Summary
Highlights
After World War I, Wildt's art shifted dramatically following his association with Margherita Sarfatti, a prominent figure in Fascist Italy. This period saw his art become more monumental and classicist, moving away from the expressionistic tendencies of his earlier work. Sculptures like 'Winged Victory' exemplify this new direction, emphasizing a more rigorous and simplified spatial arrangement. His portraits, such as those of Sarfatti and various war heroes, showcased a blend of classical heroism with contemporary Fascist ideals, revealing a rare smile and an influence from Etruscan sculpture.
Adolfo Wildt's early work is deeply influenced by classical figures enduring life's torments, such as Laocoön and the Dying Gaul. This recurring theme of the 'defeated hero' reflects a profound engagement with suffering and humiliated heroism. Wildt's fascination with these figures, particularly the Dying Gaul, stems from both their masterful sculpting and their embodiment of a yielding, vulnerable moment, resonating with a universal appreciation for beauty in suffering.
Wildt is presented as the 'last symbolist,' uniquely combining grotesque figurative elements with abstract forms. His work represents an invisible, interior reality rather than a mimetic reproduction of the visible world. His sculpture, 'Fierce Character and Gentle Soul,' exemplifies this by contrasting a proud male figure with a delicate female form, suggesting an interplay of sexes that intertwine yet remain distinct. These works, rich in detail and evocative of Michelangelo, depict tormented expressions and deep shadows, highlighting a fusion of elegance and the grotesque.
Wildt's formative years were marked by self-directed study, drawing heavily from reproductions and photographs, particularly black and white images. His works showcase influences from diverse artists, including Cosmè Tura's Saint Anthony of Padua, whose intense, wrinkled face resonates with Wildt's emotional sculptures. The recurring motif of masks, evident in pieces like his feminine figures with empty eye sockets, reflects broader symbolic and expressionistic traditions, echoing Michelangelo's 'Night' and its association with deception and secrecy.
Wildt's 'Fountain of Life,' a significant work in Milan, depicts allegories of youth, sainthood, and heroism approaching a vital source. Despite Milan's complex relationship with Wildt, due in part to his later associations with Fascism, this fountain has been meticulously restored. The work draws parallels with other symbolist and expressionist artists like George Minne and Ivan Meštrović, who also explored themes of life's journey, destiny, and suffering through emaciated figures or allegorical sculptures, further emphasizing Wildt’s connection to a broader European artistic movement.
Wildt's technical prowess in marble is extraordinary, as seen in works like 'In Prison,' where intricate details of hair and skin are rendered with astonishing precision. His ability to evoke the softness of wax from hard marble, reminiscent of Baroque sculptors like Bernini, is a hallmark of his style. Pieces such as 'Rosario' exhibit slender forms and closed eyes, reflecting the hypnotic women of Symbolism and drawing comparisons to figures from Mannerism and Simone Martini, transforming marble into a ghostly, ethereal presence.
Wildt's involvement with the Fascist regime, though perhaps born of necessity due to his need for commissions, profoundly shaped his later career. His bust of Arturo Toscanini, for instance, became a symbol of powerful, masculine genius. His later sculptures, such as his various portrayals of Saint Ambrose, adopted a more monumental and grandiose style, aligning with the regime's aesthetic preferences. These works, often colossal and imposing, aimed for a new kind of visibility and grandeur, marking a significant evolution from his symbolic beginnings.
Despite the controversies surrounding his later political associations, Wildt was also remembered as a gentle and effective teacher, influencing future masters like Lucio Fontana and Fausto Melotti. He imparted a profound understanding of craftsmanship and perseverance. The unique doorbells, shaped like ears, at Casa Serbelloni, evoke the mythological ear of Dionysus, yet, for Wildt, they perhaps resonated with a deeper 'silence.' This symbolism is echoed in the works of his students, particularly Fausto Melotti’s 'Seven Sages,' which transform Wildt's emotional intensity into a contemplative, musical silence, signifying the enduring impact of his teaching on modern sculpture.