Umberto Mastroianni’s sculpture The Farewell from 1955 initially appears to be nothing more than the fusion of various masses. But having read the title, we can make out two embracing figures. However, it is impossible to make out the exact anatomy of these people. We can recognise a head, an arm or a leg, but it is often unclear to which of the two figures they belong. Mastroianni did not so much wish to imitate the human figure, but rather to suggest the emotional tension of two people fused in an embrace. The sculpture has been sited on the sculpture terrace since 2000.
Mastroianni amplifies the tension in the sculpture by using contrasting
forms. He alternates planes and angular volumes with rounded and curved
masses. The repetition of these two kinds of forms gives the sculpture a
rhythm and dynamism, emphasised by the strong diagonal orientation. The
form of the plinth underlines this dynamism.
This tension and dynamism is reflected in the sculpture’s surface. The bronze has a refined finish with a rhythmic alternation between darker sections and lighter accents. During the casting process various holes were created in the surface. The rods used to lift the sculpture after its casting have resulted in small, regular holes. The larger, jagged holes are the result of the casting process itself. Usually such imperfections would be corrected after the casting, but Mastroianni wished to show the fabrication process and allowed these holes to remain.
|location since||2000, Westersingel, Culturele as, City Center|
|dimensions sculpture (hxwxl) in cm||146 x 126 x 111|
Passanten over Het Afscheid