Eduardo Chillida

Modulation of Space I


Not on display

Eduardo Chillida 1924–2002
Object: 546 × 698 × 400 mm, 160 kg
Purchased 1965

Display caption

Chillida began to forge sculptures from solid iron in 1951. The darkness of iron, he suggested, was more suited to the sombre culture of his Basque homeland than more traditional sculptural materials such as plaster or marble. He believed that the final shape of the work could be determined only through the process of working directly with this resistant material. Discussing the group to which this work belongs, Chillida wrote that he ‘sought a more fluid and modulated dialogue between material and space than in other works of mine.’

Gallery label, February 2005

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Catalogue entry

Eduardo Chillida born 1924

T00750 Modulation of Space I 1963

Not inscribed
Iron, 25 1/2 x 27 1/2 x 15 3/4 (54.5 x 70 x 40)
Purchased from the Galerie Maeght through the McRoberts and Tunnard Gallery (Grant-in-Aid) 1965
Prov: With Galerie Maeght, Paris (purchased from the artist 1964)
Exh: Chillida, Galerie Maeght, Paris, May-June 1964 (4, repr.); Documenta III, Kassel, June-October 1964 (Chillida 2, repr.); Chillida, McRoberts and Tunnard Gallery, London, June-July 1965 (1, repr.); Eduardo Chillida, Kunsthaus, Zurich, March-April 1969 (32); Stedelijk Museum, Amsterdam, April-June 1969 (32)
Lit: Claude Esteban, Chillida (Paris 1975), p.203, repr. p.207 in colour
Repr: Studio International, CLXVIII, 1964, p.40; Pierre Volboudt, Eduardo Chillida (London 1967), pl.35 (two views)

This is the first of three iron sculptures entitled 'Modulation of Space' which the artist forged in 1963. The second won one of the two equal awards for sculpture at the 1964 Pittsburgh International and was afterwards bought by the Wilhelm-Lehmbruck-Museum, Duisburg. The third, exhibited like this in Documenta III at Kassel, is now in the collection of Rolf Renker.

In a letter of 23 January 1966, the artist wrote: 'I think one of the things that distinguishes this series from among my work in general is that in them, above all in No.1 and 2, and in a more complete way than in the rest of my work, I have collaborated with the reaction of the material at determined external forces. I also sought a more fluid and modulated dialogue between material and space than in other works of mine.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.119, reproduced p.119


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