A Synthesis of Styles

Lain Hart
2 min readMay 1, 2021

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A close up view of the head and arms of a large statue. The statue’s face is tranquil, and the lines are drawn as in Ancient Egyptian statues. With one arm the figure reaches up to touch her hair, which unfurls in a way which suggests the surface of the sea.
Los Pescadores, by Francisco Zúñiga, from Wikimedia Commons.

Francisco Zúñiga’s father was a sculptor, the creator of hundreds of religious sculptures. Like many of his siblings, Zúñiga took classes in drawing, and around the age of sixteen, he began training as a sculptor in his father’s workshop.

Zúñiga grew up in San José, Costa Rica. As he got older, like many other artists of his generation, he was drawn to Mexico City’s vibrant, internationally famous art scene. Zúñiga moved to Mexico City, and began studying art at the Escuela de Talla Directa in 1936.

A monumental sculpture, in which two figures, male and female, are posed as if in flight, weightless, reaching and grasping, hanging within a framework intended to resemble the model of an atom.
Física nuclear, by Francisco Zúñiga, from Exiled Art in Mexico.

As a student, Zúñiga was an admirer of the sculpture of Auguste Rodin. He was also a great admirer of the monumental sculpture of Ancient Egypt. However, shortly after he arrived in Mexico City, Zúñiga had an experience which, perhaps more than any other, would shape the course of his career as an artist.

Soon after he arrived, Zúñiga happened to visit Mexico City’s Museo Nacional de Antropología. As he meandered through the galleries, admiring Aztec, Olmec, and Mayan artifacts, the artwork he saw on display there kindled in Zúñiga a lifelong passion for pre-Columbian figurative art. Subsequently, he resolved to attempt in his work a synthesis of traditional European, Modern, and pre-Columbian sculptural elements.

Zúñiga did much of his modelling in clay. Sometimes, the final piece was carved in stone, most often either marble or alabaster, but his preferred medium was cast bronze.

Just as it had been when he was a child, drawing was an essential part of Zúñiga’s process. He also enjoyed drawing for its own sake. In addition to his sculptures, Zúñiga produced several folios of lithographs, including his 1982 folio, Impresiones de Egipto.

Zúñiga’s sculptures and prints largely feature majestic, naturalistically grounded female figures. They have been exhibited around the world, and Zúñiga’s work can now be found in a number of prominent museums in the Untied States, including the Metropolitan Museum of Art, and the Hirshhorn Museum and Sculpture Garden. Over the years, his work has also served as an inspiration to other artists, including my father, the sculptor Frederick Hart.

On a flat yellow background, three woman are shown walking side by side, all in a row, holding each other’s hands. They are draped voluminously in the elaborate folds of long gowns, and head scarves. They seem to look to one another, or beyond, with beautiful and loving expressions.
Impresiones de Egipto, Plancha 3, by Francisco Zúñiga, from the Bowers Museum.

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Lain Hart
Lain Hart

Written by Lain Hart

Lain Hart Gallery | Frederick E. Hart Foundation for Educational Opportunity

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