This Exhibition Has Ended

September 1, 2012
December 23, 2012
In the Bowers Gallery, Floor 1

 Harry Bertoia’s broadly varied artistic output is difficult to classify. His son, Val Bertoia, offered perhaps the most astute description when he said: “Harry was a metal man. When Harry was making furniture, he was making metal comfortable for the human body. When Harry was making sound sculpture, he was making metal comfortable for the human mind.”

Born Arieto Bertoia in San Lorenzo, Italy, in 1915, Bertoia emigrated to the United States in 1930. He found his “artistic Eden” at the Cranbrook Academy of Art, part of the Cranbrook Educational Community, in Bloomfield Hills, Michigan. There, he met his wife, Brigitta, and befriended Charles and Alexandra “Ray” Eames, the famously spirited iconoclasts of twentieth-century design. Bertoia collaborated with the Eameses during the early to mid-1940s. A few years after leaving the Eames Office, Bertoia joined Knoll Associates, at the invitation of a fellow designer and Cranbrook alumna, Florence (Schust) Knoll. For Florence and her husband, Hans Knoll, Bertoia created classic seating designs including his “Diamond” and “Bird” chairs and other products constructed of shaped and welded wire. Introduced in 1952, Bertoia’s chairs are still produced by Knoll today.

From 1953 until his death in 1978, Bertoia focused his creative energies almost exclusively on sculpture. Among several themes the artist explored in metal were his innovative “tonal” or “sounding” sculptures of the 1960s and ’70s. The seven sculptures featured in this exhibition were acquired when the Johnson Museum first opened, in 1973.

During the last decade of his life, Bertoia recorded several of his own symphonic performances with dozens of “tonals” he assembled in a converted barn at his home in Bartow, Pennsylvania. The recordings fill eleven vinyl LPs, collectively titled Sonambient.

Matt Conway



Untitled sounding sculpture, 1978
Beryllium copper and naval brass
Approx. 19 ft. with 48 x 48 in. base
Gift of Audrey Berman, Class of 1950, and Bernard Berman


As installed on the sculpture court of the Herbert F. Johnson Museum of Art, 1978–2003

This sounding sculpture, one of the tallest Bertoia ever made, was damaged during a wind storm in 2003. Val Bertoia repaired it at the Bertoia Studio in Bally, PA, using his father's original equipment and techniques. Safe and appropriate locations for the reinstallation of the sculpture are still under considerations. 

Image courtesy of Mrs. Silas L. (Severinghaus) Warner, Class of 1950


Reproduction, including downloading of Harry Bertoia works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York.