Martin Eichinger studied design and anatomy at Ferris State University and did his postgraduate work in sculpture at Michigan State University. He also pursued independent studies of classical sculpture in Europe. He has won numerous awards and competitions including a Kellogg Internship and NEA grants.
When one looks at the astonishing feminine beauty represented by Martin Eichinger’s sculptures, it’s difficult to believe that the ancient Greeks denuded and placed young men on a pedestal first, long before acknowledging the beauty of women. Praxiteles was the first Greek sculptor to recognize in the nude feminine form the unique undularity, tenderness, expressivity and sensuousness of the female form. Since then, sculptors have celebrated the beauty of femininity in countless sculptures, busts, reliefs. In our day, Martin Eichinger stands out as a master of this longstanding tradition. He combines the elegance and simplicity of sculpture inspired by the classical tradition with the sense of movement and emotion that is, above all, the legacy of Romanticism.
Like the classical Greek sculptors, who painted their works of art in vibrant colors as if attempting to bring to life the human forms, Eichinger sometimes adds colors, gems and iridescence to the timeless beauty of his sculptures. His figures often tell a story: “I am a narrative sculptor creating my cast bronze sculptures using the “lost wax” process. I don’t feel that my art work is complete until I sense that it has entered someone’s life in a meaningful way; that it moved someone, changed someone, or explained a person’s perspective.” Indeed, it is this narrative bent that modernizes and gives a unique personality to each one of Eichinger’s figures.
In “Pillow Dance,” for example, the young girl shifts her weight on one foot, her body almost taking flight along with the dreams that still appear to envelop her, comforted as she is by her familiar pillow. Like neoclassical art, this sculpture is more allegorical than realistic. The beautiful girl, a vision herself, embodies–in her somnolent grace, her precarious poise and her restful flight–the very boundaries between dream and reality that are evoked by all of Eichinger’s visionary art.
Claudia Moscovici, Romanticism and Postromanticism (Lexington Books, 2007)