Fraternity-Testvériség, 1964 (42. évfolyam, 1-12. szám)

1964-02-01 / 2. szám

8

FRATERNITY

ALFONZ LENGYEL:

THE LIFE AND ART

OF

ALEXANDER FINTA

HUNGARIAN-AMERICAN SCULPTOR

(Conclusion)

Like a human being, a statue consists of two elements: the body and the soul. Here the body is the form, the soul, the idea which the statue expresses. It is difficult to model the form of the statue, but it is even more difficult to inspire its soul, the idea within the form. The dimensions of the form can be established by measurement. The texture and formation of the surface can be felt by touch, but the idea expressed can be felt merely with the delicate seismograph of one’s own soul. The average person who has not yet reached the spiritual level enabling him to sense a statue’s idea reacts primarily to form. With training and practice, however, the impression created by the form and the material of the statue can change to a complete spiritual appreciation of it. Consequently, a statue containing no idea cannot produce a sense of complete satisfaction and enjoyment in a viewer of refined artistic taste.

The sculptor and nature age in partnership with each other. The sculptor models the surface, and nature provides the light and shade. Without nature’s assistance, a statue could be examined only through our sense of touch. The effect of light and shadow is the testing stone of a sculptor’s creative talent, of his touch, of the soundness of his spatial solutions, and of all other factors that are essential to a good statue. Strong lights directed on a statue from every direction create the illusion that it is completely smooth. Since there is no shadow, curves and variations of the surface