Emilio Greco - The Peruvian

The human figure has always been at the center of artistic research. Since the classical era, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the female figure is an expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the female figure has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde, such as Cubism, Expressionism, and Surrealism.

Although Emilio Greco can be defined as an essentially classical sculptor, his work is also open to various stylistic registers. We see this in this work, where the subject of the "Peruvian Woman" leads him to use a different expressive modality than the classicism of his nymphs. As we can see, in this work, Emilio Greco's sculpture certainly harks back to a primitive, tribal type of expressionism. The artist's synthesis reduces the figure to a sort of idol from some pre-Columbian civilization. Greco, however, introduces some elements typical of a contemporary sensibility. He breaks down the figure according to multiple directives, following Cubist influences, and consequently the face is also elongated and synthesized, like in a portrait by Amedeo Modigliani.

Emilio Greco was an artist born in Catania in 1913 and died in Rome in 1995. Primarily engaged in sculpture, he was also a writer and illustrator. His research focused primarily on the female nude. His Bathers series and female portraits are famous. For a time, he taught at the Carrara Academy and achieved fame with the monument to Pinocchio and the Fairy, created in 1956 for the town of Collodi. He died in 1995.

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