“Unique Forms of Continuity in Space” (1913) by Umberto Boccioni. It depicts a muscular human figure in forward motion. Speed lines and shapes travel smoothly over the surface of the figure, abstractly transforming it. Studiously crafted, it is an early example of figurative abstraction.
It is possibly the best archetype in Western sculpture of Futurism, an Italian art movement that focused on representing the defining attributes of “modernity” insofar as it was understood at the time—speed, energy, dynamism, technology, and industrialization, for example. Industrial inventions like the motorcar, train, or the airplane served as characteristic motifs.
Appearing soon after the inception of modern sculpture, the work is prescient and influential.
 |
| Unique Forms of Continuity in Space (1913) by Umberto Boccioni |
The twentieth century has been one of the most destructive in human history. World War II, the most ruinous war of the last century, ended in approximately 70 to 85 million deaths, of which an estimated 50 to 55 million were civilian deaths. Under Adolf Hitler six million Jews were killed in a genocide known as the Holocaust.
World War I was not far behind on the scale of destruction. It resulted in an estimated 15 million deaths, of which six million were civilian deaths.
World War I was an imperialist war among the Western powers. World War II began as a war of conquest of China by Japan.
Competing political ideologies was one of the major underlying reasons for the war in Europe. Germany and the Soviet Union, which championed the two totalitarian ideologies of fascism and communism, respectively, each brawled for the extermination of the other.
Other exceptionally destructive wars took place, including the Russian Civil War at the beginning of the century, and in the second half of the century, the Korean and Vietnam Wars.
In what has been characterized as the Age of Social Catastrophe, existentialism—a philosophy of alienation—took root in Europe before burgeoning after the Second World War.
This philosophy, which took as its starting point the anguish of human existence, concluded with the dreadful challenge of making meaning out of a world absent of certitudes, the peoples of the West flailing about bereft of answers.
Giacometti’s solitary, attenuated figure is the visual equivalent of existentialism.
He has been described by the art historian Tatyana Kalaydjian Serraino as “spindly,” “withered,” “skeletal,” “vulnerable,” “intense,” “emaciated,” “gaunt,” “disturbing,” and “haunting”—all pointedly appropriate.
Fashioned of bronze, his highly textured surface is “dark,” “mottled,” and “corroded.”
See: https://www.youtube.com/watch?v=fl3iXGgniYg
—AboutArt, “ALBERTO GIACOMETTI'S 'THE WALKING MAN II': A sculptor's take on human nature...,” YouTube video, 9:42 minutes, September 30, 2020
The man strides forward alone, traversing the wasteland of the twentieth century.
Walking Man II is among the last in a series of multiple figures similarly conceived by Giacometti.
The first version of the motif, Woman Walking, was created in 1932.
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| Walking Man II (1960) by Alberto Giacometti |
“Reclining Figure: Arch Leg” (1969-70) by Henry Moore is abstract and modern. It reflects my own enchantment with abstraction, pervasive in modern art, and which, I have remarked, exerts its own special aesthetic appeal.
“Reclining figure” is a common motif of Moore’s art, inspired, say biographers by his encounter with the chac-mool reclining figures of Mesoamerican art during his 1924 trip to Paris on scholarship.
Moore was a postwar modern artist who built on the pioneering work of early twentieth-century sculptors like Raymond Duchamp-Villon, Jacques Lipchitz, or Constantin Brâncuși, all of whom pushed the bounds of abstraction.
At first modern sculptors did not produce wholly abstract art but rather figurative pieces distinguished by highly stylized abstraction. Moore’s work developed in this direction while rapidly evolving into his own signature style.
Moore’s sculptures engage us by transforming the subject into abstract elements yet maintaining the identity of the original figure. Twisting sinuously, often monumentally solid shapes cumulate and elongate, so that when what appear to be separate members join together into a single piece, the result elicits surprise and delight. Holes are accents, imaginatively conceived.
Today we are familiar with abstract figurative distortion, but in Moore’s time it was pioneering.
This particular piece exemplifies Moore’s best, most dramatic traits.
Two additional views, excellent, of this piece are available at this link:
https://ysp.org.uk/openair/reclining-figure-arch-leg
—“Henry Moore: Reclining Figure: Arch Leg,” Yorkshire Sculpture Park
 |
| Reclining Figure: Arch Leg (1969-70) by Henry Moore |
As the title of the work indicates, it consists of two pieces or what looks like a single figure cut into two parts along the approximate location of the thigh.
Highly imaginative and plastic, it is one of his last pieces. Moore passed away in 1986.
 |
| Working Model for Two-Piece Reclining Figure: Cut (1978-79) by Henry Moore |
WHAT IS FIGURATIVE ART?
ReplyDeleteFigurative art [is] defined broadly as any art that represents real-world subjects...Unlike abstraction, which seeks to strip down or depart from visible reality, figurative art engages with it—sometimes faithfully, other times interpretively. It includes depictions of animals, landscapes, and the human figure.
...The origins of figurative art date back to the Paleolithic era, with cave paintings in Lascaux and Altamira depicting animals in motion and human figures engaged in ritual or survival. These early images were not merely decorative; they had symbolic and spiritual functions, potentially used to convey stories, record events, or summon forces beyond human control. In this sense, figuration served as one of humanity's earliest forms of communication—a bridge between lived experience and mythic imagination.
In ancient civilizations such as Egypt, Mesopotamia, and Greece, figurative art took on new functions. Egyptian tomb paintings, for instance, depicted the human body in rigid, idealized forms meant to signify social status and divine order. Greek artists gradually moved toward more naturalistic representation, culminating in classical sculpture that celebrated human anatomy, movement, and ideal proportion. These works laid the foundation for much of Western art’s enduring emphasis on the body as a vessel of meaning, beauty, and philosophical inquiry.
The Renaissance (14th–17th century) marks a high point in the history of figurative art. With renewed interest in Greco-Roman ideals and scientific observation, artists like Leonardo da Vinci, Michelangelo, and Raphael produced works that combined anatomical precision with emotional depth. The invention of linear perspective, along with advancements in oil painting, allowed for increasingly lifelike depictions of space and volume.
...At the dawn of the 20th century, figurative art underwent profound transformations in response to photography, industrialization, and the trauma of modern warfare. The camera freed painters from the need to replicate visible reality, allowing them to experiment with form, perspective, and symbolism. Movements such as Expressionism, Surrealism, and Fauvism used the human figure as a conduit for inner states, dreams, and primal emotion. Artists like Egon Schiele, Käthe Kollwitz, and Francis Bacon contorted the body to express existential distress and psychological fragmentation.
https://www.tappancollective.com/blogs/journal/art-101-figurative-art-origins-evolution-and-enduring-importance
—“Art 101 | Figurative Art: Origins, Evolution, and Enduring Importance,” Tappan, January 1, 2025
Figurative art is a universal response to our desire to visually depict what we see. Strictly speaking, figurative art does not strive for versimilitude but rather seeks meaningful personal expression, even if not intentionally. Figurative art is thus by its very character symbolic communication. It is always embedded in a cultural context.
Gonzalinho
Star Man (2021) by Michelle Rizzi is a remarkable variant of the “stick figure” motif in sculpture, with futuristic connotations.
ReplyDeleteSee: https://www.saatchiart.com/en-es/art/Sculpture-Star-man/663981/8829834/view
The poem “The Dangers of Time Travel” by Gerardo Mena comes to mind.
THE DANGERS OF TIME TRAVEL by Gerardo Mena
You wake up in the future and realize that everyone has evolved. People now have the head of a blue jay and the body of a shiny machine that whirs softly as its insides spin. You see two bird heads that look like your parents, but, of course, that is not possible.
When they see you they cry and shake their heads slowly with disappointment because you are not like them. I’m sorry, you say, your voice rough and hard from one thousand years of sleeping. We are all dying, they sing, their voices like glockenspiels.
Published in Four Way Review, Issue 2, Poetry, January 15, 2013
See: https://fourwayreview.com/the-dangers-of-time-travel-by-gerardo-mena/
Commentary
The prose poem...succeeds by limning an unexpected vision of the future. As we look past the figurative language, we come across a disquietingly plausible scenario.
https://poetryofgonzalinhodacosta.blogspot.com/2020/12/best-short-poem-ever-written.html
Gonzalinho
WOMAN WITH HER THROAT CUT (1932, cast 1949) BY ALBERTO GIACOMETTI
ReplyDelete“Woman with Her Throat Cut” (1932, cast 1949) by Alberto Giacometti is a masterpiece of figurative sculpture executed in the style of Surrealism and dates to the rise of the movement in the 1930s.
The term “surrealism” was originally coined by Guillaume Apollinaire in a March 1917 letter to Paul Dermée, Belgian writer, poet, and literary critic. Born to a Polish-Lithuanian mother, Apollinaire emigrated as a teenager to France, where he made his mark as a poet, playwright, short story writer, novelist, and art critic.
André Breton, French poet and critic, was among the original leaders of the Surrealist movement. He published The Surrealist Manifesto in 1924.
Breton conceived of Surrealism as a reaction against the European “rationalism” that culminated in the devastating conflict of World War I. Breton’s exposition of Surrealism was “anti-rational” and political.
Heavily influenced by Sigmund Freud, especially his theory of the “subconscious,” Breton said that poetry should draw on unconscious inspiration and promoted automatic writing. His aesthetic of unconscious inspiration affected every branch of the arts but was especially powerful in painting.
Dreams, fantasy, and mythology according to Surrealism originate from the realm of the unconscious. They become sensational material in the work of Surrealist painters—Giorgio de Chirico, Max Ernst, René Magritte, Salvador Dalí, or Paul Delvaux, for example—several of whom are today renowned worldwide.
The ubiquity of dreams, fantasy, and mythology in art from the beginnings of civilization indicates that they are universal motifs that precede Surrealism. Surrealism did not invent them.
Abstraction is apparent in the stylized geometric transformation of the viscera in “Woman with Her Throat Cut.” Abstraction was well underway during the heyday of Surrealism in the 1930s. We are able to distinguish in the artist’s lurid brainchild the larynx joined to the esophagus with its cartilaginous rings, the rib cage pulled somewhat apart, a resection of the small intestine, the lower part of the stomach sliced open, and almost disconnected, the lobe of what is the liver, possibly. The entire piece is splayed and looks like the victim of a homicide. It is not a literal representation but rather metaphorical.
To be continued
Gonzalinho
WOMAN WITH HER THROAT CUT (1932, cast 1949) BY ALBERTO GIACOMETTI
DeleteContinued
Of this piece, Lucy Flint of the Solomon R. Guggenheim Museum, New York has written:
“Alberto Giacometti used the Surrealist techniques of shocking juxtaposition and the distortion and displacement of anatomical parts to express the fears and urges of the subconscious. The aggressiveness with which the human figure is treated in these fantasies of brutal erotic assault graphically conveys the content. The female, seen in horror and longing as both victim and victimizer of male sexuality, is often a crustacean or insect[-]like form. Woman with Her Throat Cut is a particularly vicious image: the body is splayed open, disemboweled, arched in a paroxysm of sex and death.
“…Body parts are translated into schematic abstract forms…which includes the spoon shape of the female torso, the rib and backbone motif, and the pod shape of the phallus. Here a vegetal form resembling the pelvic bone terminates one arm, and a phallus[-]like spindle, the only movable part, gruesomely anchors the other; the woman’s backbone pins one leg by fusing with it; her slit carotid immobilizes her head. The memory of violence is frozen in the rigidity of rigor mortis. The psychological torment and the sadistic misogyny projected by this sculpture are in startling contrast to the serenity of other contemporaneous pieces by Giacometti, such as Woman Walking.”
https://www.guggenheim.org/artwork/1424
—Lucy Flint, “Alberto Giacometti: Woman with Her Throat Cut (Femme égorgée),” Guggenheim New York
Although the close of the Surrealist movement has been dated to the end of the 1950s and beginning of the 1960s, its influence continues.
To be continued 2
Gonzalinho
WOMAN WITH HER THROAT CUT (1932, cast 1949) BY ALBERTO GIACOMETTI
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Examples of Surrealist influences from the middle of the twentieth century to the present day:
1. Beat poets of 1940s and 1950s America
“Beat poets sought to write in an authentic, unfettered style. ‘First thought, best thought’ was how central Beat poet Allen Ginsberg described their method of spontaneous writing. Poetically experimental and politically dissident, the Beat poets expanded their consciousnesses through explorations of hallucinogenic drugs, sexual freedom, Eastern religion, and the natural world. They took inspiration from jazz musicians, surrealists, metaphysical poets, visionary poets such as William Blake, and haiku and Zen poetry.”
https://www.poetryfoundation.org/collections/147552/an-introduction-to-the-beat-poets
—The Editors, The Beat Poets, Poetry Foundation
2. Galo B. Ocampo (1913-85), Modernist Philippine painter
His work includes stained glass windows in the Manila Cathedral and in the Santo Domingo Church in Quezon City. He designed the coat of arms of the Philippines, the seal of the president, the different coat of arms of various Archbishops of Manila. His “Brown Madonna” (1938) rendered Mary and the Child Jesus as brown Filipinos.
He is known for his Surrealist landscapes of flagellants during Holy Week in Pampanga; in the paintings penitents’ heads are completely hidden under hoods.
Ocampo served as the director of the National Museum of the Philippines from 1962 to 1968.
3. M. C. (Maurits Cornelis) Escher (1898-1972), Dutch graphic artist
M. C. Escher is a popular artist who produced finely crafted woodcuts, lithographs, and mezzotints, often inspired by mathematics. Although Escher was not a mathematician, his work is widely known among scientists and mathematicians.
Escher’s graphic art dealt with impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations.
His impossible perspectives of interconnected stairs and ramps populated by walking figures—images which make up his most celebrated work—are Surrealist in their fantastical, dream-like quality. His other output intimates this quality.
Although Escher did not associate himself with Surrealism, we are disinclined to separate him entirely from the defining attributes of the movement.
To be continued 3
Gonzalinho
WOMAN WITH HER THROAT CUT (1932, cast 1949) BY ALBERTO GIACOMETTI
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4. The Beatles, Magical Mystery Tour (1967), record album and movie made for TV
Surrealist attributes in the record album and movie include:
“Dream-like narrative and logic. The film abandons traditional plot for a disjointed, often nonsensical journey, much like dream states.
“Automatic and subconscious lyrics. Songs like ‘I Am the Walrus’ use automatic writing, a Surrealist technique, with nonsensical, dream-inspired lines (‘Yellow matter custard’) that emerge from the unconscious mind.
“Juxtaposition and absurdity. The film mixes ordinary people with bizarre, fantastical events (like the ‘Flying’ sequence’s color-filtered clouds) and characters.
“Pop Art and psychedelic aesthetics. The bold, shifting colors and collage-like visuals reflect the era’s pop art scene (Andy Warhol, Peter Blake) and the altered visual experiences from LSD.
“Filmic techniques: Unusual editing, like using recolored leftover footage (from Dr. Strangelove) creates an unnatural, dreamlike atmosphere.
“Connection to Surrealist artists. John Lennon’s lyrics are sometimes described as Dalí set to music.”
—“magical mystery tour surrealist influences” prompt, Google Search AI Overview, January 17, 2026
5. Pink Floyd, English rock band formed in 1965
“Pink Floyd’s Surrealist influences are most evident in their iconic album art, primarily through designer Storm Thorgerson (of Hipgnosis), who drew heavily from artists like René Magritte, Salvador Dalí, and Man Ray to create dreamlike, reality-bending visuals with odd juxtapositions, impossible scenarios (like men on fire or floating objects), and psychological depth, echoing the band’s themes of alienation, madness, and dreams in albums like The Dark Side of the Moon [1973] and Wish You Were Here [1975].”
—“pink floyd surrealist influences” prompt, Google Search AI Overview, January 17, 2026
Hipgnosis was an English art design group based in London that specialized in creating album cover artwork for rock musicians and bands. The group dissolved in 1983.
In 2022 Pink Floyd, not all the same original group members, released the song “Hey, Hey, Rise Up!” to protest the invasion of Ukraine.
To be continued 4
Gonzalinho
WOMAN WITH HER THROAT CUT (1932, cast 1949) BY ALBERTO GIACOMETTI
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6. Miss Peregrine’s Home for Peculiar Children, 2016 film
The 2016 film directed by Tim Burton, screenplay written by Jane Goldman, is based on the fantasy novel by Ransom Riggs and published by Quirk Books in 2011.
Numerous films today convey a fantastical, dream-like quality. “Miss Peregrine’s” is set apart because it is touched by Gothic feel yet not dismal enough to deter viewers from seeking lightsome entertainment.
“Miss Peregrine’s” illustrates the point that Surrealism is today a cultural commonplace.
“Miss Peregrine’s Home for Peculiar Children follows teen Jake Portman as he discovers a magical time loop in 1940s Wales, a hidden world run by Miss Peregrine for children with powers, to fight monsters called Hollowgasts that prey on them, a journey blending Tim Burton's dark visuals with themes of belonging and finding one's unique strengths, though critics noted story issues and excessive exposition despite strong visuals and performances.
“Plot Summary
“Discovery: After his grandfather’s mysterious death, Jake (Asa Butterfield) follows clues to a ruined orphanage on a Welsh island, finding it intact within a time loop set in 1943.
“The Peculiars: He meets Miss Peregrine (Eva Green) and other children with unique abilities (like Emma Bloom who controls air, and Enoch who animates the dead) who live in this perpetual day to hide from monsters.
“The Threat: These creatures, called Hollowgasts, are monstrous beings that consume eyeballs to gain human form (becoming Wights), led by the villainous Mr. Barron (Samuel L. Jackson).
“Jake’s Role: Jake discovers he can see the Hollowgasts, a power linked to his grandfather, and must embrace his own peculiarity to help save his new friends from the escalating threat that crosses time and worlds.
“Reviews and Themes
“Visuals and Style: Praised for its dark, Gothic, Tim Burton aesthetic, unique world-building, and strong visual interest.
“Themes: Explores finding belonging, celebrating differences, courage, and the idea that being ‘normal’ isn’t always best.
“Criticisms: Some found the plot convoluted, with excessive exposition and a weak main character performance, while the villains felt goofy, diminishing the stakes.
“Book vs. Movie: Significant changes were made from Ransom Riggs’ book, particularly the ending and specific character traits, with some noting the film’s darker elements (like eyeball-eating) were a Burton addition.”
—“Miss Peregrine’s Home for Peculiar Children movie plot and review” prompt, Google Search AI Overview, January 17, 2026
Belying the tepid ratings of many reviewers, the movie was a box office success worldwide.
Gonzalinho
A SUPERMARKET IN CALIFORNIA BY ALLEN GINSBERG
DeleteWhat thoughts I have of you tonight, Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon.
In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations!
What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?
I saw you, Walt Whitman, childless, lonely old grubber, poking among the meats in the refrigerator and eyeing the grocery boys.
I heard you asking questions of each: Who killed the pork chops? What price bananas? Are you my Angel?
I wandered in and out of the brilliant stacks of cans following you, and followed in my imagination by the store detective.
We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier.
Where are we going, Walt Whitman? The doors close in an hour. Which way does your beard point tonight?
(I touch your book and dream of our odyssey in the supermarket and feel absurd.)
Will we walk all night through solitary streets? The trees add shade to shade, lights out in the houses, we'll both be lonely.
Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage?
Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe?
Berkeley, 1955
The poem illustrates Ginsberg’s dictum, “First thought, best thought” besides the Surrealist aesthetic of unconscious inspiration.
Gonzalinho
“I AM THE WALRUS” LYRICS
Delete[Verse 1]
I am he as you are he as you are me
And we are all together
See how they run like pigs from a gun
See how they fly, I'm cryin'
[Verse 2]
Sitting on a cornflake
Waiting for the van to come
Corporation tee-shirt, stupid bloody Tuesday
Man, you've been a naughty boy
You let your face grow long
[Chorus]
I am the eggman
They are the eggmen
I am the walrus
Goo goo g'joob
[Verse 3]
Mister City policeman sitting
Pretty little policemen in a row
See how they fly like Lucy in the sky
See how they run, I'm cryin'
I'm cryin', I'm cryin', I'm cryin'
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[Verse 4]
Yellow-matter custard
Dripping from a dead dog's eye
Crabalocker fishwife, pornographic priestess
Boy, you've been a naughty girl
You let your knickers down
[Chorus]
I am the eggman
They are the eggmen
I am the walrus
Goo goo g'joob
[Bridge]
Sitting in an English garden waiting for the sun
If the sun don't come, you get a tan
From standing in the English rain
[Chorus]
I am the egg man (Now good sir, what are you?)
They are the egg men (A poor man, made tame to fortune's blows)
I am the walrus
Goo goo goo joob (Good pity)
G'goo goo g'joob
[Verse 5]
Expert, textpert, choking smokers
Don't you think the joker laughs at you?
(Ho ho ho, hee hee hee, ha ha ha)
See how they smile like pigs in a sty
See how they snied, I'm cryin'
[Verse 6]
Semolina pilchard
Climbing up the Eiffel Tower
Elementary penguin singing Hare Krishna
Man, you should have seen them
Kicking Edgar Allan Poe
[Chorus]
I am the eggman
They are the eggmen
I am the walrus
Goo goo g'joob g'goo goo g'joob
Goo goo a'joob g'goo goo g'joob, g'goo
Joob! Joob! Joob!
[Bridge]
Joob! Joob! Joob!
Joob! Joob! Joob! Joob! Joob!
Joob! Joob!
Joob! Joob!
[Outro]
Umpa, umpa, stick it up your jumper
Everybody's got one, everybody's got one
“Villain, take my Purse
If ever thou wilt thrive, bury my Body
And give the Letters which thou findst about me
To Edmund Earl of Gloucester: seek him out upon the English Party
Oh, untimely death, death–”
“I know thee well, a serviceable Villain; as duteous to the Vices of thy Mistress as badness would desire”
“What, is he dead?”
“Sit you down, Father; rest you”
Commentary
Nonsensical. The band sounds like it’s high on LSD. At one point the lyrics refer to the psychedelic drug as “Lucy.”
Gonzalinho
“WELCOME TO THE MACHINE” LYRICS
Delete[Verse]
Welcome my son
Welcome to the machine
Where have you been?
It’s alright, we know where you've been
[Chorus]
You′ve been in the pipeline, filling in time
Provided with toys and scouting for boys
You brought a guitar to punish your ma
You didn’t like school, and you know you’re nobody’s fool
So welcome to the machine
[Verse]
Welcome my son
Welcome to the machine
What did you dream?
It’s alright, we told you what to dream
[Chorus]
You dreamed of a big star
He played a mean guitar
He always ate in the Steak Bar
He loved to drive in his Jaguar
So welcome to the machine
Commentary
“Welcome to the Machine” is a song in the album, “Wish You Were Here.” The chant invokes the Surrealist dystopia of a life preprogrammed inside a machine.
Gonzalinho
AI application used by Google Search on January 17, 2026 is Gemini 2.0 and Gemini 3.0.
DeleteGonzalinho
BITTERNESS (1968) BY JAN ANTEUNIS
ReplyDeleteJan Anteunis (1896-1973) was a man of the twentieth century. Born at the beginning of the millennium, he passed away just before modernism segued into postmodernism.
“Bitterness” is the statue of a human figure—it is figurative art, but is it a nude?
Nude art aims at the realistic even if imperfect depiction of the unclothed human body for artistic purposes. Abstraction, if at all present, is secondary or ancillary to realism, and does not dominate the piece. The nude, in short, looks real.
By this understanding, “Bitterness” is not nude art. The unclothed figure is stylized, idealized, and strongly abstract.
The style of this piece developed from Jan Anteunis’ original training in Art Deco. Art Deco, which synthesized Neoclassicism with the zeitgeist of the Machine Age, is an aesthetic that expresses optimism in the progress brought about by modern science and industrial technology and professes the belief in their potential for human betterment. Neoclassicism looks more backward; Art Deco, forward.
Gonzalinho
ALEXANDER ARCHIPENKO (1887-1964)
ReplyDeleteWOMAN COMBING HER HAIR (1915)
FEMALE TORSO AND LEGS (1916)
Archipenko is notable in art history for being among the first Cubist sculptors. He pioneered geometrizing figures in three dimensions and employing holes and excavations to model the figure.
Gonzalinho