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NEW YORK DAWN™ > Blog > Art > Remembering Arnaldo Pomodoro, Who Uncovered Worlds Inside Sculptures 
Remembering Arnaldo Pomodoro, Who Uncovered Worlds Inside Sculptures 
Art

Remembering Arnaldo Pomodoro, Who Uncovered Worlds Inside Sculptures 

Last updated: July 8, 2025 10:39 am
Editorial Board Published July 8, 2025
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As he grew older and extra fragile, the noise and exercise of the foundry and the workshop started to fall silent, however I bear in mind the fixed exercise of Arnaldo himself, all the time curious, all the time carving away at a shiny floor to disclose the darkish and incomprehensible mechanisms inside. His places of work rigorously preserved all his drawings in big drawers. He would rush off round a nook and down the steps, and I’d discover him searching by means of some outdated pocket book of his, which had explored an concept that had returned to impress him.

Arnaldo was born in 1926 in east-central Italy, within the Marche area. He started his profession on the Adriatic coast on the Pesaro Public Works workplace, which at the moment, in 1953, was primarily involved with reconstructing municipal buildings broken or destroyed within the warfare. However Arnaldo was drawn to artwork, and specifically to sculpture, as a result of as he typically informed me, “I was attracted to material, which I needed to touch and transform.” He moved to Milan and met Lucio Fontana, whose friendship inspired and stimulated him. In 1954, he and his brother Gio have been invited to show their small items on the Milan Triennial Exhibition, a major step towards visibility. 

“Sfera con sfera” by Arnaldo Pomodoro on the Cortile della Pigna in Vatican (photograph through Getty Photos)

All the time drawn to the US, Arnaldo made his first go to there in 1959. “I was born as a sculptor in the Brancusi room at MoMA,” he stated in an interview. “It was here that I had a sort of insight … while observing the sculptures, I saw them worm-eaten and corroded, and I had the idea of placing all my signs inside the geometric solids, inside Brancusi’s abstract images.”

In California, he met Mark Rothko, and in New York, he met all of the vital artists of the second: Barnett Newman, Jasper Johns, Andy Warhol. He was open to the probabilities of artwork on an enormous scale, starting from that seminal journey to the US. He returned many instances to show at numerous establishments there. He discovered the ferment of the Nineteen Sixties a possibility to delve into the perfection of geometric kinds and uncover the vitality inside them. His first main work, the “Sfera grande,” was created for the 1967 Expo in Montreal, however is now completely displayed outdoors the Italian Overseas Ministry, a metaphor of the restlessness and contradictions of Italian society and the necessity to overcome them. 

He made different spheres — one for the Courtyard of the Pinecone within the Vatican Museums (1979-1980), donated to the Vatican in 1990), whose four-meter (13-foot) diameter matched the arches constructed virtually 500 years earlier than by Bramante surrounding the courtyard; and the well-known “Sfera con sfera” (1996) outdoors the United Nations constructing in New York.

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Arnaldo Pomodoro, “Porte dell’Edipo” (1988) (photograph Anthony Majanlahti/Hyperallergic)

However Arnaldo’s creativity burst out in all instructions. He designed a never-built however influential cemetery for town of Urbino in 1973 that concerned carving transverse crevasses right into a hill outdoors town to create an actual necropolis, with tombs minimize into the perimeters. His extraordinary work for the cantina of the Tenuta Castelbuono vineyard in Umbria, “Carapace” (2005–12), rises like a large insect shell over the hill of the vineyards, and beneath it, on a number of ranges, are all of the areas wanted for the maturing and tasting of the wine. He was additionally a tireless scenographer for the theater, designing units that provoked applause as quickly because the curtain went up at La Scala, earlier than a word was sung. His most well-known units have been for out of doors performances of the Oresteia in Gibillina in Sicily (1983), wherein his obsession with glyphs and the breakdown of good kinds completely suited the tragedies of Aeschylus. 

In his final years, having outlived most of his outdated mates and lovers, he was more and more melancholy. The state of the world apprehensive him; he grew to become pessimistic. The devastation of Gaza after which the bombing of Iran affected him deeply. I feel he died of a damaged coronary heart. I’ll miss him all the time.

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