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Giuseppe Rivadossi (nave, 8 July 1935) Il Nazareno, 2009, 3/9 Plaster Sculpture

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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-2
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-3
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-4
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-1
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-2
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-3
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-4
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-5
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-6
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Giuseppe Rivadossi (nave, 8 July 1935)  Il Nazareno, 2009, 3/9 Plaster Sculpture-photo-7
More pictures
Head of a young man with thick hair caught while, with his eyes and mouth half closed, he experiences a moment of serene meditation.
Particularly interesting is the refined asymmetry of the hair which gives the work a particular charm.

Dimensions: 39 x 29 x 23 cm
Base 20x20x2.5 cm

Having inherited his interest in art from his father Clemente, Rivadossi officially began his artistic career in the sixties, approaching the study of furniture and sculpture in wood, plaster, terracotta and bronze.
There are therefore many materials used in his creations, always inspired by man, by his values and by "living by him.


Giuseppe Rivadossi says:

I have seen woodworking since I was a child.

Until the 1960s, where I now live, the relationship between man and nature, man and nature, was still based on an ancient ethic.
Then industry arrived and with it the looting began.
The hope of a less harsh life soon turned into a bitter realization.
The new technology that was only supposed to be a more perfected tool turned out to be an instrument of frustration and general disintegration.
In this situation I feel more and more deeply the need to express that sense of underlying unity of existence, as a basic idea not to be lost or rediscovered at all costs every day and in everything.
Now these images, these sculptures and these pieces of furniture arise from the depths of my experience like a song, of that hope and of that only alternative that lies before us rather than of nostalgia for the past.
 

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