Cardinale Seduto, Giacomo Manzù, Getty Center

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Credits: As embedded in the materials or as stated in the text; all materials are used here non-commercially for academic purposes.

Cardinale Seduto, Giacomo Manzù, Getty Center

Information from getty.edu :
Title: Cardinale Seduto
Artist/Maker: Giacomo Manzù (Italian, 1908 – 1991)
Culture: Italian
Date: 1975 – 1977
Medium: Bronze
Dimensions:
215.9 x 116.2 x 135.9 cm, 308.446 kg (85 x 45 3/4 x 53 1/2 in., 680 lb.)
Copyright: © Inge Manzù
Credit Line:Gift of Fran and Ray Stark
From getty.edu : “The stylized clothing of this serene, seated cardinal creates a dramatic pyramidal form. An unbroken conical sweep, the cardinal’s vestment or robe extends from his feet to his mask-like face. Covering his forehead, his headdress, known as a miter, functions as the “tip” of the pyramid. The folds in the vestment emphasize the bronze’s weight and volume but also create tension and dynamism, enlivening the form. A tiny hand emerges from beneath the garments to remind us that there is a body beneath this powerful bronze cladding. But body and vestment form an indissoluble whole.
“In the early 1930s, Giacomo Manzù visited Rome, where the sight of the Pope flanked by two cardinals in St Peter’s Basilica struck him as a singularly timeless image. From the late 1930s to the late 1950s, the sculptor produced more than fifty cardinals–standing and seated, large and small, in bronze, alabastar, and marble. Over this long series, Manzù increasingly contained the cardinal figure in rigid compact forms that evoked funerary pyramids or pillars.

With only one exception, the cardinals were all conceived without a model, their features invented entirely by the artist.”

Architecture of the Getty Center

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Architecture of the Getty Center

(all photos i-Phone-shot by Myra Lambino the other day, July 7, 2017. Credits: as embedded in the materials or as stated in the text: All materials are used here non-commercially for academic purposes. ) 

from getty.edu : “… (T)he Pacific Ocean, the San Gabriel Mountains, and the vast street—grid of the city. Inspired by the relationship between these elements, architect Richard Meier designed the complex to highlight both nature and culture. 
       “When approached from the south, the modernist complex appears to grow from the 110-acre hillside.    Two computer-operated trams elevate visitors from a street-level parking facility to the top of the hill.   Clad in Italian travertine, the campus is organized around a central arrival plaza, and offers framed panoramic views of the city.   Curvilinear design elements and natural gardens soften the grid created by the travertine squares.