1971

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.

1 / 1 Chillida and Jorge Guillén at Harvard University, where they met

1 / 1 Rumor de Límites IX-Monumento Düsseldorf [Rumour of Limits IX-Düsseldorf Monument]

1 / 1 Chillida, Marc Chagall, Pilar and Marguerite Maeght in Saint-Paul-de-Vence

1972

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.

1 / 1 Lugar de Encuentros III [Meeting Place III] photographed by Catalá-Roca at the Open Air Sculpture Museum on Paseo de la Castellana, Madrid

1 / 1 Proyecto para Lund (Campo espacio de paz II) [Project for Lund (Field Space of Peace II)] installed at the University of Lund

1 / 1 Chillida at the inauguration of Proyecto para Lund (Campo espacio de paz II) [Project for Lund (Field Space of Peace II)]

1 / 1 Poster for the Summer Olympics in Munich

1 / 1 Self-portrait of Chillida and Pilar

1973

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.

1 / 1 Chillida working on the Atzapar [Claw] etching at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 Chillida working on Estela a Salvador Allende [Stele for Salvador Allende] at the Larrañaga foundry in Lezo

1 / 1 Lugar de encuentros III [Meeting Place III] exhibited at the Galerie Maeght, Paris

1 / 1 Installation view of the solo exhibition at the Galerie Maeght, Paris

1 / 1 Claude Esteban, Chillida and Jorge Guillén looking at pages from Más allá [Beyond]

1 / 1 Guillén writing on Más allá [Beyond], illustrated by Chillida. Paris: Maeght Éditeur, 1973

1 / 1 Lurra I [Earth I]

1 / 1 Printing Ahoska II at Robert and Lydie Dutrou's engraving studio, Saint-Paul-de-Vence

1974

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.

1 / 1 Group photo of the attendees at the X Anniversary of the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 Working in Saint Paul de Vence

1 / 1 Logo for the anti-nuclear movement of Deba

1 / 1 With his helpers Paco and Agustín at the Museo San Telmo, San Sebastian

1 / 1 Working on Estela a Pablo Neruda [Stele for Pablo Neruda] and Estela a Salvador Allende [Stele for Salvador Allende]

1 / 1 Estela a Pablo Neruda [Stele for Pablo Neruda]

1 / 1 Estela a Salvador Allende [Stele for Salvador Allende]

1 / 1 Estela a Giacometti [Stele for Giacometti]

1975

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.

1 / 1 Being awarded the Rembrandt-Preis by Prof. Toepfer, with Dr. A. Hentzen, and Prof. Mitxelena

1 / 1 Ceremony of the Rembrandt-Preis der Stiftung M.Töpfer in his studio in Villa Paz, San Sebastian

1 / 1 Logo for the University of the Basque Country

1 / 1 Estela a Picasso [Stele for Picasso]

Justification page of Le sujet est la clairière de son corps [The Subject is the Clearing of its Body], by Charles Racine. Paris: Maeght Éditeur, 1975

1 / 1 Justification page of Le sujet est la clairière de son corps [The Subject is the Clearing of its Body], by Charles Racine. Paris: Maeght Éditeur, 1975

1 / 1 One of the etchings in Le sujet est la clairière de son corps [The Subject is the Clearing of its Body]

1 / 1 Gurutz IV [Cross IV] in the Basilica of Santa María del Coro, San Sebastian

1 / 1 Chillida working on alabaster

1 / 1 Gasteiz [Vitoria]

1976

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.

1 / 1 Euskadi IV [Basque Country IV]

1 / 1 Amnistia-Askatasuna [Amnesty-Freedom]

1 / 1 Poster for the Gestora pro Amnistía

1 / 1 Aimé Maeght and Chillida in front of Euzkadi V [Basque Country V] at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 Chillida in front of Euzkadi V [Basque Country V] at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 Chillida with some of his prints at the Fondation Maeght, Saint-Paul-de-Vence

1977

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.

1 / 1 Site plan by Peña Ganchegui for the square of the Peine del Viento [Comb of the Wind]

1 / 1 Installation of Peine del Viento [Comb of the Wind]

1 / 1 Chillida photographed by Catalá-Roca at the Peine del Viento [Comb of the Wind]

1 / 1 One of the four etchings in Adoración [Adoration], by José Miguel Ullán. Paris: Robert y Lydie Dutrou, 1977

1 / 1 Working with the ceramicist Hans Spinner at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 With the Miró's, Maeght's, Spinner, and others, at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 Porcelana I [Porcelain I]

1 / 1 Chillida and Pilar at FIAC ´77, Paris

1978

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.

1 / 1 Poster for the General Assembly of the Society of Basque Studies

1 / 1 Installation view of his solo exhibition at the Galerie Maeght, Zurich

1 / 1 Pilar, Aimé Maeght, and Chillida at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 "Working on his ""Lurras"" at the Fondation Maeght, Saint-Paul-de-Vence, as photographed by Catalá-Roca "

1 / 1 The Chillida Belzunce family photographed by Catalá-Roca in Villa Paz, San Sebastian

1979

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.

1 / 1 Homenaje a la Mar I [Homage to the Sea I]

1 / 1 Homenaje a la Mar II [Homage to the Sea II]

1 / 1 Chillida and helpers with Homenaje a Calder [Homage to Calder] at the Larrañaga foundry in Lezo

1 / 1 Chillida inside Homenaje a Calder [Homage to Calder]

1 / 1 Installation view of the anthological exhibition held at the Carnegie Institute, Pittsburgh

1 / 1 Chillida, Joan Miró and Pilar at the Fondation Maeght, Saint-Paul-de-Vence

1 / 1 "Working on his ""Lurras"" at the Fondation Maeght, Saint-Paul-de-Vence, as photographed by Catalá-Roca "

1 / 1 Chillida at the Peine del Viento [Comb of the Wind], photographed by Catalá-Roca

Monumento a los Fueros Vascos [Monument to the Basque Charters] in Vitoria-Gasteiz, by Chillida and Luis Peña Ganchegui, as photographed by Catalá-Roca

1 / 1 Monumento a los Fueros Vascos [Monument to the Basque Charters] in Vitoria-Gasteiz, by Chillida and Luis Peña Ganchegui, as photographed by Catalá-Roca

1980

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.

1 / 1 Monumento a los Fueros Vascos [Monument to the Basque Charters] photographed by Catalá-Roca

1 / 1 Lugar de Encuentros VI [Meeting Place VI], at the Fundación Juan March, Madrid

Eusebio Sempere, Pilar, José A. Fernández Ordoñez, and Chillida in front of Lugar de Encuentros IV [Meeting Place VI] at the Solomon R. Guggenheim Museum, New York

1 / 1 Eusebio Sempere, Pilar, José A. Fernández Ordoñez, and Chillida in front of Lugar de Encuentros IV [Meeting Place VI] at the Solomon R. Guggenheim Museum, New York