Flory Italianer - Gepatineerd bronzen beeld sculptuur: Staand naakt - Sold

Patinated bronze statue sculpture by Flory Italianer. Depiction of a standing nude. Image dimensions: H27 x W11 x D8cm. The image is on the "foot", provided with a monogram, of the artist. The authenticity of the work offered is fully guaranteed. A certificate of authenticity can be emailed upon request.


When purchasing, the work can be picked up in 's-Gravenzande (near The Hague (Scheveningen), Rotterdam and Delft and 5 minutes from the beach). The term for collection, if paid in advance, is very long, in other words, the buyer can collect the work weeks or even months later and, if possible, combine it with a visit to one of the aforementioned cities or the beach. The work can also be sent via PostNL. Our shipping days are Tuesday and Thursday.

Flory Italianer (Amsterdam, 1938 - 2009)

I drew a lot from an early age, but I was also always reading, read everything that was loose and stuck and was completely addicted to Tintin. In 1955 I came into contact with Henk Broer, illustrator of the Parool. I went to his art class once a week. That was with pen and ink. At one point he said: 'You have to go to the academy'. I was then in the fifth grade of the Barleus Gymnasium. So after the gymnasium I went straight to the Rijksacademie. I only had a stack of pen drawings with me, but I was accepted into the drawing and painting department. ``People, naked, and that is still my inspiration. At the academy, everyone, the draftsmen as well as the painters and the sculptors, regardless of what you signed up for, automatically ended up in a propaedeutic year. We had figure drawing almost every night, mostly nude, but there was also six weeks of sculpting. I had never sculpted before and we had to model a torso, life size after model… well, that was it, I mean… only then did I discover hey…. For drawing and painting we had to do a kind of exam test and make a drawing of Orpheus. I had depicted him near the underworld, sitting with his lyre on the step of some kind of temple. But I actually wanted to go to sculpture class. They said: 'You've made a nice torso, but we don't know what else you can do in that area.' If I wanted to sculpt, I had to go to the evening modeling class for a year. I did that with Cor Hunt. When I was at the Rijksacademie I married Simon. I met him when I was sixteen, still at school, so to speak. `I didn't have my own studio and I went to the Volksuniversiteit for a year. Not to learn anything, but to have a place where I could literally come into contact with the feeling of wax and clay. At that time, the 1970s, I came into contact with the sculptor Karel Gomes. I worked in his studio on a houseboat for 20 years. I learned a lot from him. Music was regularly made on that boat. Then I came too and sat down to draw. I still have a folder with those musical drawings. That's how I got to know Carel, Carel II as I always refer to him, who played the cello. In the meantime I got a studio apartment in a former greengrocer's shop on the Meidoornplein in Amsterdam Noord through artist mediation. A while later I met Carel II again at Arti and we started talking again. After a year we decided that I would move in with him. He lived on the Brouwersgracht. Again I had no studio, but relatively close by, on Prinseneiland, I was able to get a studio. Then I walked right under De Bogen and went to work there in the afternoon. We got married at some point for practical reasons. We actually wanted to leave Amsterdam, live somewhere outside and eventually we moved to Bergen. I was already on loan, in the time of Cecile Kuijten, but I was not yet a member of the KCB.' Excerpts from the interview by Noor Sternheim, for Bulletinplein 7 of KCB, dated July 2009 Bergen NH.