In creating the Raoul Wallenberg portrait Paul
Lancz had two sources at his disposal:
- A few photos all showing different
aspects of R.W.
- In Budapest 50yrs. ago, Paul Lancz had
managed to catch a glimpse of Wallenberg on
two occasions.
This memory indelibly etched in his mind,proved
more useful than the photos. R.W. at 33, was 8 years
Paul Lancz’s senior and in the young
artist’s eyes, under those circumstances, R.W.
emerged as an other-worldly phenomenon.
The embodiment of courage, determination, altruism
and nobility of spirit… this is the image Paul
lancz carried of R.W. in his heart and mind for fifty
years. It is this R.W. that has been recently cast in
bronze and it is this R.W. that Paul lancz intends on
conveying to the observer.
History repeats itself. The biblical "David and
Goliath" parallels today’ Raoul Wallenberg.
He is the quintessential contemporary
"David" he confronted the Nazi juggernaut
single-handedly and by dint of the sheer force of his
humanitarian convictions prevailed VICTORIOUS. The
discerning eye will perceive similar motifs when
comparing Michaelangelo’s "David "
sculpture, with that of Paul lancz’s Wallenberg.
May this memorial serve as an infallible symbol of
magnanimity and philanthropy the world over.
Portrait sculpting is the most complex of all the
creative arts. To bring life and spirit into a dead
material, to authentically reflect the subject’s
inner sanctum, is a monumental, if not impossible
task. In relative global terms, historically
speaking, there have been very few good and better
portraits created, perfection virtually non-
existent. MichaelAngelo, the most accomplished
sculptor of all time didn’t create a portrait
bust. There is an adage, " the eyes are the
mirror of the soul". I would take it further to
say the expressive characteristics of the physiognomy
evince the inner spirit and world of the subject. The
well-composed, well-defined bust is the single most
effective vehicle to express everything pertaining to
one’s life. The spectator can readily perceive
through the subject’s expression his or her
ethos and raison d’être. Let’s take for
example the various Raoul Wallenberg memorials
throughout the world. They depict a male figure, at
varying ages, fully attired. The spectator’ s
attention is diverted form the primary rationale
behind portrait sculpture., namely, the
interpretation of character through physiognomy. The
larger than life-sized Montreal erected Raoul
Wallenberg memorial portrays him in the midst of the
era during which his heroic feats transpired. One is
left rapt in concentration, focusing entirely on the
dignified posture, the unflinching expression, the
steely resolve of the eyes, the indomitable courage
and unbounded selflessness of his physiognomy. It
poignantly evokes those trying times of Budapest in
1944, which is precisely the intent of the bust-to
edify by enabling one to vicariously live through his
experiences. This is what confers meaning to the
adage " History is our best teacher ".
Florida International University’s erection of
this 18 times life-sized bronze bust would sit on a
40"x50" granite column.
RAOUL WALLENBERG -
BUDAPEST 1944
Selflessness, Courage, Conviction and Nobility of
Spirit
These attributes enabled Raoul Wallenberg to so
valiantly confront one of history’s most
destructive forces, thereby saving the lives of tens
of thousands.
As an educational tool, this memorial will be beyond
comparison. It will instill in today’s youth
those highly redeeming qualities that Raoul
Wallenberg embodied. It will serve as a beacon of
hope that his principles (or raison d’être )
will prevail, thereby ennobling mankind.Florida
International University will be the point of origin
of this message, the fallout of which would extend to
cultural and educational institutions world-wide. The
adage, " History is our best teacher " will
once again be reaffirmed. This campaign requires the
establishment of a committee to oversee the logistics
entailed. The circulation of posters of varying sizes
and miniature replicas of the monument would cover
most of the expenses.