Drawing in Space

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Drawing in Space

Drawing in Space

Drawing in Space

The Direct Welding Technique

The Direct Welding Technique

The Direct Welding Technique

A photograph of David Yurman welding at his bench. A photograph of David Yurman welding at his bench.

“Mr. Yurman works with bronze rods, sculpting directly with
the pure white heat of an acetylene torch to create works of
art that are diminutive in size but not in scope.”

“Mr. Yurman works with bronze rods, sculpting directly with
the pure white heat of an acetylene torch to create works of
art that are diminutive in size but not in scope.”

“Mr. Yurman works with
bronze rods, sculpting directly
with the pure white heat of
an acetylene torch to create
works of art that are diminutive
in size but not in scope.”

From a review of David’s exhibition of welded sculptures in Martha’s Vineyard, 1970

From a review of David’s exhibition of welded sculptures in Martha’s Vineyard, 1970

From a review of David’s exhibition of welded
sculptures in Martha’s Vineyard, 1970

Learning with the Masters

Learning with the Masters

Learning with the Masters 

In 1958 at the age of 15, David Yurman learned direct welding from sculptor Ernesto
Gonzalez. The technique, developed by Picasso and Julio Gonzales, involves melting thin
metal rods with an acetylene torch to create forms that are linear yet three-dimensional.
The method was aptly described by the sculptors as “drawing in space.”

In 1958 at the age of 15, David Yurman learned direct welding from sculptor Ernesto
Gonzalez. The technique, developed by Picasso and Julio Gonzales, involves melting thin
metal rods with an acetylene torch to create forms that are linear yet three-dimensional.
The method was aptly described by the sculptors as “drawing in space.”

In 1958 at the age of 15, David Yurman
learned direct welding from sculptor
Ernesto Gonzalez. The technique,
developed by Picasso and Julio Gonzales,
involves melting thin metal rods with
an acetylene torch to create forms that
are linear yet three-dimensional.
The method was aptly described by
the sculptors as “drawing in space.”

Sculptor Jacques Lipchitz with David Yurman, apprentice, in the artist’s studio, Hastings-on-Hudson, New York, 1963 Sculptor Jacques Lipchitz with David Yurman, apprentice, in the artist’s studio, Hastings-on-Hudson, New York, 1963

Sculptor Jacques Lipchitz with David Yurman, apprentice, in the artist’s studio, Hastings-on-Hudson, New York, 1963

Sculptor Jacques Lipchitz with David Yurman, apprentice, in the artist’s studio, Hastings-on-Hudson, New York, 1963

Sculptor Jacques Lipchitz with David Yurman, apprentice,
in the artist’s studio, Hastings-on-Hudson, New York, 1963

Image of David Yurman's Signature Image of David Yurman's Signature

"Making direct-welded sculptures
was like dreaming with my hands."

"Making direct-welded sculptures
was like dreaming with my hands."

"Making direct-welded
sculptures was like dreaming
with my hands."

David Yurman working on a commissioned sculpture in Hans Van de Bovenkamp’s studio, Greenwich Village, New York, c. 1968 David Yurman working on a commissioned sculpture in Hans Van de Bovenkamp’s studio, Greenwich Village, New York, c. 1968

David Yurman working on a commissioned sculpture in Hans Van de Bovenkamp’s studio, Greenwich Village, New York, c. 1968

David Yurman working on a commissioned sculpture in Hans Van de Bovenkamp’s studio, Greenwich Village, New York, c. 1968

David Yurman working on a commissioned sculpture in Hans Van de Bovenkamp’s studio, Greenwich Village, New York, c. 1968

Line Takes Form

Line Takes Form

Line Takes Form

Drawing was, for David, an essential
means of expression—to this day he
always carries a moleskin sketch pad.
As he mastered the art of direct 
welding,
his drawings took form in bronze. Angels,
faces and mythical figures sprung from
his torch. Belt buckles and jewelry soon
followed, the precursors to the designs
that would one day make his name a brand. 

Drawing was, for David, an essential
means of expression—to this day he
always carries a moleskin sketch pad.
As he mastered the art of direct 
welding,
his drawings took form in bronze. Angels,
faces and mythical figures sprung from
his torch. Belt buckles and jewelry soon
followed, the precursors to the designs
that would one day make his name a brand. 

Drawing was, for David, an essential means
of expression—to this day he always
carries a moleskin sketch pad. As he
mastered the art of direct welding,
his drawings took form in bronze.
Angels, faces and mythical figures
sprung from his torch. Belt buckles
and jewelry soon followed, the
precursors to the designs that would
one day make his name a brand. 

A detail of the decorative railings on the promenade of New York’s Koch Theatre in Lincoln Center. A detail of the decorative railings on the promenade of New York’s Koch Theatre in Lincoln Center.

Art for All

Art for All

Art for All

Traces of David’s welded reveries also have a permanent home at Lincoln Center,
in the railings of the promenade in the David H. Koch Theater, designed by Philip Johnson
in the early 1960s. Edward Meshekoff, a public works artist, used David’s welding skills
to execute his vision for the organic, tactile balustrades.

 

Yurman incorporated some of his personal style in the work, with whimsical forms subtly
wrought into the metal—little hidden Rorschach-like secrets to delight a very observant theatergoer. 

Traces of David’s welded reveries also have a permanent home at Lincoln Center,
in the railings of the promenade in the David H. Koch Theater, designed by Philip Johnson
in the early 1960s. Edward Meshekoff, a public works artist, used David’s welding skills
to execute his vision for the organic, tactile balustrades.

 

Yurman incorporated some of his personal style in the work, with whimsical forms subtly
wrought into the metal—little hidden Rorschach-like secrets to delight a very observant theatergoer. 

Traces of David’s welded reveries also have
a permanent home at Lincoln Center, in the
railings of the promenade in the David H.
Koch Theater, designed by Philip Johnson
in the early 1960s. Edward Meshekoff,
a public works artist, used David’s welding
skills to execute his vision for the organic,
tactile balustrades.

 

Yurman incorporated some of his personal
style in the work, with whimsical forms
subtly wrought into the metal—little
hidden Rorschach-like secrets to delight
a very observant theatergoer. 

The decorative railings of New York’s Koch Theatre in Lincoln Center. The decorative railings of New York’s Koch Theatre in Lincoln Center.

The decorative railings of New York’s Koch
Theatre in Lincoln Center.

The decorative railings of New York’s Koch
Theatre in Lincoln Center.

The decorative railings of New York’s Koch
Theatre in Lincoln Center.

Detail of a direct-welded bronze belt David made for Sybil in 1969.  Detail of a direct-welded bronze belt David made for Sybil in 1969.

Detail of a direct-welded bronze belt David
made for Sybil in 1969.
  

Detail of a direct-welded bronze belt David
made for Sybil in 1969.  

Detail of a direct-welded bronze belt David
made for Sybil in 1969.  

Gifts for Sybil 

Gifts for Sybil 

Gifts for Sybil 

David’s direct-welded jewelry became more minimal, showcasing the metal rods
themselves. Often with Sybil in mind, he would ask himself Would Sybil like it? Would she wear it?

 

The first piece he created for her was a tactile chain of welded links that she wore around her
waist as a belt, looped twice as a necklace or even multiple times as a bracelet. 

David’s direct-welded jewelry became more minimal, showcasing the metal rods
themselves. Often with Sybil in mind, he would ask himself Would Sybil like it? Would she wear it?

 

The first piece he created for her was a tactile chain of welded links that she wore around her
waist as a belt, looped twice as a necklace or even multiple times as a bracelet. 

David’s direct-welded jewelry became
more minimal, showcasing the metal rods
themselves. Often with Sybil in mind, he
would ask himself Would Sybil like it?
Would she wear it?

 

The first piece he created for her
was a tactile chain of welded links that
she wore around her waist as a belt,
looped twice as a necklace or even
multiple times as a bracelet. 

A cartoon from “The New Yorker” depicting two women in front of the David Yurman store on Madison Avenue. A cartoon from “The New Yorker” depicting two women in front of the David Yurman store on Madison Avenue.

Inspiring Madison

Inspiring Madison

Inspiring
Madison

The original linked belt for Sybil inspired the new DY Madison® Collection, a modern
interpretation of chain that is just as versatile as its forerunner. It’s named for the
company’s first boutique, which opened on Madison Avenue in 1999. Each link, simple
and pure, harks back to David’s early welding, using metal rods to draw lines in space.

The original linked belt for Sybil inspired the new DY Madison® Collection, a modern
interpretation of chain that is just as versatile as its forerunner. It’s named for the
company’s first boutique, which opened on Madison Avenue in 1999. Each link, simple
and pure, harks back to David’s early welding, using metal rods to draw lines in space.

The original linked belt for Sybil inspired
the new DY Madison® Collection, a
modern interpretation of chain that
is just as versatile as its forerunner.
It’s named for the company’s first
boutique, which opened on Madison
Avenue in 1999. Each link,
simple and pure, harks back to
David’s early welding, using metal
rods to draw lines in space.

Introducing the DY Madison® Collection: the classic chain takes
on new life with contrasting materials and textures.

Introducing the DY Madison® Collection: the classic chain takes
on new life with contrasting materials and textures.

Introducing the DY Madison® Collection: the classic chain
takes on new life with contrasting materials and textures.

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