The surging silhouette of the running human from conveys a sense of energy, with the passing of time expressed by giving from to the afterimage. This piece is the pinnacle of Futurism in sculpture, with its simultaneous expression of movement in relation to the surrounding space and a sense of time.

Between Giacometti and his model was a distance that he felt difficult to overcome, Blocked by the distance, his model looks thin. As a result of attempting to accurately recreate what he saw, Giacometti’s work became a deep analysis of the human form and still shows the fresh-looking marks of the artist’s fingers.

González first recreated the subject through sketches and simplified the form. Finally, this was converted to a geometrical shape.
González's idea was to include space as a structural element of sculpture and to aim for the fusion of materials and space without a sense of mass.

Brâncusi's stone sculpture The Kiss has six versions. This piece was created from a plaster cast taken from the first work (1907-1908, Craiova Museum, Romania). The image of a man and woman embracing is reduced to a simple and solid square shape. It gets to the core of what love is, which is two entities being one.

Brâncusi taught Modigliani the technique of direct carving. He created sculptures of heads and caryatids (sculpted female figures used as columns in architecture). He was strongly influenced by African tribal sculptures. This work was originally created in stone and has a transcendental atmosphere, like ancient goddesses who became pillars.

Balla depicted the trajectory of movement with simple lines to express speed and motion, as in how the skirts of the ballerinas seem to be fluttering as well as the movement of their arms and legs. Bal Tic Tac was a dance hall of the Futurist style that opened in 1921 in Rome and Balla designed the interior décor.

Despiau aspired to statues that were tranquil and combined a calm, classical style with an impression of self-restraint, together with a modern sensitivity hiding a feeling of melancholy. The model, whose name was Assia, is said to have perfectly embodied the elements of beauty, classicality and modernity that Despiau had been searching for.

This work is the result of Rosso’s observations when he spent about one month in hospital after he became ill due to poverty. The fusion of apace and material created by an old sleeping man, the armchair and the floor seem like a delicately depicted sketch appearing from a small solid mass.

Rosso did not produce many works and less than 40 series remain today. His subjects were ordinary people, women, children and the elderly, and in scenes from everyday life he extracted a momentary expression, as if it was a sketch.

"There are no boundaries in nature, and so there should be no boundaries in art. When I create a portrait sculpture, I cannot limit myself to the outline of a face. That face continues into a body, and further, that face exists within its surroundings." Rosso incorporated impressionist-like methods into his sculpture.

Modeled on an Italian man pulling on a rope. Full of life, this piece also expresses a feeling of tension within the freely modeled muscular form, and shows the influence of Auguste Rodin (1840-1917). At the time, this work greatly stimulated the Japanese world of sculpture and was a pathbreaker in Japanese modern sculpture.

The model for this bust,Mr. Bose, was a young man of study build who came to Japan from India to sturdy physical education. From the symmetrical and upright pose, we can get an uplifting feeling of the youthful spirit and physique of the model. Fujikawa was an assistant in Rodin's studio when he was in his old age and is the only Japanese person who was a direct student of Rodin.

Regarded to be a master of portrait sculpture, Asakura’s superior skills of observation and his ability to express a 3-dimensional form are also obvious in his sculptures of animals. These sculptures of cats show how Asakura has captured particular moments when his cats have been relaxion close by him.

Tobari's delicate way of expressing shadows is a hallmark of his style of work. Although details of the face are omitted and the look on the woman's face is not clear, this acts instead to imbue a deep feeling to the work. Young women were often the subject of Tobari's works and as he suffered poor health, nearly all of his works are small in size.