1971 - 1980
Visiting Professor at the Carpenter Center for the Visual Arts in Harvard. There he struck up a friendship with the Spanish poet Jorge Guillén, teaching at the same university, and with his daughter Teresa, both in exile.
For its Centenary, Thyssen commissioned him a steel sculpture for its headquarters in Düsseldorf, which would come to be Rumor de Límites IX [Rumour of Limits IX], his biggest sculpture until then.
With the help of the engineer José Antonio Fernández Ordónez, he began to explore working with concrete as a material for large sculptures.
Solo exhibitions in Milan and Barcelona.
Printmaking Prize at the Ljubljana Biennial of Graphic Arts.
He created his first piece in concrete, Lugar de encuentros III [Meeting Place III] conceived for the Museo de Escultura al Aire Libre de La Castellana, where it would eventually be hung from the Enrique de la Mata Gorostizaga bridge, its current location.
The piece made in basalt, Proyecto para Lund (Campo espacio de paz II) [Project for Lund (Field Space of Peace II)] was installed at the Swedish town of Lund.
He designed one of the posters for the Olympic Games in Munich.
Catalogued by Gisèle Michelin, his complete graphic work was exhibited in the German city of Ulm. Solo exhibition at the Galería Iolas-Velasco in Madrid.
He set up his workshop in Villa Ingeborg, the house right next to his home of Villa Paz. Here, Marcial Vidal joined as helper.
Derrière Le Miroir dedicated a monographic publication to the work Lugar de encuentros III [Meeting Place III], with texts by the poet Gabriel Celaya and the critic Santiago Amón.
He produced Lugar de encuentros IV [Meeting Place IV] in concrete, and 16 woodcuts for the book Más allá [Beyond] by his friend Jorge Guillén.
Joan Artigas introduced him to the world of ceramic materials and fireclay at the kilns in the Maeght Fondation, Saint-Paul de Vence.
Solo exhibitions in Munich, Bonn, Paris and Geneve.
He was awarded the Premio Internazionale Diano Marina for his work in the illustrated book Más allá [Beyond]. He created a logo for the antinuclear movement against the power plant in Deba.
He created the steles for Neruda, Allende and Giacometti. Estela a Pablo Neruda [Stele for Pablo Neruda] was installed in Tehran.
He participated in Propyläen Verlag’s homage to Picasso in Berlin and in the opening exhibition of the Galería Maeght in Barcelona.
Solo exhibitions in New York, Barcelona, Madrid, Basel, Sevilla and Ratilly.
The Johann Wolfgang von Goethe-Stiftung awarded him the Rembrandt-Preis with a ceremony in his studio in San Sebastian. He designed the logo for the University of the Basque Country.
The composer Cristóbal Halffter debuted a piece dedicated to the sculptor at the Royan Festival.
He created the steel piece Estela a Picasso [Stele for Picasso] and five etchings for the book Le sujet est la clairière de son corps [The Subject is the Clearing of its Body] by Charles Racine.
His alabaster piece Gurutz IV [Cross IV] was installed at the Basílica de Santa María del Coro in San Sebastian.
By commission of the City Council of Vitoria, he worked alongside the architect Luis Peña Ganchegui on the design of the city’s Plaza de los Fueros. He created the work Gasteiz [Vitoria] in alabaster.
Solo exhibitions in The Hague, Ibiza, Neuchâtel, and Madrid.
He was awarded the Prize of The Minister of Foreign Affairs at the 10th International Biennial Exhibition of Prints in Tokyo, for the etching Euskadi IV [Basque Country IV].
He made the print Amnistia-Askatasuna [Amnesty-Freedom], which then became the logo for the Gestora pro Amnistía.
Solo exhibition in Hellerup.
Honorary Member of the Hispanic Society of America.
The work Peine del viento XV [Comb of the Wind XV] was installed in San Sebastian. The project was again the result of a collaboration with Luis Peña Ganchegui, the architect in charge of its urban planning.
He created four etchings for the book Adoración [Adoration] by José Miguel Ullán.
He began working with terracotta, and in particular chamotte clay, led by Hans Spinner, the ceramist working at the Maeght Foundation in Saint-Paul de Vence. With this preferred material he would create his series of Lurrak [Earths]. He also began experimenting with porcelain.
The exhibition Eduardo Chillida. Obra gráfica completa 1959-1977, first held at the Galería Iolas-Velasco in Madrid then travels to Durango, Pamplona, and the Carpenter Center in Harvard under the title An Exhibition of Graphic Work by Eduardo Chillida.
He held a solo exhibition in Munich and participated at VI documenta Kassel.
He was awarded the Premio de la Paz del Instituto de Polemología Pau i Treva de Cataluña, and the Andrew W. Mellon Prize, shared with Willem de Kooning.
He designed the poster for the Asamblea General de la Sociedad de Estudios Vascos [General Assembly of the Society of Basque Studies]
Lugar de encuentros III [Meeting Place III] was finally and permanently hung at the Museo de Escultura al Aire Libre de La Castellana in Madrid, under the bridge, as proposed by the engineers Martínez Calzón y Fernández Ordóñez.
Solo exhibitions in Baden-Baden, Zurich, Düsseldorf, and Paris.
He began the series of alabaster sculptures Homenaje a la mar [Homage to the Sea] and created the steel work Homenaje a Calder [Homage to Calder], conceived as a hanging piece.
A retrospective was held at the Carnegie Institute in Pittsburgh, organized by Leon A. Arkus. The text for the catalogue, Chillida. Del hierro a la luz [Chillida, from Iron to Light] was written by the poet Octavio Paz.
Graphic work retrospective at the National Gallery in Washington, and a solo exhibition in Los Angeles. He met the architect Ieoh Ming Pei.
Inauguration of Monumento a los Fueros [Monument to the Basque Charters] in Vitoria.
Lugar de encuentros VI [Meeting Place VI] was installed at the entrance of the Fundación Juan March in Madrid.
An anthological exhibition was held at the Solomon R. Guggenheim Museum in New York, with a catalogue written by the Mexican poet Octavio Paz.
Another anthological show was organized at the Palacio de Cristal in Madrid, and a solo show, Lurrak. Terres de grand feu was set up at the Galerie Maeght in Paris.
Other solo exhibitions were held in Stuttgart, Madrid, and Barcelona.