Fritz Klimsch, Akrobatin, 1928. Bronze.

Vittorio Pavan, Caffè al Florian in barca con alta marea-venezia anni '60, 1960.

Frank Stella, ‘Reichstag’, 1958. Black enamel on canvas.

Giuseppe Penone, 'The hand that moulded human beings left marks that water and air fill in the diversification of human movements. The air that fills these marks replaces the skin of the artificer; the skin of those who touch man tends to take on, at the point of contact, the form of that of the artificer. From the negative of his impressed skin infinite positives can be made, as many as there are future contacts with the surface', 1974.

[A] man is a man also because he gives in to romantic feelings.

Orianna Fallaci, Un uomo, 1979.

Victoire Bourgois, Stream of Consciousness, 2020.

Nature repairs one thing from another and allows nothing to be born without the aid of another's death.

Titus Lucretius Carus, On the nature of the universe, First Century B.C.

Antonio Canova, Psyché ranimée par le baiser de l'Amour, 1793.

Drunken Herakles, Hellenistic Period, third-first century B.C.

“In these remarkably similar hollow-cast bronzes, one of which preserves the attributes, we see the bearded and muscular Heracles progressing in an unstable way with club swung back over his left shoulder as he looks down at a drinking vessel brimming with fruit. It has been suggested that these figures literally represent the hero’s drunken return from the symposium and descent from the mountain, decorating the shoulders of monumental wine vessels. As we have seen, cast figures not uncommonly adorned hammered vessels.”

From ‘Greek and Roman Art’ by Eleni Vassilika, published by Cambridge University Press, 1998.

Horse Finial, Sixth-fifth century B.C., Etruscan (Vulcan production).

The Etruscans, like their Greek counterparts, often made their vessels of hammered sheet metal, but adorned them with cast pieces. The present ornament comes from the top of a tripod stand, composed of cast decorative pieces, which once supported a round hammered brazier.

From Greek and Roman Art, by Eleni Vassilika, published by Cambridge University Press, 1998.

Recumbent god or hero from the east pediment of the Parthenon, circa 435 B.C. British Museum, London.

From Greek Art, by Nigel Jonathan Spivey, published by Phaidon Press, 1997.

Youth from Marathon, Third quarter of the fourth century B.C. National Museum, Athens.

Retrieved from the sea near Marathon. This well-preserved bronze holds visual resemblance to works produced by Praxiteles of Athens and his school.

From Greek Art, by François Chamoux, published by the New York Graphic Society, 1966.