Eduardo Chillida is perhaps best known for his huge iron and stone sculptures, but the artist also made etchings, lithographs and woodcuts, all exploring form, line and space. His abstract sculptural pieces are installed around the world.
Eduardo Chillida was born in San Sebastián in 1924. He played in goal for Real Sociedad before a knee injury curtailed his football career, so in 1943 he went to the University of Madrid to study architecture. However, in 1947 he quit the architecture degree and started drawing for the Fine Arts Circle in Madrid and attending José Martínez Repullés’ sculpture workshop, making his first pieces in clay. In 1948 he moved to Paris and started making sculptures from plaster. In 1949, his sculpture Forma was selected for the Salon de Mai. He married Pilar Belzunce in 1950 and they moved back to the Basque Country in 1951, the year he also made his first artwork in iron.
Chillida’s early iron sculptures were made from materials he found at scrapyards and using rural tools such as axes and pitchforks. By 1959, having had works exhibited at the Solomon R Guggenheim Museum in New York City and documenta in Kassel, he began printing etchings.
Light plays a huge role in Chillida’s work. In 1963 he toured Greece with his wife, the French gallerist and philanthropist Jacques Dupin and his wife and the French art dealer and critic Louis Clayeux. Chillida became fascinated by the light—a contrast to the light in the Basque region—and this inspired him to explore the concepts of light and lightness, as well as working in alabaster. A notable examples is Lo Profundo es el Aire (How Profound is the Air) (1996), which diffuses light by allowing it to shine through the sculpture in “windows”.
Yes, in 1958 he exhibited 18 sculptures in the Spanish Pavilion. That year, he won the International Grand Prize for Sculpture (Gran Premio Internationale per la Scultura). He also took part in the 1988 and 1990 editions of the Biennale.
In his consideration of the relationship between humans and space, and how sculpture reveals the character of a space, Chillida shared intellectual ground with Martin Heidegger. In particular, Heidegger’s 1969 book The Art and the Space explores this idea—Chillida created seven litho-collages for the publication. For Chillida’s first solo exhibition at Galerie Maeght in Paris, where he showed 27 wrought iron sculptures, the philosopher Gaston Bachelard wrote an essay, The Cosmos of Fire.
During his career, Eduardo Chillida created works (more than 80 sculptures and 58 prints) honouring people he admired and respected. Artists for whom he created works included Joan Miró and Constantin Brancusi, while musicians he honoured included Johann Sebastián Bach and Antonio Vivaldi. Among the philosophers and poets for whom he created works were Martin Heidegger, Pablo Neruda and Gaston Bachelard.
When Chillida moved back to the Basque Country in 1951, he used steel and wood for his sculptures, which represented Basque agricultural, architectural and industrial traditions. He also described the regional landscape of the area as having a “dark light”.
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