Sculpture Chronology


 

1938-40

In collaboration with Max Ernst, Carrington produces a group of sculptures and reliefs on the ramps and walls of their house in Saint-Martin-d’Ardèche in the south of France. These include the first recorded sculpture by Carrington, a plaster of a horse head.

1951

In Mexico, Carrington takes up wood carving, helped by her friend and sculptor José Horna. They create a puppet theatre and sculptures such as Cradle, carved by Horna and painted by Carrington to celebrate Nora Horna´s birth. Carrington makes Cat Woman for Edward James.

1952

Carrington produces wooden sculptures inlaid with precious stones, including Lepidóptero (Lepidopteran).

1953

The artist makes Luna (Orpheus), a sculpture that she reinterprets in 2000 with the title Luna Muda (Mute Moon).

1960s

In New York, the artist produces bronzes and other sculptures using concrete reinforced with steel mesh, including Nigrum.

1977-78

Carrington designs a series of works for the jewellery TANE, including La vaca (The Cow).

1980s

The artist makes bronze versions of several of her works in different sizes.

1988

In New York, Carrington produces her bronzes La gallina ciega (The Old Hen) and La vieja Magdalena (The Blind Magdalen).

1994

Beginning of Carrington’s most productive period as a sculptress. With the support of art promoter Isaac Masri, she creates Monsieur, Nigrum, Ing and Esfinge (Sphynx).

1995

Carrington produces six sculptures for Masri, including Godiva de la selva (Godiva of the Jungle), Corrunus, Luna león (Lion Moon) and La virgen de la cueva II (The Virgin of the Cave II).

1999

Carrington’s bronzes are featured in the book Libertad en Bronce. Supported by Pedro Leitis, the artist collaborated again with TANE and made Nigrum, Lira (Lyre), Virgen del laberinto (Virgin of the Labyrinth) and Minotaur.

2000-2007

The artist makes another two groups of sculptures for Masri, completing a total of thirty-six pieces.

2007

Instigated by Masri, Carrington makes How Doth the Little Crocodile, a monumental sculpture for the Reforma Avenue in Mexico City. She produces ten sculptures for Roberto Hernández. However, only four of them were ever cast. These works were made at the workshop of José y Miguel Ángel Rivero.

2008-2011

Encouraged by her son, Pablo Weisz, the artist produces thirty-eight sculptures at the workshop of Alejandro Velasco.

2008

The artist creates ten sculptures with José Sacal: Loroceronte, La Silla de Metatrón (Chair of Metratron), Two Face Bird, Luna muda (Mute Moon), Dragomaquia, Gatomaquia, Cabeza de cocodrilo (Crocodile Head), Tecolota (Female Owl), Alto por favor (Stop Please) and Silence Please.

2009-2010

Carrington creates The Ancestor and Bailarín (Dancer), with the support of José Sacal, Gabriel Weisz and Raquel Chamlati. She makes Media luna (Crescent Moon), Magus and Bañista (Bather) with José y Miguel Ángel Rivero.

2010-2011

The artist makes five sculptures with José Sacal: Cara blanca (White Face), Martes (Tuesday), Sol Nigger (Nigger Sun), Mandolin, and Lemur.

2011

In collaboration with Alejandro Velasco, Carrington designs and models four female muses: La bandolinista (The Mandolinist), La arpista (The Harpist), La tamborilera (The Drummer) and La violonchelista (The Cellist).