Fraternity-Testvériség, 1964 (42. évfolyam, 1-12. szám)
1964-01-01 / 1. szám
10 FRATERNITY and so on. In his works, Finta took every possible factor into consideration and advised his students to do the same. To assure harmony between his statues and their environments, his first step in designing a statue was always to make a detailed study of the future site. He selected the material for his statues with great care, avoiding contrasts between it and the idea the statue would express. He also stressed the technique of handling the material properly. “Greek sculptors”, he noted, “became artists only after an apprenticeship in stone carving, but the modern sculptor is considered an artist when he leaves the art school. The ancient master developed into a creative artist through the craftsman’s acquaintance with his material, but the modern sculptor usually leaves the execution of his statue to artisans.”8 In his wood carvings, Finta produced a marble-like smoothness where emphasis was necessary and left a rough surface on the parts to which he did not wish to call primary attention. “The Eternal Altar”, mentioned above, is an excellent example of this technique. Both form and idea evoke our emotions. The first impression produced by a work of art is always the basis for our further study of it. If the first impression is false, it is more than likely that the final conclusion will also be false. In evoking that first impression, both the material and the spirit of the work work in conjunction. As Finta wrote, The old master had a full appreciation and respect for his material. But most modern statues are the result of indolence, ignorance of material and a sort of adventurous bravado. It is no wonder that such works die an early death.9 8 Ibid. 9 Ibid.
