(b Zurich, 18 Jan 1906; d Russikon, Zurich, 27 Jan 1980). Swiss sculptor, painter and draughtsman. He was self-taught as a draughtsman and only turned to sculpture in 1936. His early sculptural work (1936–45) mainly comprises heads and torsos in addition to heavy, life-size female nudes. These works, mainly in marble and bronze, emphasize volume and were influenced by Aristide Maillol, Charles Despiau and Wilhelm Lehmbruck. During the 1940s Aeschbacher gradually subordinated the human form to a study of the stone’s own biomorphic structure. A series of amorphous Bumps heralded the final departure from naturalism. In 1952–3 Aeschbacher started to produce Stelae, a series of colossal but slender vertical structures that were influenced by the tectonic quality of Archaic Greek masonry. This new emphasis on verticality led after 1960 to the production of lighter, more airy works. Notable examples of work from this period are Figure IV (granite, h. 3.92 m, 1967; Bregenz, Kultzent. Schendlingen); Figure I (granite, h. 3.05 m, 1969; Hakone-machi, Hakone Open Air Mus.); Figure I (granite, h. 3.60 m, 1970; Zurich, Spital Triemli); and Figure I (concrete, h. 5.89 m, 1973; Zurich, Überbauung Utohof). In 1975 Aeschbacher returned to earlier themes by producing compositions using parabolic curves and concentric circles. On the other hand, however, he turned to new materials such as concrete, lava and acrylic glass. During his career Aeschbacher also executed a large number of paintings and drawings, which illustrate the same development from naturalism to abstraction.

• Aeschbacher, Hans
  • Switzerland, §IV: Sculpture