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The artistic vision of Gina Lollobrigida the artist is akin to that of such masters of contemporary sculpture as Manzù, Greco and Messina. Within the context of contemporary Italian art, these figures belong in the mainstream of tradition, and Gina Lollobrigida has shown unquestionable courage in systematically producing traditional works of a naturalistic type at the time when extreme forms of avant-garde art are all the rage. The plastic structure of her works is characterized by simplicity, grounded on a constant striving to shatter the static nature of the material and endow the forms in space with movement through composition. This is particularly evident in the works where the artist addresses the theme of dance, in the densely expressive contrast between the powerful and elegant outlines of the figures and the gossamer material of their garments fluttering in the breeze.
At the same time, however, her static compositions (portraits and reclining figures) always display a sort of subterranean interior dynamic of what we might call an emotive nature.

By Irina Antonova, Director of the Pushkin Museum of Fine Arts, Moscow

Work at Pietrasanta



Since 1990 she has resumed full-time her activity as sculptress which she had neglected during her moviemaking years. She has produced over sixty works, some of which in marble.
In the studios and foundries of Pietrasanta, Gina has followed all the phases of the process: from the initial idea to the preparation, from the clay modelling and wax finishing touches to the final bronze casting. She has personally worked on the finishing of the most delicate parts, handling milling cutters and emery papers like a skilled worker, up to the gilding in 24-carat gold of many of her sculptures based on some of the characters she has portrayed in her films. For years she had kept all her works jealously concealed.



The World for Children


Monumental Sculpture five meters forty tall (1993)

Gina working on the upper part of the more than five-meter tall clay sculpture.
The white model is the original in plaster. Given its height of 230 cm, it was possible to make a five-meter copy directly without producing an intermediary sculpture for use as a model.
The bronze sculpture is assembled after giving the finishing touches to the various pieces. The work requires chasing and patination. The entire operation took over a year and was supervised directly by Gina from start to finish.

Esmeralda


Monumental Sculpture almost six meters tall (2001)

Before producing the enlargement, as the original is only one meter tall, it’s necessary to create another sculpture of Esmeralda, an intermediate one this time measuring 170 cm, first in clay then in plaster. The new Esmeralda in plaster on the left is then used as a model for the 5,40 meters work in clay plus its double base.
The work has undergone chasing, patination and gilding. The patina and gilding must be checked every time the sculpture, weighing about 4,000 kilos, is moved because the ropes used to lift it, inevitably damage the surface in some points.