Eduardo Chillida

Eduardo Chillida was born on January 10, 1924 in Donostia. His grandmother, Juana Eguren Jáuregui (1871, Zumarraga – 1969), managed two of the most emblematic hotels in the capital of Guipuzkoa: the Niza Hotel and the Gran Biarritz Hotel. The first, opened in 1908, is located in the heart of the Concha of Donostia, while the second, opened two years earlier, was located on Getaria Street.

Despite later becoming one of the most transgressive contemporary artists in the history of the Basque art, Chillida did not grow up wanting to be an artist. Chillida began studying architecture in 1942. That same year he started to gain a great reputation as a goalkeeper for Real Sociedad de Futbol, the professional soccer team located in Donostia. However, he only managed to play 14 games before an injury forced him to abandon his football career.

The Biarritz Hotel in Donostia	Eduardo Chillida with the Real Sociedad uniform.

After abandoning his architecture studies and finding it physically impossible for him to continue being a goalkeeper for the Guipuzkoan football team, in 1947 he entered the Centre of Fine Arts in Madrid where he began to draw and create his first works of art. A year later, he moved to Paris and continued experimenting with different materials and disciplines. Thanks to the friends he made in Paris, such as the sculptor, painter and engraver Pablo Palazuelo (1915, Madrid – 2007, Galapagar), the foundations of Chillida’s artistic career began to take shape.

Chillida Belzunce family in the Villa Paz studio, Donostia. 1963. Photo by Waintrob.

In July 1950 he married Pilar Belzunce (1925, Philippines – 2015, Donostia), who was a fundamental pillar in the artist’s life, both personally and professionally. Together they had eight children. Pilar kept all the works generated by her husband throughout his artistic career and thanks to her, so many of Chillida’s works survive today, distributed throughout the world. After living together for a year in France, they decided to return to the Basque Country and settled in Hernani, where Chillida began to work in a forge. Thanks to this, he began to experiment with iron, which, along with concrete, became one of his most characteristic materials.

Chillida in his workshop in Hernani. 1951. Photo by Gonzalo Chillida.

The works produced in this forge began to gradually define his personal style, where volume and the concept of emptiness became his most representative elements. However, it was not until 1952 when he made his first collages. Two years later he opened his first solo exhibition at the Clan Gallery in Madrid, where he exhibited both sculptures and collages.

Chillida was a multidisciplinary artist, and etchings and sculpture were his great passions. He used sculpture to make etchings and used etchings to make sculptures. One of the results of this interesting combination was what he called Gravitations, which emerged in the 1980s. These are collages in which the elements are not glued together, but one end of each element is sewn together with a thread, suspending them in the air while they gravitate in space.

Gravitations of 1987 and 1994.

He also carried out several works in the field of graphic design: one of the official posters for the Munich Olympic Games (1972), the logo for the anti-nuclear movement in Deba (1974), the logo for the University of the Basque Country (1975), the poster for the General Assembly of the Society of Basque Studies (1978), and the poster for the International Meeting of Traditional Culture in Portugalete (1986).

Logo of the University of the Basque Country (1975). Photo by: the Eduardo Chillida Archive.	Logo for the Deba anti-nuclear movement (1974). Photo by: the Eduardo Chillida Archive.

Poster for the Munich Olympic Games (1972)	Poster for the General Assembly of the Society of Basque Studies (1978). Photo by: the Eduardo Chillida Archive.	Poster for the International Meeting of Traditional Culture of Portugalete (1986)

Many of his works were also commissioned by non-museum institutions, such as the Monument to Felming (1955) by the Donostia City Council and the design of the Plaza de los Fueros (commissioned in 1975 and inaugurated in 1980), on which he collaborated with the architect Luis Peña Ganchegui (1926, Oñati – 2009, Donostia), for the Gasteiz City Council.

During his long career he exhibited his work in museums, galleries and art fairs around the world. In the USA he participated in more than forty exhibitions, including individual and group ones. Today there are many U.S. museums that have works by the Basque artist in their collections, such as the Solomon Guggenheim Museum in New York, among others. Some of these works are stored in the collections of these museums while others are displayed in their galleries, such as Aizian (1958) exhibited at the Carnegie Museum of Art in Pennsylvania. Others, however, are displayed outside, within everyone’s reach: De Musica, Dallas XV (1989, Morton H. Meyerson Symphony Center, Texas), Alrededor del Vacio V (1970, inner courtyard of the World Bank, Washington D.C.) or Abesti Gogorra V (1966, Museum of Fine Arts in Houston).

Alrededor del Vacio V (1970) at the World Bank headquarters in Washington. Photo by: Skidmore Owings & Merrill.	Abesti Gogorra V (1966). Museum of Fine Arts of Houston. Photo by: the Eduardo Chillida Archive.

Chillida and Frank Ribelin by De Música, Dallas XV, in the Symphony Orquestra, Dallas. 1989. Photo by Eduardo Chillida Archive.

He shared spaces in the USA with other Basque artists such as Jorge de Oteiza (1908, Orio – 2003, Donostia) in the exhibition New Spanish Painting and Sculpture (1960) at the Museum of Modern Art in New York and with Andrés Nagel (1947, Donostia) at the 10^th Anniversary (1989) of the Tasden Gallery in La Jolla, California. This last gallery, aware of the importance of Chillida, published several books about his work and life.

Naturally, many of the artist’s works are currently in the Basque Country. Some of them are in museums such as the Museum of Art and History of Durango, the Fine Arts Museum of Bilbao, the San Telmo Museum in Donostia, the Artium in Gasteiz or the Guggenheim Museum in Bilbao. Many others are also outdoors. These include Gure Aitaren Etxea (1987) in Gernika, the doors of the Basilica of Arantzazu (1954) in Oñati or Peine Del Viento XV (1977) in Donostia.

Eduardo Chillida by Haizearen Horrazia XV, Donostia. 1977. Photo by Francesc Català-Roca	Doors of the Basilica of Arantzazu (1954). Photo by: Francesc Catala-Roca.

Finally, we must mention Chillida-Leku, a place that houses and preserves all the works that Pilar kept throughout Chillida’s artistic career. The couple bought the Zabalaga baserri in Hernani in 1984, built in 1592. After 17 years of intense renovations, Chillida-Leku was inaugurated on September 16th, 2000. However, Chillida was only able to enjoy it for two short years, before he passed away on August, 19th, 2002, leaving behind a great legacy that marked a before and after in the history of Basque art.

Chillida-Leku in Hernani.

Eduardo Chillida 1924ko urtarrilaren 10ean jaio zen Donostian. Bere amona, Juana Eguren Jauregui (1871, Zumarraga – 1969), Gipuzkoar hiriburuko bi hotel esanguratsu kudeatu zituen: Niza Hotela eta Biarritz Hotela. Lehenengoak 1908an ireki zituen ateak Donostiako Kontxan, eta bigarrena bi urte lehenago zabaldua izan zen, Getaria kalean.

Nahiz eta gero euskal arteko arista garaikide esanguratsuenetariko bat bihurtu, Chillida ez zen artista bezala hazi. 1942an arkitektura ikasketak hasi zituen eta urte horretan Real Sociedad futbol taldean atezain bezala jolasten hasi zen. Hala ere, soilik 14 partidu jokatu zituen, lesionatu zelako. Bere futbol-ibilbidea alde batera utzi behar izan zuen.

Biarritz Hotela Donostian.	Eduardo Chillida Real Sociedad-eko jantziarekin.

Arkitektura ikasketak utzi eta gero eta Gipuzkoako futbol taldeko atezaina izaten jarraitzea fisikoki ezinekzoa zenez, 1947an Madrilgo Arte Ederren Zentroan murgildu zen eta marrazten hasi zen, bere lehen obrak sortuz. Urte bat geroago, Parisera mugitu zen eta material eta disziplina desberdinekin esperimentatzen hasi zen. Parisen ezagututako lagunei esker, Pablo Palazuelo (1915, Madrid – 2007, Galapagar) eskultore, pintore eta grabatzailea, adibidez, Chillidaren ibilbide artistikoaren oinarriak eratzen hasi ziren.

Chillida Belzunce familia Donostiako Villa Paz estudioan, 1963. Argazkia: Waintrob.

1950eko ekainean Pilar Belzuncerekin (1925, Filipinas – 2015, Donostia) ezkondu zen, bere bizitzako oinarrizko pilare bat izan zena, bai pertsonalki zein profesionalki. Zortzi seme-alaba izan zituzten. Pilarrek Chillidak bere ibilbide artistikoan sortutako lan guztiak gorde zituen, gaur egun mundu osoko museoetan bananduta daudenak. Parisen urte bat elkarrekin bizi ondoren, Euskal Herrira bueltatu ziren eta Hernanin finkatu ziren. Bertan, sutegi baten lan egiten hasi zen eta burdinarekin esperimentatzen hasi zen. Burdina, hormigoiarekin batera, bere material bereizgarria bihurtu zen.

Chillida Hernaniko tailerran, 1951. Argazkia: Gonzalo Chillida

Sutegi honetan sortutako lanak, bere estilo pertsonala zehazten joan ziren. Bertan, bolumena eta hutzunearen kontzpetua bere lanaren elementu garrantzitsuak bihurtu ziren. Hala ere, 1952an bere lehen collageak sortu zituen. Bi urte geroago bere lehen banakoako erakusketa inauguratu zuen Madrilgo Clan Galerian, non eskulturak zein collageak azaldu zituen.

Chillida diziplina anitzeko artista izan zen, grbatuak eta eskultura bere pasio handiak izanik. Eskulturak erabiltzen zituen grabatuak egiteko eta grabatuak erabiltzen zituen eskulturak egiteko. Grabiazioak konbinazio honen emaitz interesgarri bat izan ziren, 80ko hamarkadan sortuak. Grabitazioak collage batzuk ziren, non elementuak ez zeuden kolarekin itsatsiak, baizik eta bakoitzaren ertzak josiak ziren airean zintzilikatuz, espazioan grabitatuz.

1987 eta 1994ko grabitazioak.

Arte grafikoko zenbait lan egin zituen ere: Municheko Joku Olinpikoen kartel ofizialetako bat (1972), Debako mugimendu antinuklearraren logotipoa (1974), Euskal Herriko Unibertsitatearen logotipoa (1975), Eusko Irakaskuntza Batzarre Nagusiaren kartela (1978) edota Portugaleteko Kultura Herrikoiari buruzko Nazioarteko Topaketaren kartela (1986).

Euskal Herriko Unibertsitatearen logotipoa (1975). Argazkia: Eduardo Chillida Artxiboa.	Debako mugimendu antinuklearraren logotipoa (1974). Argazkia: Eduardo Chillida Artxiboa.

Municheko Joku Olinpikoen kartela (1972)	Eusko Irakaskuntza Batzarre Nagusiaren kartela (1978). Argazkia: Eduardo Chillida Artxiboa.	Portugaleteko Kultura Herrikoiari buruzko Nazioarteko Topaketaren kartela (1986)

Bere zenbait artelan insituzio desberdinen enkarguengatik sortu zituen. Adibidez, Flemingen Monumentua (1955) Donostiako Udalaren enkargu bat izan zen eta Gasteizko Foru Plazaren diseinua, Luis Peña Ganchegui (1926, Oñati – 2009, Donostia) arkitektuarekin batera, Gatseizko Udalak enkargatu zuen (1975an enkargatu eta 1980an inauguratu).

Bere ibilbide artistiko luzean mundu osoko museoetan, galerietan eta arte-azoketan aurkeztu zuen bere lana. EEBBetan berrogei erakusketa baino gehiago gauzatu zituen, bai banakoak zein taldekoak kontatuz. Gaur egun, EEBBetako museo askoren biltegietan esukal artistaren lanak gordeta daude, New Yorkeko Solomon Guggenheim Museuma bezala, besteak beste. Nahiz eta, esan bezala, lan batzuk museoen biltegietan egon, beste batzuk museoen geletan erakusten dira, Aizian (1958) artelanaren kasuan bezala, Pensilvaniako Carnegie Museoaren gela baten dagoena. Beste batzuk, aldiz, kanpoaldean ikusgai daude. Besteak beste: De Musica, Dallas XV (1989, Morton H. Meyerson Symphony Center, Texas), Alrededor del Vacio V (1970, Banco Mundialaren patioan, Washington D.C.) edo Abesti Gogorra V (1966, Museum of Fine Arts de Houston).

Alrededor del Vacio V (1970) Banku Mundialaren egoitza Washingtonen. Argazkia: Skidmore Owings & Merrill.	Abesti Gogorra V (1966). Museum of Fine Arts,  Houston. Argazkia: Eduardo Chillida Artxiboa.

Chillida eta Frank Ribelin eta  De música, Dallas XV (1989) Symphony Orquestra, Dallas. Argazkia: Eduardo Chillida Artxiboa.

EEBBetan beste euskal aritstekin lekua partekatu zuen ere: Jorge Oteizarekin  (1908, Orio – 2003, Donostia) New Spanish Painting and Sculpture (1960) erakusketan New Yorkeko Museum of Modern Art-ean edo Andrés Nagelekin (1947, Donosita) La Jolla-ko (California) Tesden Galeriaren 10. urteurrenean osapatutako erakusketan. Galeria honek, Chillidaren garrantzia jakinez, zenbait liburu argitaratu zituen bere lana eta bizitzaren inguruan.

Jakina, artistaren artelan asko Euska Herrian daude. Horietako zenbait euskal museotan daude: Durangoko Arte eta Historia Museoan, Bilboko Arte Ederren Museoan, Donostiako San Telmo Museoan, Gasteizko Artium Museoam edota Bilboko Guggenheim Museoan. Beste lan batzuk, ordea, kanpoaldean daude: Gure Aitaren Etxea (1987) Gernikan, Arantzazu Baskiliaren ateak (1954) Oñatin edo Peine del Viento XV (1977) Donostian.

Chillida eta el Haizearen Horrazia XV (1977)  Donostian. Argazkia: Francesc Català-Roca	Arantzazu baslikako ateak (1954). Argazkia: Francesc Catala-Roca.

Azkenik, beharrezkoa da Chillida-Lekua aipatzea, bertan Pilarrek bere zenarraren ibilbide-artistiko guztian gordetako artelanak kontserbatzen eta gordetzen dira. Zabalaga baserria ersosi zuten elkarrekin 1984an Hernianin eta 17 urtez berrizten egon ziren, 2000 urteko irailaren 16an ateak ireki arte. Hala ere, Chillidak soilik bi urtez gozatu izan zuen Chillida-Lekua, 2002ko abuztuaren 19an hil zen arte, euskal artean mugarri izan den legatua utziz.

Chillida-Leku, Hernani.

The Basque Museum and Cultural Center has this etchings by the artist Eduardo Chillida (1924, Donostia – 2002, Donostia) in its collection. However, there is no information on how it came into our possession. We only know that it was added to the museum’s collection in 2009. Thanks to the information provided by Chillida-Leku, we know that it was made in 1987 and that it belongs to a series called Gernika. We know that it has been in Boise at least since June 9, 1990, the date on which it was framed. We know this information thanks to a label on the back of the work.

Unfortunately, the company that was in charge of framing it no longer exists. In addition to being framed, the etching also had a passepartout with a black frame that surrounded the work following its shape. On the advice of Chillida-Leku himself and experts in the sector, we decided to remove this black passepartout so that we could enjoy the work in its entirety and see all the details that the material contains.

Label on the back of the artwork with information about the company that framed it.

We can make a direct connection with one of the most emblematic works of Donostian artist: Gure Aitaren Etxea (The House of Our Father) in the Park of the Peoples of Europe in Gernika, next to the Assembly Hall and the Gernikako Arbola. It is an enormous concrete sculpture made to mark the fiftieth anniversary of the bombing of the city in 1937. It is a monument dedicated to peace and designed so that from its window, the Gernikako Arbola can be seen. Despite being made in 1987, it was not inaugurated until 1988.

Gure Aitaren Etxea, 1987, Gernika.

Chillida was a multidisciplinary artist. That is why, in order to create a monumental sculpture like this one, he made many preliminary sketches on paper and miniatures that would imitate what would end up being one of the artist’s favourite Basque sculptures.

In 1960 he also made a miniature in steel which he called Gure Aitaren Etxea III, which he used as a model in the construction of the concrete version. For this, he built the work in its original dimensions with styrofoam so that he could later make the formwork with wood.

First ideas for Gure Aitaren Etxea in steel.	Sketches on paper for Gure Aitaren Etxea.

Gure Aitaren Etxea III and the styrofoam model.	Wooden formwork for Gure Aitaren Etxea.

It is for this reason, because of its shapes, dates and title that we considered it appropriate to relate our etching to this very special sculpture. He did not only use etchings to create the first ideas for the work. Thanks to the book published by the Tasende Gallery in California, we know that he also used his iconic gravitations as initial materials to gradually create Gure Aitaren Etxea. These gravitations were made on amate paper, a traditional Mexican paper. In order to understand these relationships, we have made a facsimile of one of these gravitations, adjusting its measurements to our exhibition space. In this way, we can visually relate the three works: our etching, the gravitation and Gure Aitaren Etxea.

Gravitation for Gure Aitaren Etxea, 1987.

It is impossible not to mention Gabriel Aresti (1933, Bilbao – 1975, Bilbao) when we talk about Gure Aitaren Etxea, since the title of the monumental work is based on one of his most representative poems: Nire Aitaren Etxea (1963) (The House of my Father). Gabriel Aresti is one of the most renowned and important Basque writers of the 20th century. He worked in poetry, novels and theatre and collaborated with Mikel Laboa and with the music group Oskorri, among others.

The poem begins like this: “Nire aitaren etxea defendatuko dut” (I am going to defend my father’s house). When he speaks of “my father’s house” he is referring to the Basque Country, wanting to defend both. Chillida, however, changes the possessive nire (mine) to gure (ours) in order to say that we will all defend our father’s house. Furthermore, this is not the first time that Chillida has paid homage to Aresti. The collection of the Museum of Art and History of Durango has an etching made in 1980 entitled Homenaje a Gabriel Aresti.

Homenaje a Gabriel Aresti, 1980.

The etching of the Gernika series was made at the Hatz Studio (Hatz means trace or footprint in Basque). This studio was created in the 70s by one of Chillida’s sons, Ignacio (1954, Donostia), and his wife Monica Bergareche in Donostia. Ignacio, fascinated by graphic art, decided to educate in Barcelona and Paris and then open the studio. Many artists came to this studio to create their works. Among them are Andrés Nagel (1947, Donostia), Mari Puri Herrero (1942, Bilbao), José Luis Zumeta (1939, Usurbil – 2020, Donostia), Vicente Ameztoy (1946, Donostia – 2001, Villabona), Marta Cárdenas (1944, Donostia) or Rafael Ruiz Blaerdi (1934, Donostia – 1992, Altea). Naturally, his father also worked for years in the studio.

Press for making etchings in the Hatz Studio (1977)

This is not the only case in which Chillida has mixed disciplines to achieve a final result. This is also the case of De Musica, Dallas XV (1989) exhibited at the new Morton H. Meyerson Symphony in Texas. The sculpture, more than 15 feet high and weighing 86 tons of steel, was commissioned by Frank Ribelin who later donated the work to the city of Dallas. To create the work, Chillida was in constant contact with the architect I. M. Pei (1917, Canton – 2019, Nueva York), who designed the new symphony building. To create this large iron sculpture, as is normal in his creative process, Chillida made sketches using his gravitational pull and created the first ideas in steel miniatures.

Chillida and Frank Ribelin by De Música, Dallas XV, in the Symphony Orquestra, Dallas. 1989. Photo by Eduardo Chillida Archi

Sketches and first ideas for De Musica, Dallas XV, 1998.	Sketches and first ideas for De Musica, Dallas XV, 1998.

The etching from the Gernika series belonging to the Basque Museum and Cultural Center is a clear example of how Chillida intertwined disciplines in order to create works of art represented through space and the lack of it, as well as a deep study of volumes. He was and is one of the most representative artists of contemporary Basque art.

·       Izenburua: Gernika ·       Data: 1987 ·       Tamiana: 26″ x 19.6″ ·       Teknika: Aguatinta ·       Printer: Hatz Studio ·       Papera: Rivers BFK

Euskal Museo eta Kulturgunearen bildumak Eduardo Chillida (1924, Donostia – 2002, Donostia) euskal artistaren grabatu bati osatua ematen dio. Hala ere, ez dago informaziorik bere jatorriari buruz, ez dakigu nola heldu zen gure eskuetara. Soilik 2009an museoaren kolekzioara gehitu zela dakigu. Chillida-Lakuak emandako informazioari esker, badakigu 1987an egina izan zela eta Gernika izeneko serie baten parte dela. Grabatua Boisen egon da, gutxienez, 1990eko ekainaren 9tik, markoztatua izan zen data. Atzealdean zuen etikieta bati esker dakigu informazio hau.

Zoritxarrez, enpresak jarri zuen markoa ez da jada existitzen. Markoztatuta egoteaz gain, grabatuak paspartu bat zuen, marku baltz batekin, obraren itxura inguratzen zuenak. Chillida-Lekuaren eta sektorean adituak direnen aholkuak jarraituz, paspartua eta marku beltza kentzea erabaki dugu, lana osatasunean gozatzeko eta materialak dituen zehetasun guztiak ikusteko.

Artelanaren atzealdeko etiketa enmarkatu zuen enpresaren informazioarekin.

Grabatu hau, artistaren lan esaguratsuenetariko batekin erlazio zuzena egin dezakegu: Gure Aitaren Etxea, Europako Herrien Parkean, Gernikan, Batzarretxe eta Gernikako Arbolaren ondoan. Esultura ikaragarri hau hormigoiez egina izan zen, 1937an hirian gertatutako bobardaketaren 50. urteurrenagatik eraikia. Bakeari eskainitako monumentua da, bere lehiotik Gernikao Arbola ikusgarri izateko diseinatua. Nahiz eta 1987an egina izan, 1988an inauguratu zen.

Gure Aitaren Etxea, 1987, Gernika.

Chillida diziplina anitzeko artista zen. Honegatik eskultura monumental hau egiteko paper gaineko aurretiko ziriborro asko egin zituen, baita miniaturak ere, aritstaren euskal eskultura gogokoenetariko bat sortzuz. 1960an altzairuzko miniatura bat egin zuen, Gure Aitaren Etxea III deitu zuena. Hormigoiezko bertsioa egiteko miniatura hau erabili zuen, styrofoamarekin neurri originalak zuen eskultura egin zuen, egurezko kofratu batekin.

Gure Aitaren Etxea-ren lehen ideiak altzairuan.	Gure Aitaren Etxea-rentzat sortutako paper gaineko ziriborroak.

Gure Aitaren Etxea III eta styrofoam moldea.	Egurrezko kofratua Gure Aitaren Etxea-rako.

Datu hauek, formak, datak eta izenburuak kontuan hartuz, uste dugu gure grabatua eta eskultura berezi hau harremanetan jartzea egokia dela. Chillidak ez zituen soilik grabatuak erabili artelan honen lehen ideiak gauzatzeko. Californiako Tasende Gallery argitaratutako liburuari esker, badakigu grabitazioak hasierako material bezela erabili zituela ere, pixkanaka Gure Aitaren Etxea-ri forma emanez. Grabitazio hauek amate paperean eginak izan ziren, mexikoko paper tradizional bat. Aipatutako harremanak ulertzeko grabitazio hauetako faksimil bat egitea erabaki dugu, museoko espazioaren neurrien arabera tamaina adostuz. Honi esker hiru lanak bisualki erlaziona ditazkegu: gure grabatua, grabitazioa eta Gure Aitaren Etxea.

Gure Aitaren Etxea-rentzat sortutako grabitazioa, 1987.

Ezinezkoa da Gabrie Aresti (1933, Bilbao – 1975, Bilbao) ez aipatzea Gure Aitaren Etxea-ri buruz hitz egiten dugunean. Lan monumental honen izena Arestiren olerki baten oinarritzen da eta: Nire Aitaren Etxea (1963). Gabriel Aresti XX. mendeko euskal idazle esanguratsuenetariko bat izan zen. Poesia, eleberria eta antzerkia landu zituen eta Mikel Laboarekin edota Oskorri musika taldearekin lan egin zuen, besteak beste.

Horrela hasten da olerkia: “Nire aitaren etxea defendatuko dut”. “Nire aitaren etxea” aipatzen duenean Euskal Herriari buruz hitz egiten ari da, biak defendatzeko asmoz. Hala ere, Chillidak nire edutezkoa gure edutezkoagatik aldatzen du, denok defendatuko dugulako gure aitaren etxea. Gainera, ez da lehenengo aldia non Chillidak Arestiri omenaldia egiten dion, 1980ean Homenaje a Gabriel Aresti egin zuen, gaur egun Durangoko Arte eta Historiako Museoan gordeta dagoen grabatua.

Homenaje a Gabriel Aresti, 1980.

Gernika serieko grabatua Hatz Estudioan egina izan zen. Estudioa 70eko hamarkadan sortua izan zen Donostian Ignacio Chillida (1954, Donostia) (Chillidaren semea) eta bere emaztea Monica Bergarecheren eskutik. Ignaciori izugarri gustatzen zitzaion arte-grafikoa. Honegatik Bartzelona eta Parisen honi buruzko ikasketak gauzatu zituen gero estudioa idekitzeko. Artista asko joan ziren Hatz estudioara haien lanak sortzeko. Haien artean Andrés Nagel (1947, Donostia), Mari Puri Herrero (1942, Bilbao), José Luis Zumeta (1939, Usurbil – 2020, Donostia), Vicente Ameztoy (1946, Donostia – 2001, Villabona), Marta Cárdenas (1944, Donostia) edota Rafael Ruiz Blaerdi (1934, Donostia – 1992, Altea) artistak ditugu. Noski, bere aitak lanak sortu zituen estudioan ere.

Prentsa grabatuak egiteko Hatz Estudioan (1977)

Hau ez da kasu bakarra non Chillidak arte-diziplinak nahasten dituen azken emaitz bat lortzeko asmoz. De Musica, Dallas XV-ren (1989) kasua da ere, Texaseko Morton H. Meyerson Symphony erakin berriaren ondoan dagoen eskultura. Altzairuzkoa da, 15 oineko altura du eta 86 tonelada pisatzen du. Frank Ribelineren enkargu bat izan zen, geroago Dallas hiriari oparitu ziona. Lana gauzatzeko, Chillida harremanetan egon zen I. M. Pei (1917, Canton – 2019, Nueva York) arkitektuarekin, eraikin sinfoniko berria disienatu zuenak. Altzairuzko eskultura handi hau egiteko, bere sortze-prozesuan ohikoa denez, Chillidak ziriborroak sortu zituen bere grabitazioak erabiliz eta altzairuzko miniaturak egin zituen lehen idei bezala.

Chillida eta Frank Ribelin eta  De música, Dallas XV (1989) Symphony Orquestra, Dallas. Argazkia: Eduardo Chillida Artxiboa.

De Musica, Dallas XV (1998) lehen ideiak.	De Musica, Dallas XV (1998) lehen ideiak.

Euskal Museo eta Kulturguneari dagokin grabatua Chillidaren lan prozesuaren adibide egoki bat da, disziplinak nahastuz, espazioa eta honen falta lantzen zuen, bolumenak era sakonean aztertuz. Euskal arte garaikideko artista esanguratsuenetariko bat izan zen eta gaur egun izaten jarraitzen du ere.

Images provided by Chillida-Leku

• Signature
• Chillida working on the Atzapar (Claw) etching in the Foundation Mageth, Saint-Paul-de-Vence, 1973. Photo by Claude Gaspari.
• Chillida Belzunce family in the Villa Paz studio, Donostia. 1963. Photo by Waintrob.
• Chillida in his workshop in Hernani, 1951. Photo by Gonzalo Chillida.
• Gravitations of 1987 and 1994.
• Logo of the University of the Basque Country (1975). Photo by: the Eduardo Chillida Archive.
• Logo for the Deba anti-nuclear movement (1974). Photo by: the Eduardo Chillida Archive.
• Poster for the General Assembly of the Society of Basque Studies (1978). Photo by: the Eduardo Chillida Archive.
• Alrededor del Vacio V (1970) at the World Bank headquarters in Washington. Photo by: Skidmore Owings & Merrill.
• Abesti Gogorra V (1966). Museum of Fine Arts of Houston. Photo by: the Eduardo Chillida Archive.
• Chillida and Frank Ribelin by De Música, Dallas XV, in the Symphony Orquestra, Dallas. 1989. Photo by Eduardo Chillida Archive.
• Eduardo Chillida by Haizearen Horrazia XV, Donostia. 1977. Photo by Francesc Català-Roca
• Doors of the Basilica of Arantzazu (1954). Photo by: Francesc Catala-Roca.

Images from El Diario Vasco

• Demonstration on March 17, 1989 in favor of ETA’s non-violence. Photo by Luis Michelena.

Images from the publication of Tesende Gallery in La Jolla, California. Chillida at Gernika (1988)

• Sketches on paper for Gure Aitaren Etxea.
• Gure Aitaren Etxea III and the styrofoam model.
• Wooden formwork for Gure Aitaren Etxea.
• Gravitation for Gure Aitaren Etxea, 1987.

Images from the publication of Tesende Gallery in La Jolla, California. Gure Aitaren Etxea (1986)

• First ideas for Gure Aitaren Etxea in steel.

Images from the publication of Tesende Gallery in La Jolla, California. De Musica Eduardo Chillida (1990)

• Sketches and first ideas for De Musica, Dallas XV, 1998.

Images from Museotik

• Homenaje a Gabriel Aresti, 1980 (Museum of Art and History of Durango)
• Press for making engravings in the Hatz Studio (1977) (Territorio Lenbur Museum)
• Poster for the Munich Olympic Games (1972) (Bilbao Fine Arts Museum)

Own images

• Gernika traffic signal by Iratxe Gonzalez Aspiazu.

Others

• The Biarritz Hotel in Donostia
• Eduardo Chillida with the Real Sociedad uniform.
• Poster for the International Meeting of Traditional Culture of Portugalete (1986)
• Chillida-Leku in Hernani.
• Gure Aitaren Etxea, 1987, Gernika.