The Spiritual Underpinnings of Eduardo Chillida's Gure Aitaren Etxea
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City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-4-2021 Into the Basque Country: The Spiritual Underpinnings of Eduardo Chillida's Gure Aitaren Etxea Katherine J.E. Scalia CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/711 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Into the Basque Country: The Spiritual Underpinnings of Eduardo Chillida’s Gure Aitaren Etxea by Katherine J. E. Scalia Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2021 May 6, 2021 Joachim Pissarro Date Thesis Sponsor May 6, 2021 Lynda Klich Date Second Reader TABLE OF CONTENTS Acknowledgements .......................................................................................................... iii Glossary ............................................................................................................................ iv List of Images .....................................................................................................................v Introduction ........................................................................................................................1 Chapter One: Poetry Gabriel Aresti, at Home in the Basque Country ................................................................14 Chapter Two: Philosophy Martin Heidegger, Dwelling in the Void .......................................................................... 24 Chapter Three: Religion Jorge Oteiza, the Void as Spiritual Conduit...................................................................... 32 Chapter Four: Material Concrete, Solid and Full of Air ......................................................................................... 41 Conclusion ....................................................................................................................... 49 Bibliography .................................................................................................................... 52 Illustrations ...................................................................................................................... 55 ii ACKNOWLEDEGMENTS The greatest pleasure in academic research rests undoubtedly in the conversations had with colleagues and peers en route to a project’s conclusion. I owe enormous thanks to a number of individuals who have been a source of guidance and inspiration throughout my thesis writing process. My gratitude goes first and foremost to my advisor, Dr. Joachim Pissarro, for his sincere enthusiasm, breadth of knowledge, and commitment to his students. I am also grateful to Dr. Lynda Klich, whose close reading and thoughtful comments have made this a stronger thesis. A special thank you is due to Dr. Larraitz Ariznabarreta of the Basque Studies Department at the University of Reno, Nevada. Her generosity supplied me with otherwise inaccessible insights into Basque history and culture. To Steve, who was with me the day I first encountered Chillida’s sculpture, thank you for your patience and keen observations—what a thrill it has been contemplating this all with you. And above all, thank you to my parents. It is you who have instilled in me a lifelong love of learning. iii GLOSSARY OF TERMS Etxea—home Euskadi—The Basque Country, sometimes spelled Euskada Euskadi ta Askatasuna (ETA)—a Basque nationalist and separatist organization Euskara—The Basque Language Gernika—Basque spelling of the Spanish, Guernica. Gure Aitaren Etxea—Our Father’s House Harri eta herri—Rock and core Ilarik—Funerary Stele Nire Aitaren Etxea—My Father’s House Partido Nacionalista Vasco (PNV)—the Basque Nationalist Party iv LIST OF ILLUSTRATIONS All works are by Eduardo Chillida unless otherwise indicated. Fig. 1 Eduardo Chillida in his studio, 1980. Fig. 2 A view of Gure Aitaren Etxea (Our Father’s House), Parque de los Pueblos de Europa, Gernika, Basque Country. Fig. 3 Construction of Styrofoam Model, March 1987. Fig. 4 Construction of Wooden Form, May 1987. Fig. 5 Gure Aitaren Etxea (detail), 1988. Gernika, Basque Country. Fig. 6 Pablo Picasso, Guernica, 1937. Oil on canvas, 349.3 x 776.6 cm. The Museo Reina Sofía, Madrid. Fig. 7 Gernika after the bombing, April 1937. Fig. 8 Gure Aitaren Etxea (detail), 1988. Fig. 9 Traditional Basque funerary stela. Fig. 10 Ilarik (Funerary Stela), 1951.Wrought iron, 73.6 x 10 x 10 cm. Collection Ida Chagall, Paris. Fig. 11 Estela a Picasso (Steel for Picasso), 1975. Iron, 19 x 9 x 7.5 cm. Collection Galerie Beyeler, Basel. Fig. 12 Haizearen Orrazia, (Comb of the Wind), 1977. Donostía, Spain. Fig. 13 Chillida and Jose Tasende, La Jolla, CA, 1983. Fig. 14 Gabriel Aresti, ca. 1970. Fig. 15 Cover of Aresti’s poetry collection, Harri eta herri (Rock and Stone). Fig. 16 Bas-Relief, 1972. Alabaster. Fig. 17 Gure Aitaren Etxea, 1988. Gernika, Basque Country. Fig. 18 In Praise of the Air, 1956. Iron, 132 x 33 x 23 cm. Private Collection. v Fig. 19 In Praise of the Void, V, 1982. Steel, 43 x 29 x 32 cm. Collection Frank Ribelin, Garland, Texas. Fig. 20 Martin Heidegger and Chillida at Galerie im Erker, Saint-Gall, October 1969. Fig. 21 Die Kunst und der Raum, no. 4, 1969. Lithocollage, 21.5 cm. x 15.5 cm. Fig. 22 The Rumor of Limits IV, 1959, Iron, 105.5 x 94 x 76 cm. Collection Washington University, Saint Louis, Missouri. Fig. 24 Jorge Oteiza in his studio. Fig. 25 Jorge Oteiza at the São Paolo Biennial, 1957. Fig. 26 Jorge Oteiza, model of “The Cube,” Fig. 27 Mendiluze Cromlech, 2700 B.C., Entzia Mountains, Navarre, Basque Country. Fig. 28 Jorge Oteiza, Desocupacion no cubica del espacio, 1958-59. Painted steel, 37 x 40 x 38 cm. Collection of Jesús de la Fuento, Madrid. Fig. 29 Gurutz III (Cross III), 1975. Alabaster. Basilica de Santa María, Donostia, Basque Country. Fig. 30 Chillida with his wife Pilar Belzunce-Chillida and Jesuit priest Antonio Beristain, Basilica de Santa María, Donostia, Basque Country. Fig. 31 Gravitación XL, 1987-88. Collage of handmade paper, black ink, string. 58.5 x 38 cm. Museo Nacional Centro de Arte, Reina Sofia, Madrid. Fig. 31 Elogio del horizonte (Eulogy to the Horizon), 1990. Concrete, 15 x 12 x 10 m. Gijón, Spain. Fig. 32 I.M. Pei, Mesa Laboratory, 1961. Boulder, Colorado. Fig. 33 Richard Serra, Nine, 2019. Forged steel, nine rounds between 108 x 274.3 cm and 213 x 243 cm. Gagosian Gallery, Manhattan, New York. Fig. 34 Le Corbusier, Notre-Dame du Haut, 1955. Ronchamp, France. Fig. 35 Henry Moore, Large Figure in a Shelter, 1986. Bronze, 7 m. Gernika, Basque Country. vi INTRODUCTION …here, in my Basque Country, I feel at home, like a tree planted firmly in its terrain, tied to its territory but with its branches open to the world. —Eduardo Chillida, Writings The sculpture Gure Aitaren Etxea (Our Father’s House), 1988, by Eduardo Chillida (1924-2002) (figure 1), rises from a cobblestone foundation in the Parque de los Pueblos de Europa in the small Basque city of Gernika. Like a buck within a forest clearing, the work is spotted between trees from across the park, stilled but almost certainly alive (figure 2). The architecturally complex work measures over thirty feet in height, the grandiose rhythm of its concrete curves achieved through a multi-step casting process involving a foam negative and wooden mold, the imprint of the timber slats still visible on the undisguisedly rough concrete surface (figures 3-5). Like the colonnade of Saint Peter’s Basilica in Rome, the two walls angle outward in a welcoming embrace. The walls, topped by eyelets at the upper corners, are conjoined by an empty circular space reminiscent of a medieval rose window. The thick semi- circular arcs meander through the empty space, appearing as delicate as the armature tracery in stained glass. Impressed upon by the sculpture’s mute authority, one enters the work with a reverence typically reserved for religious buildings. The sculpture’s location, Gernika, is perhaps best known as the civilian target of the 1937 Spanish Civil War aerial attack, immortalized by Pablo Picasso in the eponymous painting, Guernica (figure 6).1 Picasso completed his monumental canvas just five weeks after the 1 Guernica is the Spanish spelling of the Basque city. I have chosen to use the Basque, ‘Gernika,’ throughout this thesis. Additionally, when accessible, I have used the Basque titles of Chillida’s artwork. Where it appears that Chillida gave his sculptures Spanish titles, such as Rumor de limites, I have tried my best to honor the artists intentions accordingly. 1 bombing, exhibiting it in the Spanish Pavilion at Paris’s Exposition Internationale des Arts et Techniques that same year. At the time, some critics accused Picasso of tasteless opportunism, claiming that the artist was capitalizing on the public’s sensitivity toward the widely reported tragedy. 2 The fact that no Basque artists were invited to participate in the exposition only compounded these reports.3 Regardless of the validity of such claims, today the work is considered one the most important paintings of the twentieth century and is exemplary of Picasso’s ability to confound perspective and create chaos through fragmented planes. Gijs ven Hensbergen refers to the effect as a visual reprimand of humankind’s penchant for cruelty.4 Not only has the canvas