Aeschbacher Hans
(b Zurich, 18 Jan 1906; d Russikon, Zurich, 27 Jan 1980). Swiss
sculptor, painter and draughtsman. He was self-taught as a
draughtsman and only turned to sculpture in 1936. His early
sculptural work (1936–45) mainly comprises heads and torsos in
addition to heavy, life-size female nudes. These works, mainly in
marble and bronze, emphasize volume and were influenced by Aristide
Maillol, Charles Despiau and Wilhelm Lehmbruck. During the 1940s
Aeschbacher gradually subordinated the human form to a study of the
stone’s own biomorphic structure. A series of amorphous Bumps
heralded the final departure from naturalism. In 1952–3 Aeschbacher
started to produce Stelae, a series of colossal but slender vertical
structures that were influenced by the tectonic quality of Archaic
Greek masonry. This new emphasis on verticality led after 1960 to
the production of lighter, more airy works. Notable examples of work
from this period are Figure IV (granite, h. 3.92 m, 1967; Bregenz,
Kultzent. Schendlingen); Figure I (granite, h. 3.05 m, 1969;
Hakone-machi, Hakone Open Air Mus.); Figure I (granite, h. 3.60 m,
1970; Zurich, Spital Triemli); and Figure I (concrete, h. 5.89 m,
1973; Zurich, Überbauung Utohof). In 1975 Aeschbacher returned to
earlier themes by producing compositions using parabolic curves and
concentric circles. On the other hand, however, he turned to new
materials such as concrete, lava and acrylic glass. During his
career Aeschbacher also executed a large number of paintings and
drawings, which illustrate the same development from naturalism to
abstraction.
