Bronze for the Kaiser: Interview with sculptor Matilde Romagnoli about her creation

Initiated by the Kurt Landauer Stiftung e. V., financed by the fans, and sculpted by the Italian Matilde Romagnoli. We spoke to the artist who is now a Munich resident about the task of creating a monument to the Kaiser and the magic of bronze.

Interview with Matilde Romagnoli

Ms Romagnoli, you like to describe the casting of a bronze monument as a “volcanic eruption in reverse”. What do you mean by that?
Matilde Romagnoli: "What I mean by that is: in a volcano, the lava explodes outwards - in bronze casting, the liquid metal implodes inwards, into the mould. The energy is trapped in the mould. Both fascinate me equally. What the Stromboli volcano is for me at home in Italy, the art foundry's furnace is here in Munich."

Can you describe what goes through your mind at the moment of casting?
"For me, casting is always a quiet and concentrated moment. There's a special kind of silence, the only thing you can hear is the liquid metal flowing into the mould. It's a unique sound."

During casting, the liquid bronze is forced into a mould - simultaneously, the glowing mass develops its own dynamics within the mould. Doesn't that make you feel anxious?
"Everything is planned right down to the last detail before casting. The molten metal flows through the casting channels into a mould that I've predetermined. Nothing is left to chance. And Hasan and Aslan Göktepe from the art foundry are masters of their craft. We've known each other for many years and I have great confidence in their work. So I can just sit off to one side during the casting process and consciously enjoy those special minutes."

Check out the images from the bronze casting of the Franz Beckenbauer monument in our gallery:

And yet a monument like this also lives from things that you can't control one hundred per cent, right? For example, the interplay of light and shadow?
"Light and shadow are very important. Face, hair, hands, muscles, jersey, boots... Light and shadow play a decisive role throughout in bringing the monument to life. It was helpful that I worked on the model for the most part in winter. The daylight disappeared at 5 pm. It meant I spent half the time working under a spotlight - and was able to consciously emphasise light and shadow."

You talk about vitality. Is that a crucial point in the creative process: bringing solidified metal to life? Movement in stasis?
"It's very important for me to make a statue breathe, to create a movement captured in bronze. In the Franz Beckenbauer statue, for example, the mouth, the eyes and the tension of the hands create a dynamic. You can see that the figure is breathing. That it's alive."

Watching the casting is mesmerising - Franz Beckenbauer also captivated everyone. He also sometimes erupted like a volcano. What sides of him have you discovered for yourself?
”I studied a lot of videos and photos. Franz Beckenbauer was always focused on the pitch, constantly on the move. His upper body had an open posture, his face up, his gaze forward. Everything about him always looked very light and elegant. I tried to convey these observations to my statue."

Are there any physical characteristics of Franz Beckenbauer that surprised you?
"What I hadn't realised before was that every footballer holds his hands in a very peculiar way when he kicks the ball. It was the same with Franz Beckenbauer. His right hand was slightly closed, his left open. Naturally, I tried to emphasise these typical poses in the statue."

The face is the central point for recognising a figure. What was particularly important to you when modelling the facial characteristics?
"It was important for me to show the high level of concentration with which Franz Beckenbauer read the game. He always knew in advance what was going to happen next. His eyes were focused, his mouth slightly open - and yet his demeanour was always elegant."

You're Italian - how much of Italy is in your Beckenbauer monument? After all, Franz Beckenbauer won the World Cup as a coach in Italy.
"My whole personality is in every one of my works. The Italian as well as my German influence or the Hungarian influence from my grandmother. Of course, my Italian side fits in perfectly with Franz Beckenbauer. It brings him full circle."

You also have a passion for dance. Was Beckenbauer a dancer on the pitch in your eyes?
"I think a good footballer moves like a good dancer. Elegant and dynamic. You could always see that with Beckenbauer."

When did you realise that you were finished with the clay model, from which the casting mould was then created in many working stages?
"I really enjoyed the work, even in winter when my fingers were cold. To prevent the clay from drying out, I could only make limited use of the heating in the art foundry. Fortunately, working on the statue kept me on the move a lot. The model, without the plinth, is 2.70 metres high. I had to constantly climb up and down the scaffolding. That was also a physical challenge. But at some point I realised: finished, stop! That feeling was just there. And then I stopped."

How often have you been asked in recent months what the finished monument will look like?
"There is a great deal of curiosity. But I always say, just like Beckenbauer used to: 'Schau’n mer mal! ('Wait and see!')."

You haven't revealed anything?
”Nothing.“

It won't be long now until the monument is unveiled. What kind of Franz Beckenbauer will we see on the esplanade in front of the Allianz Arena: the footballer, the man, the Kaiser?
"It was important to me to show all three facets. That was the particular challenge. Now I hope the Bayern fans will be able to recognise and salute ‘their’ Franz Beckenbauer in front of the Allianz Arena."

The interview appeared in the August edition of the club magazine “51”.

The FC Bayern advisory board has nominated president Herbert Hainer for a third term: