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Sometimes Acisclo spoke that he admired Greek sculptures and \u201cPórtico de La Gloria\u201d sculptures (Gloria doorway´s sculptures); maybe for this reason almost all his works are in high place, as Deza Venus, raised on a cylindrical mainstay made of concrete.<\/font><\/font><\/font><\/font><\/p>\n\n Acisclo reduces human body until abstract showing a feminine torso with wavy shapes. With the treatment of bronze he makes the stylized figure of the goddess with soft curves.<\/font><\/font><\/font><\/font><\/p>\n\n The sculptor use convexity and works with different slides of oxide bathing the piece in shades of colour. Behind, a figure of an owl appears, with lighter colour and a different treatment, deliberately much more figurative.<\/font><\/font><\/font><\/font><\/p>\n\n From middle of the 60, feminine torso covered with tunics turns into one of the topics of Acisclo's work. Once again, the artist develops one of the favourite topics of his iconographic list: images extracted from classical and Hellenistic world.<\/font><\/font><\/font><\/font><\/p>\n\n Curiously, peoples of Lalín call this piece as \" Cod slice \".<\/font><\/font><\/font><\/font><\/p>\n\n (Translated text, from the original by Alicia Fernández Dapena)<\/i><\/font><\/font><\/font><\/span><\/p>"
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"content": " The work has two parts with different material, form, definition and ended.<\/font><\/font><\/font><\/font><\/p>\n\n On one hand, the structure of the base: five pieces done with stone, strong texture, parallelepiped shape, distributed irregularly as a kind of stairs that comes above of a monolith.<\/font><\/font><\/font><\/font><\/p>\n\n On the other hand, overlapping \u2013 accumulation of elements, now human; proletarian family that raises to the sky but without separating of a few toothed pieces that simulate industrial wheels. It is just an allusion to the elevation of family by working.<\/font><\/font><\/font><\/font><\/p>\n\n Marked contrast between straight lines of the base and curled sculpture cut by hollows with the intention of lightening figures that are together to infinity.<\/font><\/font><\/font><\/font><\/p>\n\n (Translated text, from the original by Alicia Fernández Dapena)<\/i><\/font><\/font><\/font><\/span><\/p>"
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"content": " Manuel Daniel Varela Buxán was born in \u201cA Estrada\u201d in 1909. In this municipality he spent part of his infancy, far from his parents. In 1921 he went to live with them to Cercio (Lalín). He founded the first professional company of Galician theatre, Regional Galician Art \u201cAiriños da nosa Terra\u201d. In best theatres of Argentina he performed plays written by him and other as Castelao's work \"Os Vellos non deben de namorarse\u201d .<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/p>\n\n In 1950 he returned to Galicia and studied high school in Ourense and the career of Sanitary Technician in Santiago de Compostela, profession that practised the rest of his life and that he reconciled with the representation and publication of his theatrical works.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/p>\n\n He started writing The first of his works while he was sailing towards Argentina, \u201cSo o sei... que non volvo á casa\u201d, premiered in 1938. \u201cPola nosa culpa\u201d, \u201cGalicia canta\u201d, \u201cA xustiza dun muiñeiro\u201d, \u201cTaberna sin dono\u201d and \u201cO ferreiro de Santán\u201d was also written and represented in Argentina. When he came back to Galicia he represented for first time there \u201c¿Pista ou peste?\u201d.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/p>\n\n His work in the popular Galician theatre was recognized at the institutional level by Town hall of Lalin naming him honorary citizen in 1977. He died in Cercio in 1986. <\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/p>"
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"content": " This bust is placed in the parish where he was born in 1770. He was a person with a travelling spirit, always with desire to learn. <\/span><\/span><\/span><\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/p>\n\n He was graduate in theology. He studied mathematics, being University of \u201cSantiago de Compostela\u201d professorship with 31 years.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n He travelled to Paris where he lived for three years. For 2 years he took part in geodesic uprising of Mediterranean coast. Later he was in \u201cCádiz\u201d where he was employed mapping Spain and doing the weight and measure system.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n In 1809 he travelled to England where he wrote an article, published in 1812, with a powerful international resonance because with it he demonstrates that terrestrial meridians are elliptical, so, William \u201cMudge's\u201d studies (he said the Earth was flattened by the Ecuador) were incorrect.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n He returned to teaching in \u201cSantiago de Compostela\u201d, but in 1814 he travelled to Germany, where he maybe was in touch with Gauss and where he showed interest in natural sciences, specially for botany and crystallography.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n He travelled again to France and from there to Italy and Switzerland.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n In Paris he worked to obtain valuable instrumentation for the University of Santiago de Compostela.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n He rejected the offer of Czar Alejandro I of Russia to take charge of the Observatory of Saint Petersburg for being the director of the Astronomic Observatory of Madrid and teaching astronomy in the Museum of Natural Sciences.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n Also he was part of policy being delegated of the Spanish Parliament of the State.<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/span><\/span><\/span><\/span><\/p>\n\n
\nThey crossed more than 18.000 kilometres between Madrid and Manila, on board of two Breguet 19, in sixteen stages for thirty eight days. This journey is reflected in another sculpture of the park, in which we can see the world with the route, all on a great stony disc.<\/font><\/font><\/font><\/font><\/p>\n\n
\nIn 1930 he emigrated to Argentina and, in this country, he worked in different sectors and also, he was part of the choir \" Lembranzas da Terra\".<\/span><\/em><\/font><\/font><\/font><\/font><\/span><\/p>\n\n