Volltext: Georg Malin, Skulpturen

Summary 
Georg Malin was born into a Catholic craftsman’s family in 
Mauren/Liechtenstein on 8 February, 1926. Being both a histo- 
rian and an artist he has succeeded in establishing himself as a 
free-lance sculptor since 1955. Malin’s work is both extensive 
and wide-ranging, and many private art lovers and public 
experts have shown their keen interest. 
Concentrating upon Malin’s artistic work, its constant develop- 
ment is particularly remarkable, especially the way he increas- 
ingly achieved a combination of sound craftsmanship and 
intense expressiveness. Realized in the mid fifties, his first 
sculptural works are portraits, representational figures and 
abstract compositions. This range of themes indicates Malin’s 
search for an autonomous mode of artistic language and, 
moreover, his gradual detachment from former academic 
models such as Auguste Rodin, Emile-Antoine Bourdelle and 
Aristide Maillol. Important further impacts on Malin’s own crea 
tiveness originate from Brancusi’s sculptures — works which 
are reduced to their archetypal shapes —, from Laurens’ 
Amphion group, as well as from Henry Moore’s and Jean Arp’s 
radically simple yet formally perfect plastic art. Also the con- 
temporary Swiss artists Alberto Giacometti, Max Bill and Albert 
Schilling have been visually stimulating influences. 
Apart from his occupation with sacral art, an area in which Malin 
has been distinguishing himself ever since the sixties, there is 
one basic topic he has pursued in greater detail and to which 
he has turned back time and again: growth and dying, the 
budding, maturing and fading of life — and its rebirth. In this 
period the sculptor’s concept of space and body becomes 
transparent and simple in a new way. He chiefly works with 
steel, and with bronze, which he begins to polish intensively. 
Around 1970, a whole range of various compositions in bronze 
and some smaller works in steel are thus made, all arising from 
a free impulse. These will be of primary importance for the 
creation as well as for the shaping of the more spacious Sculp- 
tures commissioned in the following decade. Be it in a more 
oublic environment or in a sacred building, Malin’s predomi-
	        

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