at least the 1950s and 60s when Jean Dubuffet and Nikki de Saint Phalle first explored the then new found resource. The properties of these mediums allow for direct impulsive carving and so generally disregard the conventional sculptural necessity of pre constructing an armature or so to speak, skeleton within, thereby allowing the artist an unrestrained free hand in expression.
Hiroyuki Hamada, #100, 2023, Painted Resin, 38 x 63 x 26.5″, Base: 35 x 46 x 26.5″
Notably, Dubuffet topped off his monumental works with stucco while de Saint Phalle frequently embellished her works with mosaics. More recently others have crusted the artifice with epoxies, fiberglass, urethane putties, or other substances; then painted them in order to stave off degradation resulting from exposure to sunlight. These are industrial materials often used in construction, or automotive assembly, ship building; even for making surf boards. Significantly, pragmatic considerations have enabled artists to explore and discover various possibilities. These newfound materials were lightweight, comparatively inexpensive, and easily manipulated without the need of a foundry. If Hiroyuki Hamada’s works were composed of what they convincingly appear to be they would weigh more than could be lifted in this gallery’s elevator, or hung on its sheetrock walls. Yet there are laborious old school techniques which could enable his vision with a forge and kiln. Frankly, Hamada’s mastery of faux finishes over the coated, smoothed, and refined forms is so complete that I didn’t notice until he mentioned it. The illusionistic pragmatism is not what grabbed me. I was attracted to the work purely for its aesthetics – its elegance: the simple smooth forms which reference predecessors Isamu Noguchi and Jean Arp’s exigencies, amongst many functional designers, who modeled their modernist forms in traditional materials – whilst Hamada’s tasteful combinations of industrial supplies are not what they seem to be at all, presenting a fascinatingly duplicitous conundrum.
Hiroyuki Hamada, #108, 2025, Painted and pigmented Resin, 36.5 x 55 x 13″
Hiroyuki Hamada: New Sculpture, May 6 – June 13, 2025. Bookstein Projects, 39 East 78th Street, NYC
We had the good fortune of meeting Ed Nemeth and Nancy Parke-Taylor at a recent art opening for Steve Rockwell, the publisher of d’Art International magazine. Ed is a semi-retired pharmacologist and Nancy has currently retired from her career as a lawyer. After much chatting with Ed and Nancy, we discovered that these two lovely people had a fabulous collection of contemporary Canadian and American art. Lucky for us, we were invited to their home to see this wonderful and eclectic collection.
I must say, the house itself is a work of art, located on a beautiful street lined with large mature trees. Although the façade of the house is somewhat modern, its large open spaces are filled with paintings, photographs, sculpture, works on paper, and art books covering almost every subject one can imagine.
Ed Nemeth and Nancy Parke-Taylor with Tony Calzetta work
Upon entering the living room, your eye takes you to a beautiful painting by Toronto artist Tony Calzetta. It’s big and bold. Over the fireplace hangs an abstract by Toronto based artist Seo Eun Kim, who often goes by the name Sunny Kim. When viewed from afar, the surface of the painting resembles a needle point embroidery, when in fact, most of the surface is created by use of a baker’s piping bag.
Alcove with Barker Fairly paintings
The opposite side of the room has three lovely landscapes by Barker Fairley. The trio is serene and peaceful. To the left hangs a wonderful Harold Town single autographic print and below a landscape by Charles Comfort. And below to the left of that, a lovely Ray Mead ink abstract. Directly below the Fairleys sits a very large and quirky ceramic sculpture by David James Gilhooly. It’s fantastic and the juxtaposition of these works is so much fun. Also scattered among the table tops are intriguing metal sculptures by Santa Fe sculptor Kevin Box. Some of the pieces bring to mind origami works due to their extreme thinness and fine detail.
Ed Nemeth and a wall of abstract works
Similar to numerous collectors, Ed and Nancy’s collection comprises various pieces by the same artist, reflecting different stages of the artist’s life. Their collection features multiple works by Barker Fairley, ranging from landscapes (as depicted) to several portraits. The same goes for several pieces by Tony Calzetta from various phases of his artistic journey. A significant portion of their collection showcases multiple works by the same artist, with some displayed together while others are dispersed throughout the house, each hanging alone or in clusters in different rooms.
Robert Longo work
From here we stroll into the dining room where on one wall hangs two large scale black and white lithographs by American artist Robert Longo. The male and female are captured in a dance-like motion creating an amazing dynamism between the two.
The opposite walls are covered in a variety of black and white photographs of various individuals including two photographs by renowned photographer Sally Mann. Among this collection is one of a young girl who once adorned the cover of an issue of American Fiction magazine. There is one striking photograph by Alfred Eisenstaedt of Dr. Joseph Goebbels, Propaganda Minister of the German Third Reich. There’s a fascinating story behind this photo. After Eisenstaedt took the photograph, there was a knock on his door one evening. Fear engulfed him as he thought he would be arrested and taken away by the Gestapo but, to his surprise and complete relief, he was simply asked for a copy of the photograph for Dr. Goebbels’ personal collection.
As we leave the dining room, we walk through what I would consider a reading room filled with hundreds of art books and a fabulous Janet Cardiff abstract work of art. Such a unique piece as Cardiff is primarily known for her sound performance works and videos. Cardiff, along with George Bures Miller represented Canada at the 49th Venice Biennale in 2001. Truly an amazing find.
In this room hangs a number of photographs by Mark Hogancamp who works with toy figures, placing them in certain spaces and in certain positions in order to create a fictional city. Mark Hogancamp produced a book of his photographs titled “Welcome to Marwencol” which later became part of the idea behind the movie with Steve Carell, an American actor and comedian, called “Welcome to Marwen” released in 2018.
Belgian artist Jean Pierre Schoss blue metal sculpture
This room leads into the next which looks out into a well cared for garden. You’ll see a massive blue metal sculpture against the fence by Belgian artist Jean Pierre Schoss of Dog Bite Steel. His quirkiness and comedic appeal makes him look like a big, old friendly monster: he’s simply fabulous. Schoss uses recycled materials such as steel and creates fascinating creatures and animals. He feels the discarded material has a lot of character and always tells a life story. There are many smaller pieces scattered throughout this and other rooms. They’re very sweet and quite charming. But the outdoor monster is the best!
What is intriguing about their collection is that the arrangement of the works is perfectly curated. They appear to be positioned in a way that they all complement one another, reflecting similar themes, artistic styles, and colours harmonizing seamlessly.
What a treat it is to walk throughout the house and see works by Rita Letendre, Harold Town, Ray Mead, Barker Fairley, Robert Longo, Robert Chandler, Ian McKay, Katherine Bemrose, Steve Rockwell, Christopher Winter, Robert Marchessault, John Massey, Tim Deverell and Sally Mann, just to name a few.
A new gallery has opened in Toronto – Sheff Contemporary – located in a surprisingly airy basement on Danforth Ave. Given the number of commercial galleries that have closed in recent years, its opening is in itself something to celebrate. Its inaugural show highlights the work of Steve Rockwell. The gallery’s owner, Saeed Mohamed has known Rockwell many years, and has always been greatly impressed by his work.
The space, Mohamed explains, is important in the sense that he understands how art is ineluctably an in-person experience. Indeed, it the experiencing of art in the gallery setting that is a central idea of Rockwell’s work. At the same time, Mohamed is not committed to keeping the gallery in one location. Rather, he appreciates that it is the people – artists, audience, buyers etc. – who together are the essential elements of this experience. Art, he feels, is often elitist and he is keen, instead, to promote art in a way that makes it more relatable to the public, who like himself, may not be connoisseurs in the traditional sense. His hope is to foster an inclusive crowd of art enthusiasts who will facilitate this aim. He sees his role as providing the space and the opportunity to experience art. Certainly judging from the crowd who showed up for the opening reception, he’s off to a good start.
Installation view of Steve Rockwell Meditation on Space at Sheff Contemporary, 2025. Photo: Hugh Alcock
Rockwell’s show is about art. It is, one might say, second order art. Moreover it is a breed of conceptual art, based on performance of a peculiarly inconspicuous kind. Rockwell’s work invariably has some story behind it. For instance, in one of his black and white paintings, one confronts an image of the artist himself, arms fully spread, with bright light radiating from his torso, titled My Spirit Lives Here! (1996). Nearby is another image of him, titled Blackout, which in contrast to his effulgent self, has him shrouded in darkness – his features barely discernible.
My Spirit Lives Here! 1996, acrylic on masonite, 32 x 32 inches (Inspired by the January 2, 1996 visit to the Ernie Wolfe Gallery in Santa Monica, California). Courtesy of the artist
These two paintings are part of a series of five, on the theme of meditating on various spaces in galleries, that is ostensibly based on a story akin to that in the Bible of the conversion of Paul on the road to Damascus. A journey from the infidel’s blindness to the light of faith. But any such story line surmised by the viewer, it turns out, is post hoc. The order of the paintings was chosen long afterwards. Each is a record of some event he experienced while executing a performance he titled Meditations on Space. It involved him showing up in some reputable gallery in Switzerland, France, Toronto, Los Angeles or New York, announcing to its custodians that he was there to meditate on the gallery space. Most acquiesced and let him be. But part of the performance concerned his interactions with people and with the space itself. While in the Ernie Wolfe Gallery, Los Angeles, for instance, its owner shouted out to Rockwell ‘This is where I live. My spirit lives here!’, hence the title of the painting mentioned above.
Meditations on Space, 1996, acrylic on masonite, 32 x 32 inches (Inspired by the September 20, 1995 visit to Galerie Jamile Weber in Zurich, Switzerland). Courtesy of the artist
While these works are not literally biblical in derivation, they do touch on big questions – on life and death specifically. In Blackout we see a grainy barely discernible image of Rockwell’s face. It inspired by an episode while visiting and meditating on a gallery space when he was suddenly plunged into darkness, due to a power outage of course. In his depiction of this event Rockwell chose to render himself, despite the almost total darkness, as a comment on our perception of darkness. As Rockwell points out, normally – at night, closing our eyes etc., – we do not in fact experience total black. Instead we ‘see’ what are sometimes called phosphenes, namely internally generated patterns. The image of his face that we see imitates this experience. Only death leads to true blackness in this sense. Likewise, light is obviously associated with life. Hence Rockwell’s choice of painting in black and white – emblematic of pure light and darkness, i.e., life and death.
Blackout, 1996, acrylic on masonite, 32 x 32 inches (Inspired by the October 3, 1995 visit to Galerie Lahumiere in Paris, France). Courtesy of the artist
Rockwell’s performances on the theme of galleries goes back to about a decade earlier. In 1988 he decided to drop by at 64 of Toronto’s galleries, and ask their owners or administrators to fill out a form indicating in which direction their main entrance faces – north, east, south or west. Using the information he received he built a model, displayed on the wall, representing each gallery as a compartment on a square grid. A small aperture on the respective wall of each indicates the direction of the entrance. Here one is reminded of Sol Le Witt’s work, e.g., his permutations of the edges of a cube. The appearance of the material art object is entirely determined by the rules underwriting its construction. Indeed, Le Witt has been a major influence on Rockwell. This year Rockwell repeated the performance. In the updated version he struggled, sadly, to find 64 galleries in the city.
Gallery Space, 1988 (left) and Gallery Space 2025 (right) both house paint on mahogony panel and card, laser transfer text, 14 x 14 x 2 inches. Photo: Hugh Alcock
Rockwell’s original motive for this earlier gallery performance was to find a way to introduce himself to the various galleries, and learn how they operate. This kernel of an idea became an abiding theme for him. As well, it is illustrative of Rockwell’s entrepreneurship, his willingness to go out and introduce himself and his ideas, more importantly, to people. As testament to the footwork this performance demanded, he has chosen to encase, and thus preserve, the very pair of shoes he wore walking around the city.
Gallery Space (Shoes), 1988, acrylic, wood floor, shoes, 14 x 14 x 15 inches. Courtesy of the artist
Here we see Rockwell’s wit – humour and sharp intelligence – shining through. Although physically the work occupies a modest amount of space, it brims over with ideas and reflections on the nature of art itself. Clearly Rockwell loves art, both the making of it and as its cultural wealth. Not to be missed as well is an array of collages he has meticulously produced – small works on paper – that investigate the margins of pictures and images. Beautiful work altogether.
Installation view with collages, each 2025, dArt pages with oil, 7 x 8.5 inches. Photo: Hugh Alcock
*Exhibition information: Steve Rockwell, Meditations on Space, June 5 – 30, 2025, Sheff Contemporary, 1276 Danforth Ave, Toronto. By appointment only (416-792-7792).
Seeing the description for Sylvia Galbraith’s Loretta’s Place in the catalogue for CONTACT 2025 I was hooked right away. Then I received an email from Abbozzo Gallery promoting Galbraith’s exhibition and the image looked as though it was in 3D—projected on the wall of the gallery. But when I finally visited the gallery, I saw the actual artwork—a large photograph on the main wall. I stood rooted in front of it, forgetting about the place and time— I just floated into its magic world.
There are two different worlds combined into that one image of a rather abandoned looking room with a bed frame, as though someone had just departed or the room was waiting for a new occupant. There is a rug on the floor and wood we expect to see on the floor now on the ceiling. But what makes this image unique is the upside-down landscape on the walls. Galbraith used a camera obscura when photographing the landscapes in Newfoundland, so the inverted images are inverted. But it is much more than that. Neither the room nor the rural landscape is interesting in its own. However, through combining them in this way, they undergo a metamorphosis. The interior opens and the landscape becomes part of the room, but not like a picture on the wall. Grass grows, buildings emerge, and we no longer know when the inside ends and the outside begins. Inside and outside become one, a mesmerizing symbiosis.
The Exhibition Statement mentions that the artist was “particularly interested in relationships between buildings and people”. However, none the photographs include people. Galbraith talks about people in their absence, like poetry does. The objects and landscapes resemble history, social status and there are real landscapes in their physicality. But what is physical? Can it be modified by our perception or even by the technique of the camera obscura? When does reality end and our dreams and memories start filling the place? In these photographs you can no longer separate them, they merge, creating an illusion that overshadows any possible reality. Looking at them you find yourself in a very different world, where interior and exterior no longer exist; an ethereal place has been created.
The title of the exhibition What Time Is This Place?, is very important. The photographs depict the rural landscape of Newfoundland in reality, as an outpost with common buildings. How do those people get here? Why? Is it an escape or a conscientious choice? Do they fit in or misplaced? We can guess their history, past and present and their social status. In Loretta’s Place the bottom of the walls in the room are sky-blue, the landscape is green, the buildings are yellow and white while the floor, the bed and the ceiling are dark, creating a dramatic contrast. The bed made me think of possible interactions between objects and people. It is just the frame, hinting at the absence of a person. But what does an absence really mean? Years ago, when I moved into my apartment, there was abandoned furniture in it that an old person left behind. For some time, I felt the presence of him, like a imprint of his memory was still there. The same is true for Galbraith photographs. Loretta might be a poor person, in a small, rural place, who still needs to buy a mattress and bed clothes. Very little else can fit into that tiny place. I think she is somewhat misplaced. This room can’t be the place she dreamed about.
Gary’s Place, Living Room (2019) is a comfortable space with a couch and framed pictures on the wall, that are overlapped with the landscape. A piano at the wall suggests that he is a music lover. His story is very different from Loretta’s. I am aware that I am creating my own narrative here, and I am sure everyone else will do the same. It is a good thing to be so deeply involved in the image.
Some of the photographs give away their locations, like Main Road with Boats and Butterflies (2022), where the landscape is dominant. It is a nicely painted room with an antique lamp and books on a dresser, suggesting that the person who lives in it can afford beautiful, expensive things. The landscape depicts a harbor and a more populated area, a village or a small town. Butterflies fly out of the landscape, further confusing the viewer about where the landscapes ends and the interior takes over. The ceiling is another photograph that looks like a rock with some grass. It is not easy to decipher what we see or where we are.
Morning in the Red Cliffe Kitchen (2024), located in a town, where the only thing you can see is the wall and windows of the neighboring building, giving me the feeling of a suffocating, little space. Everything is old—almost grandmotherly—the stove, the couch, covered with a blanket, a chair with a pillow, the lace curtain. As in all Galbraith’s photographs, the colors are important. The vibrant reddish brown on the left contrasts the white stove, the shining kettle and the white fence, creating a quiet interior.
Each photograph combines the inside of a living area with the surrounding landscape, focusing on the interaction between them. Every place has a strong impact on the people occupying them. Our personality is formed by our surroundings, whether it’s a busy city with noisy traffic or the countryside with a lake or ocean. According to that we become busy, hurried or eccentric, peaceful.
Our influence on the landscape can be positive or hurtful. I also believe that we may influence the buildings we live in. Whatever we do—work, cook or play the piano—our happiness or sadness leave a print on the walls and our memories live on in them. These photographs capture these ideas beautifully. As gallery manager, Blake Zigrossi said, they are more than photographs, they are “meta-photographs”, metaphors of our life.
Sylvia Galbraith, What Time Is This Place?, May 9 – June 7, 2025, Abbozzo Gallery, 401 Richmond Street West, Suite 128, Toronto. Gallery hours: Tue – Fri 11am – 6pm, Sat 11am – 5pm.
Henry Moore (30 July 1898 – 31 August 1986) was an English artist. He is best known for his semi-abstract monumental bronze sculptures which are located around the world as public works of art. His sculpture style was significantly influenced by his experience as a soldier in World War I. Moore also produced many drawings, including a series depicting the Second World War, along with other graphic works and studies on paper.
Marino Marini (27 February 1901 – 6 August 1980) was an Italian sculpture and educator. He initially trained as a painter in Florence before transitioning to sculpture. While he continued to engage in drawing and painting, Marini focused mainly on sculpture starting around 1922. Known for his figurative sculptures, particularly the “horse and rider” theme, which he explored throughout his career. In 1929, he took over from Arturo Martini as a professor at the Scuola d’Arte di Villa Reale in Monza, close to Milan, Italy, a role he held until 1940.
Henry Moore and Marino Marini, 1970, (detail) Gelatin silver print by Yousuf Karsh
Henry Moore and Marino Marini were introduced in 1951 by the New York art dealer Curt Valentin, leading to a significant friendship that endured throughout their careers. They often met along the Tuscan coast in Italy during the 1960s and 1970s, where Marini lived and Moore had a vacation residence. Both artists sought to revisit and modernize the European sculptural tradition, which Tuscany offered many exceptional examples. They shared numerous creative interests and held deep admiration for one another. Together, they cultivated a network of friendships and professional relationships with notable artists and intellectuals, including Jean Arp, Max Beckmann, Salvador Dali, Alexander Calder, Yves Tanguy, Lyonel Feininger, Alberto Giacometti, and Jacques Lipchitz.
Marino Marini, Due Figure, 1941, oil, tempera, pen, india ink, brown ink and pastel on paper (13.5 x 10.25 inches)
It is intriguing to note that both artists subconsciously exhibited remarkably similar artistic styles in their drawings, particularly in their early drawings from the 1940s. Their drawings predominantly focused on potential sculptural figures, as demonstrated in the drawings presented here. The figures in Marini’s Due Figure from 1941, created with oil, tempera, pen, India ink, brown ink, and pastel on paper, and Moore’s DrapedStanding Figures in Red from 1944, executed in pencil, ink, wax crayon, and watercolour, reveal a striking resemblance when placed side by side. Both artists are utilizing mixed media materials on paper of comparable dimensions. It is clear that these illustrations depict figures arranged as non-objective prospective subjects in a sculptural context. The Vatican Museum contains a small drawing by Moore and features a collection specifically focused on Marini’s early works on paper.
Henry Moore, Draped Standing Figures in Red, 1944, pencil, ink, wax crayon and watercolour (15.75 x 12.25 inches)
Two talented artists who unknowingly shared a strikingly similar artistic journey in their early works. Both artists hailed from different backgrounds (Marini from Italy, Moore from England) but found their calling in the realm of art, showcasing unique perspectives and creative flair in their works on paper. From a young age, these artists displayed a natural inclination towards art, doodling on any surface they could find and immersing themselves in colours and shapes that ignited their imagination. Haunted by the war and the suffering of civilians he observed during the bombings, Moore’s artistic themes were significantly shaped by these experiences. Meanwhile, Marini’s artistic style underwent a transformation due to the war, moving away from the smoother, classical forms of his earlier works towards a more jagged, Expressionist style that reflected his anxieties and disillusionment with humanity in the aftermath of the war.
Combining the enigmatic allure of artistic expression with the intricacies of the subconscious mind, the intriguing parallels between two renowned artists’ early works have captivated art enthusiasts and scholars alike. It’s a fascinating intersection of creativity, influence, and individual style as these artists, perhaps unknowingly, manifested remarkably similar artistic techniques in their works during the formative stages of their careers. Through a journey of discovery and analysis, we can unravel the threads that connect these artists’ early artistic endeavours, shedding light on the subconscious forces at play in shaping their distinctive visual languages.
Left: Marino Marini, Pomona, 1943, oil, pastel and black crayon on paper (15.12 x 11.12 inches). Right: Henry Moore, Two Women and a child, 1940, pencil, wax crayon, coloured crayon, watercolour wash and ink (15.75 x 11.75 inches)
Despite their unique perspectives, these artists often incorporated similar elements in their compositions, from the arrangement of subjects to the harmonious blend of colours that evoked a sense of unity and cohesion in their artworks. It is intriguing to explore how unconscious influences, such as personal experiences, emotions, and cultural backgrounds, may have shaped the artists’ early artistic expressions. Delving into the depths of the subconscious unveils a rich tapestry of inspiration within their works. They collectively transformed classical sculpture into a more figurative semi-abstract style that aligned with contemporary trends.
They shared a profound admiration for Michelangelo’s sculptures, particularly David (1501-1504) and Pietà (1498-1499), the latter illustrating Mary holding the lifeless body of Jesus after the Crucifixion. Both masterpieces were crafted from marble extracted from the nearby Carrara quarries. Notably, the Pietà is distinguished as the only artwork that Michelangelo ever signed. On 21 May 1972, this sculpture, located in St. Peter’s Basilica in Vatican City, suffered damage when a mentally unstable geologist, originally from Hungary and residing in Australia, entered the chapel and assaulted the statue with a geologist’s hammer, proclaiming, ‘I am Jesus Christ; I have risen from the dead!’.
Henry Moore, Reclining Figure, 1969-1970, Bronze with brown patina
On the 15 December, 2005, a bronze statue by Moore, entitled Reclining Figure (1969-1970), depicting an abstract female figure, lying on her back with her legs raised and feet grounded, supported on one arm and resting on her hip. Valued at £3 million, was stolen from the courtyard of the Henry Moore Foundation located in Perry Green, Hertfordshire, England. The sculpture which weighed 2.1 tons and measured 3.6 metres in length was lifted using a crane and transported away on a flatbed truck. It is believed that the statue was melted down and sold for £5,000 as scrap metal. Six casts of the reclining figure were created in total.
Marino Marini, The Angel of the City, 1948, Bronze with brown patina
Marini’s sculpture titled The Angel of the City(1948) a seminal work by the Italian artist depicts a nude man sitting with outstretched arms on a horse. There are castings on display at the Peggy Guggenheim Collection in Venice, as well as the J. Paul Getty Museum in Los Angeles. This piece was one of Fallingwater, Pennsylvania, USA’s most prominent pieces of art lost during a flood at Bear Run Nature Reserve in August 1956. The sculpture was part of the Kaufmann family collection and was lost for years until found in fragments in August 2009.
Both artists achieved global recognition during their careers, showcasing their art work at prominent museum exhibitions and receiving numerous accolades worldwide for their work. Both are in collections with works in hundreds of galleries, museums and public spaces throughout the world.
Marino Marini, Ballerino, 1954, Bronze with dark brown patina (left) Henry Moore, Mother and child, 1980, Bronze with dark brown patina (right)
The Art Gallery of Ontario (AGO) located in Toronto, Ontario, Canada, is home to the world’s most extensive public collection of Henry Moore’s art, encompassing sculptures, maquettes, and works on paper, largely donated by the artist himself during the years 1971 to 1974. The Henry Moore Sculpture Centre was inaugurated at the AGO in 1974 to showcase Moore’s original donation and has since become a landmark in Toronto.
The Marino Marini Museum, located in Florence, Italy, is dedicated to the artist’s legacy and creations. Occupying the former San Pancrazio Church, the museum displays a rich collection of Marini’s sculptures, paintings, and drawings, offering valuable insights into his artistic progression and journey.
