Paolozzi was a pioneer of the Independent group which prefigured Pop Art in Britain. As early as 1947 he was collaging advertising images with war propaganda, to reveal the common strategies of the hidden persuaders. Later he made sculptures that suggested robots or man as machine. 'Markoni Capital' is a mechanomorph which also makes use of architectural capitals which appear here in place of the head. In more recent work he has increasingly made use of architecture as a metaphor for the body.
226.7 x 98.5 x 67.3 cm
Signature & date
Not signed. Not dated.
Gift of Gabrielle Keiller 1985
Not on display
© Sir Eduardo Paolozzi/DACS. Licensed by Copyright Agency
Shown in 5 exhibitions
VII Bienal de São Paulo: Davie, Paolozzi, Vaughan, Museu de Arte Moderna, São Paulo, São Paulo, Sep 1963–Dec 1963
Eduardo Paolozzi: recurring themes:
- Royal Scottish Academy, Edinburgh 1984–1984
- Städtische Galerie im Lenbachhaus, Munich, Germany 1984–1984
- De Beyard Centrum Voor Beeldende Kunst, Breda 1985–1985
- Museum Ludwig, Cologne, Germany 1985–1985
Eduardo Paolozzi, Ivan Dougherty Gallery, Paddington, 27 Apr 1985–25 May 1985
Five years on: a selection of acquisitions 1981-1986, Art Gallery of New South Wales, Sydney, 26 Sep 1986–23 Nov 1986
Pop to popism, Art Gallery of New South Wales, Sydney, 01 Nov 2014–01 Mar 2015
Referenced in 5 publications
Art Gallery of New South Wales, Five years on: a selection of acquisitions 1981-1986, Sydney, 1986. cat.no. 128
Michael Desmond, Pop to popism, 'When Britain went pop: British pop art', pg.35-57, Sydney, 2014, 36, 50 (colour illus.).
Robin Spencer, Eduardo Paolozzi: recurring themes, London, 1984, (illus.).
The British Council, Paintings by Davie, sculptures and graphic works by Paolozzi, charcoal drawings by Vaughan, London, 1963, (illus.). cat.no.10
Author Unknown, E. Paolozzi, London, 1970.