New York

Turku Trajan

Zabriskie Gallery

The range of subjects in Turku Trajan’s work and their emotional and ideological weight are much the same as in Bourdelle’s—Trajan’s work embodies the great themes of earlier Western sculpture in such vehicles as the nude human figure, the heroic horse and biblical and mythological typology. But Trajan didn’t die until 1957 and he was working in New York, and those are very big differences. They meant that, while Trajan’s approach to form and theme was basically a traditional one and involved the largeness of scope that comes from the identity of values of the artist and his public, his situation as an artist was one of almost complete isolation. Whether or not isolation actually encouraged the very strong vein of private fantasy in Trajan’s work, conveyed through a rather personal mythology, I can’t say. Certainly it was these private reveries that determined his use of color on his

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