The Young Woman Has The Apple And The Cornucopia

Twenty-six years apart (Sgandurra was born in 1882, Vittorini in 1908), a complex network of family and friendship ties, and two distinct creative professions: sculpture for the former, writing—narrative and critical, including on the arts—for the latter. What unites and divides uncle and nephew? Undoubtedly, their respective critical fortunes, largely in Vittorini's favor. He has enjoyed considerable recognition and renown, and countless academic studies have been devoted to his work. That he was a great sculptor, endowed with manifest originality, is confirmed by his works, analyzed in the chapters of this book dedicated to the different facets and phases of his professional career. Yet, many elements unite them. To fully grasp these connections, our analysis must turn to Florence, where Sgandurra settled from Syracuse at the end of 1914 and where Vittorini lived for nearly a decade starting in 1929. It is also necessary to return to Syracuse, where their mutual affinities germinated and took shape. These affinities are concrete and identifiable, stemming from their shared departure from their hometown to pursue a calling. He would be considered a genius of sculpture, executing numerous sculptures for churches in Italy and Canada.