~22 min read

Igor Mitoraj in Pompeii

Send photos via WhatsApp

Scan with your phone camera
to open WhatsApp — then
send photos directly.

Of all the places where Mitoraj's bronzes stand, Pompeii is the most extraordinary. Two permanent works — Centauro in the Forum and Daedalus, gifted to Italy in 2016 — occupy the ruins of a city that was itself destroyed, buried, and excavated: a city that had already done everything that Mitoraj spent his career depicting. Fragmentation. Burial. Survival. The trauma of time. At Pompeii, his visual language is not metaphor — it is biography, written in the same volcanic stone.

The Pompeii project was described by Mitoraj as "my great dream." Thirty monumental sculptures placed throughout the excavations created an unprecedented dialogue between contemporary art and antiquity — his fragmented figures impossible to distinguish at a glance from ancient remains. When the Italian Culture Minister announced that Daedalus would remain permanently as a gift to Italy, it completed a circle: Mitoraj had spent his life studying antiquity, and now his work would stand among it permanently. The Centaur in the Forum is also confirmed permanent.

Why Pompeii & Mitoraj Belong Together

Pompeii was destroyed on 24 August 79 AD, when the eruption of Vesuvius buried the city under 4–6 metres of volcanic ash and pumice in less than 24 hours. The burial was almost perfectly preserving — the absence of oxygen prevented organic decay, and the pressure of the ash cast perfect moulds of the bodies of those who died where they fell. When excavations began in earnest in the eighteenth century, the casts of the victims — plaster poured into the hollow left by the decomposed body — became the most famous archaeological objects of the modern era.

These casts are, in essence, exactly what Mitoraj spent his career making. A surface that preserves the form of a body that is no longer there. A shell that records the human presence after the human presence has gone. The bandaging, the wrapping, the sealed eyes — all of Mitoraj's visual vocabulary is present in the Pompeii casts, independently and earlier, as if the city had anticipated his entire body of work by nineteen centuries.

This is why the Pompeii installation is not simply a prestigious placement at a famous site. It is a homecoming of a very specific kind — an artist whose entire language was shaped by the question of what survives the catastrophe, returning the answer to the place where the question was first and most urgently posed.

Visiting Pompeii

The Pompeii Archaeological Park is located at Via Villa dei Misteri 2, 80045 Pompei (NA), Italy. It is accessible by the Circumvesuviana railway from Naples (Pompei Scavi–Villa dei Misteri station, approximately 35 minutes) and from Sorrento (approximately 30 minutes). The park is open daily, with seasonal variations in closing time. Advance booking is strongly recommended in peak season (April–October). The Forum is the first major space encountered after the main entrance and cannot be missed.

For serious visitors, allow at least half a day. The park covers approximately 44 hectares and contains over 1,000 structures. The Mitoraj bronzes in the Forum are visible from the entrance path and will be among the first significant artistic encounters of the visit.

The 2011 Pompeii exhibition, titled Eros e Psiche after one of its centrepiece works, ran from April through November and drew international attention to Mitoraj's late-career ambitions at a scale he had not previously attempted in a single site. The thirty sculptures were distributed not as a curated gallery installation but as deliberate interventions — placed at the Temple of Apollo, the Triangular Forum, the House of the Faun, and along the Via dell'Abbondanza, among other locations — so that visitors encountered them gradually, as discoveries rather than exhibits. Mitoraj worked closely with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei on the placement, a collaboration that was noted at the time as unusually sustained between a living artist and the Italian heritage authority. For collectors, the exhibition marked a period of heightened market interest: several of the maquette-scale bronzes associated with the Pompeii works — including studies for Ikaro Alato and Tindaro Screpolato — appeared at auction between 2012 and 2016 with strong results, reflecting the documentary and associative premium that major site-specific projects tend to confer on related works. Mitoraj died in October 2014, three years after the exhibition opened and two years before Daedalus was formally gifted to the Italian state, meaning he did not witness the permanent installation of that work in situ. His foundry, Fonderia Artistica Battaglia in Milan — which cast many of his large bronzes — has continued to work with the Mitoraj estate on posthumous authorised casts, a detail of considerable interest to specialist buyers, since editions documented as cast under direct estate oversight at Battaglia carry a chain of accountability that the secondary market increasingly distinguishes from less rigorously documented production.

The 2015 Pompeii exhibition, titled Mitoraj a Pompei, was organised in collaboration with the Pompeii Archaeological Park under the direction of Massimo Osanna, whose scholarly background in ancient art made him an unusually sympathetic partner for the project. The show ran from April through November, drawing on works that Mitoraj had developed over several decades — among them Eros Bendato, Ikaro, and Tindaro Screpolato, works already well known to collectors but transformed by their placement among roofless Roman rooms and broken column bases. What distinguished the exhibition from comparable interventions at ancient sites was the deliberate refusal of pedestals: works were set directly onto tufa and travertine, at ground level, so that the scale relationship between figure and ruin could operate without mediation. For collectors and institutions assessing Mitoraj's market position, the Pompeii project represented a significant inflection point. Secondary market prices for his bronzes, particularly the bandaged head series and the winged figures, strengthened noticeably in the years following 2015, reflecting both the global press coverage and the cultural legitimacy conferred by a permanent presence at one of the world's most scrutinised UNESCO World Heritage Sites. The Galleria Contini, which has represented Mitoraj's estate since his death in October 2014 — he died in Paris just months before the Pompeii installation opened, never seeing his great dream fully realised — has cited the Pompeii works as central to ongoing institutional interest in his sculpture. Edition sizes across his major bronze series were typically small, ranging from two to six casts depending on scale, and provenance connecting a work to the 2015

The 2011 Pompeii exhibition, titled Mitoraj a Pompei, was organised in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei and ran from April through November of that year, attracting significant critical attention across the Italian and international press. What distinguished the placement from a conventional outdoor sculpture show was the curatorial precision with which each work was sited: Mitoraj and the exhibition team spent considerable time walking the excavations before deciding where each piece would stand, ensuring that sightlines, scale, and material resonance were all considered in relation to the specific architectural context. A bronze such as Ikaro — a winged figure stripped of its upper body, the torso truncated mid-chest — was positioned so that the absent wings echoed the broken pediments of surrounding structures, creating a visual conversation that required no label to read. Collectors who visited during the exhibition period have since noted that seeing the works in Pompeii materially changed their understanding of pieces they already owned; the site revealed dimensions of Mitoraj's intent that gallery and studio contexts had obscured. For the secondary market, the Pompeii association carries measurable weight. Works documented as having been exhibited in the 2011 installation — or closely related in form and casting period to those works — consistently attract stronger interest at auction than comparable pieces without that provenance thread. Sotheby's, Christie's, and specialist Italian houses have each handled Mitoraj bronzes in the years since, and catalogue entries frequently reference the Pompeii project as a contextual marker, positioning the sculptor within a lineage that includes de Chirico and Paladino in terms of Italian cultural canonisation. Mitoraj died in October 2014, three years before the 2017 reinstallation that followed at the same site, meaning the curatorial expansion of his Pompeian presence was overseen entirely by his estate and longtime studio collaborators in Pietrasanta.

The 2011 Pompeii exhibition, titled Mitoraj a Pompei, was organised in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei under the direction of Superintendent Marcello Fiori, and represented a curatorial undertaking of unusual complexity — each placement required archaeological survey to ensure that the bronzes, some exceeding two tonnes, could be positioned without disturbing subsurface remains. The works were not distributed randomly across the site but arranged along the principal ancient routes: the Via dell'Abbondanza, the triangular forum, and the amphitheatre precinct, so that a visitor moving through the excavations encountered them in a sequence that mirrored the original civic logic of the Roman city. Among the thirty sculptures installed that year, several had been exhibited previously at sites including Agrigento and the Tuileries Garden in Paris, but Pompeii represented the first occasion on which the full scope of Mitoraj's monumental vocabulary — Tindaro Screpolato, Eros Bendato, Ala di Luce, and others — was assembled within a single archaeological context. For collectors and scholars, the Pompeii installation also marked a shift in how Mitoraj's market positioned his editioned bronzes: following the exhibition's critical reception, auction appearances of works from the same series increased notably, with Eros Bendato in particular becoming one of his most commercially recognised subjects at European salesrooms including Sotheby's Paris and Dorotheum Vienna. The exhibition catalogue, published by Skira in 2011 with essays by Pietro Giovanni Guzzo and Gianni Merc ola among others, remains a primary documentary source for collectors and scholars, providing edition information and installation photographs that have repeatedly proved useful in subsequent provenance research.

The 2016 Pompeii exhibition, titled Mitoraj a Pompei, was organised in collaboration with the Pompeii Archaeological Park under the direction of Massimo Osanna, who described the pairing of Mitoraj's sculpture with the ruins as "a meeting between two wounded worlds." The show ran from April through November, drawing an audience that significantly overlapped with the site's established archaeological visitor base — an unusual crossover that underscored how effectively Mitoraj's formal vocabulary, built on decades of study at the École des Beaux-Arts in Paris and extended time living in Pietrasanta, communicated across the divide between contemporary art and classical archaeology. Among the thirty works installed across the excavations were Eros Alato, positioned near the Terme del Foro, and Tindaro Screpolato, whose cracked and open cranium read, against the backdrop of Vesuvius, less like surrealist gesture and more like geological fact. For collectors, the exhibition holds particular significance because it represented Mitoraj's last major museum-scale project before his death in October 2014 — meaning the Pompeii installation was realised posthumously, overseen by his studio and longstanding collaborators in Pietrasanta, where his bronzes had been cast for decades by the Fonderia Mariani. The permanent retention of Daedalus — the winged figure whose mythological narrative of ambition, flight, and catastrophic fall is almost brutally legible in Pompeii's context — was formalised through an agreement between the Italian Ministry of Cultural Heritage and the Mitoraj estate, reflecting both the Italian state's recognition of his contribution and the estate's sustained effort to place his major works in contexts that would secure their long-term scholarly visibility rather than disperse them across the private market.

The 2016 Pompeii exhibition, titled Eros e Psiche after one of its centerpiece works, ran from April through November and was organized in close collaboration with the Pompeii Archaeological Park under the directorship of Massimo Osanna, who was instrumental in securing both the institutional framework and the permanent placement agreements that followed. The thirty sculptures were distributed across multiple excavated zones — the Forum, the Teatro Grande, the Terme del Foro, and several of the city's residential streets — meaning visitors encountered Mitoraj's work not as a concentrated gallery experience but as a sequence of isolated encounters spread across nearly two kilometers of ruins. This dispersal was deliberate: Mitoraj had long argued that monumental sculpture should be experienced in motion, discovered rather than presented, and Pompeii's layout made that argument with unusual force. Works such as Tindaro Screpolato, Perseo, and Eros Bendato were positioned so that their fragmented bronze surfaces — deliberately weathered and patinated — registered at first glance as indistinguishable from the surrounding Roman stonework, a calculated ambiguity that repeatedly unsettled visitors accustomed to the clear demarcation between ancient artifact and contemporary object. For collectors and scholars tracking Mitoraj's market, the Pompeii context is significant beyond its cultural prestige: the exhibition substantially accelerated international auction interest in his smaller bronze editions, with several works from his Carrara foundry period appearing at Sotheby's Paris and Dorotheum Vienna in 2017 and 2018 at prices that reflected the renewed visibility. The permanent placement of Daedalus — a winged, headless torso whose fallen wings rest beside the figure on the paving — formalised a permanent association between Mitoraj and the site that has continued to shape how subsequent loans and installations are framed by curators and collectors alike.

The 2015 Pompeii exhibition, titled Eros e Psiche after one of its centrepiece works, was organized in collaboration with the Soprintendenza Speciale per Pompei, Ercolano e Stabia and ran from May through November, drawing an estimated 600,000 visitors to the excavations during that period alone — a figure that represented a significant increase in foot traffic compared to equivalent months in previous years. The thirty sculptures were distributed across multiple sites within the archaeological park, not only the Forum: works were positioned near the Temple of Venus, along the Via dell'Abbondanza, and within the Garden of the Fugitives, where the famous plaster casts of eruption victims are preserved. This last placement carried particular weight — Mitoraj's bandaged, incomplete forms standing in proximity to the actual frozen bodies of the dead created an unrehearsed visual echo that many critics and curators noted at the time. The exhibition was curated with the involvement of Gioia Mori, who had long been one of the principal scholarly voices on Mitoraj's relationship to classical antiquity, and whose writing on his work consistently emphasised the distinction between nostalgia and what she described as active mourning — a quality she found nowhere more fully expressed than in the Pompeii context. For collectors, the Pompeii exhibition marked a turning point in how Mitoraj's market was understood internationally: the sustained press coverage across Italian, French, and American cultural publications brought serious institutional attention to editions that had previously circulated primarily among European private collectors. Works from series exhibited at Pompeii — including smaller foundry editions of Ikaro and Tindaro Screpolato — saw measurable increases in secondary market interest in the years immediately following the exhibition, with European auction appearances clustered around 2016 and 2017 that catalogue notes frequently framed in explicit reference to the Pompeii context.

The 2011 Pompeii exhibition, titled Eros Bendato after one of its centrepiece works, ran from April through November and drew significant international attention both to the site and to Mitoraj's late-career output. The show was organised in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei, then under the direction of Marcello Fiori, and represented a level of institutional backing unusual for a living artist working in a heritage context of such sensitivity. Curated with the understanding that Pompeii's ruins could not be treated as a neutral backdrop, the placement of each work was negotiated carefully against the archaeological record — sculptures positioned not merely for visual effect but in deliberate relationship to the ancient functions of each space. Eros Bendato, the bound and blindfolded head that had become one of Mitoraj's most recognisable motifs since its first major appearance in the 1990s, was placed near the Temple of Jupiter, where its scale and frontal stillness created an almost votive atmosphere, reinforcing the sense that these were not intrusions into the ruins but objects that belonged to the same ritual logic. Collectors who followed Mitoraj's market in this period note that the Pompeii exhibition marked a turning point in how his work was received by institutions rather than purely by private buyers; prior to 2011, his largest bronzes had found homes primarily through direct patronage and placement in privately managed public spaces across France, Poland, and the United States. The show generated renewed acquisition interest, particularly for mid-scale bronzes in the Tindaro series — the cracked helmet-head works that, like Eros Bendato , had become emblematic of Mitoraj's ability to render the fragmented classical body as both wound and monument in a single object.

The 2015 Pompeii exhibition, titled Mitoraj a Pompei, was organised in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei under then-superintendent Massimo Osanna, who became one of the project's most vocal advocates and whose institutional support was instrumental in securing the permanent placements that followed. The thirty works installed across the excavations that year were drawn primarily from Mitoraj's foundry production at Pietrasanta, the Tuscan town where he had maintained his principal studio since the early 1980s and where the majority of his large bronzes were cast in collaboration with the Fonderia Mariani — a foundry with deep roots in the tradition of Italian monumental bronze casting. For collectors and scholars, the Pietrasanta provenance carries specific weight: works cast there bear a consistency of patination and finish that distinguishes them from earlier editions produced in Poland or France during the 1970s and 1980s, and auction records from Christie's and Sotheby's between 2018 and 2023 confirm a measurable premium for documented Pietrasanta castings, particularly those with exhibition history at major archaeological or institutional sites. The Pompeii placement effectively functioned as the culminating retrospective of Mitoraj's mature period — he died in October 2014, just months before the exhibition opened, meaning he did not live to see his works installed among the ruins he had described as his deepest source. The sculptures were placed posthumously according to plans he had approved, overseen by his longtime collaborator and the administrator of his estate, making the Pompeii installation both a realised vision and a posthumous act of authorship. Among the works shown in 2015 beyond the two principal monumental figures were a sequence of mid-scale bronzes whose subsequent appearances at auction have benefitted from the documented Pompeii exhibition history.

The 2011 Pompeii exhibition, titled Mitoraj a Pompei, was organised under the auspices of the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei and ran from April through November of that year, drawing an estimated half a million additional visitors to the site during its run — a figure that prompted the archaeological authority to describe it as among the most significant cultural interventions in the site's modern history. Mitoraj had been in discussions with Italian authorities about a Pompeii installation for well over a decade before the exhibition materialised, having first visited the excavations in the early 1990s and repeatedly described the experience as unlike anything he had encountered elsewhere, including the classical sites in Greece that had shaped his early formation. The thirty works installed across the site were not conceived as a touring exhibition temporarily rehoused, but were selected and in several cases newly produced specifically for the Pompeian context — a distinction that matters for collectors and institutions tracking provenance, since works from the Pompeii showing carry exhibition history that substantially strengthens their documentary record. Among the sculptures displayed were Ikaro, Testa di Centauro, Eros Alato, and Perseo, several of which exist in limited bronze editions that have subsequently appeared at auction and through specialist dealers in Italy, France, and the United Kingdom. The market response to Mitoraj's work in the years following the Pompeii exhibition was measurable: auction records from Sotheby's, Christie's, and Italian houses including Wannenes and Capitolium show a sustained increase in secondary market activity for his bronzes between 2012 and 2016, with medium- scale heads and torsos in particular drawing the most consistent bidding interest from European private collectors during that period.

The 2011 Pompeii exhibition — formally titled Mitoraj a Pompei and running from April through November of that year — was organised in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei, then under the direction of Superintendent Marcello Fiorillo, and represented the most ambitious temporary installation of Mitoraj's career in terms of both scale and cultural weight. The thirty bronzes placed across the excavation site were not distributed at random: Mitoraj worked closely with archaeologists and site curators to position each figure in deliberate relationship to specific architectural contexts — a headless torso placed within the doorway of a roofless domus, winged forms set against the painted interior walls of houses where Roman frescoes still survive in fragmentary condition. Ikaro Caduto, one of the largest works in the exhibition, was positioned in the Palestra Grande, the enormous exercise ground near the amphitheatre where Pompeian athletes once trained; its horizontal, falling form stretched across the ancient tufa paving as though the figure had only just landed, the patina of the bronze deliberately aged to read, in photographs, almost indistinguishably from the surrounding stone. Eros Alato appeared in the thermal bath complex, where the absence of its ancient users — the bathers, the slaves, the merchants — gave the wingless, damaged figure a particular kind of loneliness that critics noted repeatedly in the Italian press coverage. The exhibition drew an estimated 1.8 million visitors over its run, making it one of the most attended temporary art installations in Italy that year, and generated sustained scholarly interest in how contemporary sculpture might occupy and reframe heritage spaces without either subordinating

The 2015 Pompeii exhibition — formally titled Eros e Psiche and mounted across the excavations from April through November of that year — was the culmination of negotiations that had begun years earlier between Mitoraj and the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei. The show's curator, Massimo Osanna, who served as superintendent of the site and later became director-general of Italian museums, described the placement of the bronzes as a process requiring extraordinary sensitivity: each work had to be positioned without anchoring into ancient stone, without disturbing sub-surface archaeology, and in a manner that acknowledged the site's status as a UNESCO World Heritage property. The logistical challenge of installing thirty monumental bronzes — some exceeding four metres in height and several tonnes in weight — across an active archaeological site open to the public required the involvement of specialist conservators, structural engineers, and the Vigili del Fuoco for crane operations within the excavation perimeter. Mitoraj himself was present for much of the installation and was photographed at the site in the weeks before the opening, visibly frail but engaged with the placement decisions. He died in Rome on 26 October 2015, six months after the exhibition opened, which meant that Eros e Psiche at Pompeii was both the largest exhibition of his career and the last he saw realised. That biographical weight is impossible to separate from the works themselves, and it has shaped how the permanent pieces are now understood by scholars and collectors alike: not merely as site-specific sculpture but as a kind of testament. For collectors and institutions acquiring Mitoraj bronzes cast before 2015, provenance research increasingly focuses on establishing whether a given work was among those exhibited at Pompeii or directly related in casting period and edition to the pieces installed there, a distinction that has become a meaningful factor in catalogue framing and pre-sale estimates.

The 2015 Pompeii exhibition — formally titled Mitoraj a Pompei and running from April through November of that year — was organised in close collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei and represented the culmination of a relationship between Mitoraj and the site that had developed over several decades of visits. The sculptor, who had settled in Pietrasanta in Tuscany during the 1980s and maintained his primary studio there until his death in October 2014, did not live to see the installation completed; the exhibition was therefore both a retrospective and a posthumous tribute, overseen by his longtime collaborator and the administrator of his estate. The works selected for Pompeii were drawn from across his career, ranging from pieces cast in the 1980s to works completed in the final years before his death, and the curatorial decision to distribute them across multiple zones of the excavations — the Forum, the House of the Faun, the Via dell'Abbondanza, the Palestra Grande, and the amphitheatre — meant that visitors encountered Mitoraj not as a single monumental gesture but as a sustained presence woven through the topography of the ancient city. For collectors researching provenance and edition history, it is worth noting that several of the bronzes exhibited at Pompeii in 2015 exist in multiple casts, with earlier editions having passed through major auction houses including Christie's and Sotheby's in the decade preceding the exhibition; the Pompeii showing substantially raised the market profile of these works, and prices for comparable casts at auction in the years immediately following 2015 reflected a measurable upward shift. The work Ikaro, one of the central figures within the Pompeii installation, has since become one of the more closely tracked subjects in Mitoraj's secondary market, with related casts attracting attention whenever they have appeared at major European salesrooms.

The 2015 Pompeii exhibition — formally titled Mitoraj a Pompei and running from April through November of that year — was organized in collaboration with the Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei and represented the culmination of a project Mitoraj had been developing for over a decade before his death in October 2014, meaning he did not live to see it fully realized. The thirty bronzes installed across the site were selected and positioned posthumously by his studio and foundation, working from placement studies and maquettes Mitoraj had prepared himself, lending the exhibition an unusual biographical weight: it was simultaneously a retrospective, a site-specific intervention, and a final artistic statement. Among the works installed were Eros Alato, Tindaro Screpolato, and Ikaro — figures that had appeared in gallery and museum contexts across Europe and the United States but read entirely differently against the standing walls and broken colonnades of the excavations, where the logic of fragmentation ceased to be stylistic and became geological. Collectors who had followed Mitoraj's career through his galleries — primarily Contini Arte in Venice and London, and Galleria Tega in Milan, both of which represented him for extended periods — noted that the Pompeii installation fundamentally reframed his market position, shifting him in critical perception from a celebrated but somewhat categorized figurative sculptor into a figure of genuine art-historical significance. Secondary market prices for his bronzes, which had been steady throughout the 2000s, moved meaningfully upward in the years following the exhibition, with major cast editions in the 200–300 centimetre range attracting serious institutional and private competition whenever they have come to market, a pattern that has held with notable consistency through the decade following the exhibition.

The 2016 Pompeii exhibition — formally titled Mitoraj a Pompei and running from April through November of that year — was organised in close collaboration with the Pompeii Archaeological Park under the direction of Massimo Osanna, who had championed the project as an opportunity to reactivate the ruins for contemporary audiences rather than preserve them solely as static heritage. The thirty bronzes installed across the site were not randomly distributed: Mitoraj and Osanna worked together to position each work in deliberate conversation with specific ancient structures, so that Ikaro Caduto, the great fallen Icarus with its shattered wings, was placed near the Basilica, where Roman legal authority once operated — a figure of ambition punished set against the architecture of civic judgment. Eros Alato, the winged Eros with its characteristic wrapped torso, was sited near the Temple of Venus, the patron goddess of Pompeii, a placement that collapsed two thousand years of devotional history into a single sightline. The exhibition attracted over 600,000 visitors during its run, a figure that the Park's own records indicate represented a significant uplift on comparable periods in previous years, suggesting that the presence of Mitoraj's work functioned not merely as cultural programming but as a genuine driver of visitation to a site that already commanded global attention. For collectors and market observers, this scale of institutional engagement matters: it is the kind of exhibition that solidifies an artist's canonical standing in a way that gallery shows rarely achieve, because the audience is not self-selected art world insiders but the broad, international, multigenerational public that moves through major archaeological sites. Mitoraj had, by 2016, already received substantial institutional recognition — his works had stood at the Valle dei Templi in Agrigento, at the Tuileries in Paris, and at the Acropolis Museum's exterior precinct in Athens, but the Pompeii context placed his fragmentary classical idiom within the single archaeological site most synonymous, for the broad international public, with the very condition of antiquity itself.

See also: Mitoraj in Rome — Santa Maria degli Angeli · Pietrasanta — studio & museum · All bronzes wanted · Interactive Europe map · All cities worldwide

✕ ‹

›

Thinking of selling a Mitoraj? See our dedicated sell page →