...9/25/14 The sculpture that I viewed is called Man of Sorrows and it was sculptured in 1950 in America by Marion Perkins, an American artist that lived from 1908 to 1961. I viewed the sculpture at the Art Institute of Chicago on gallery 264. The man of sorrows is a concrete piece of work; it is the sculpture of a face and does not show any sign of an abstract piece of work because there are no geometrical figures involved. This piece of artwork is complex because of the great detail in the face of the sculpture. The man of sorrow shows great detail on emotion; his ears are well shaped and his face expression is from a sad man with his eyes partially closed and looking down at the floor. In addition his mouth was shaped small and closed with a slight line in the middle as if he wanted to say the reason for his sorrow but he does not really want to say anything and rather stay silent. The sculpture is individualized because it is just one single face and the detail is and sizes of the features are unique. This sculptures is naturalistic because it would be the same face that an actual human being would make in times of sorrow. The hair, the ear, the beard, the nose and the eyes can all be compared to a humans’ and be found to be very similar. Also, the man of sorrow is realistic because it was sculptured with defect just as a normal human being would be. The dimensions and the facial features are bigger than what a perfect human would be. The ears in the sculpture are rather big...
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...NAME] [PROFESSOR’S NAME] [COURSE NAME] [DATE] Classical Sculpture Classical sculpture did not appear from nothing; its genesis was not that of Athena’s birth from the head of Zeus, but a rather more sedate process. The roots of classical sculpture are, surprisingly, to be found in Egypt. The Egyptians had highly developed sculpture, most of which had religious implications, as can be seen by the hieroglyphic inscriptions on many of the pieces (Wilkinson, 34-37). Subjects of sculptures included the numerous gods and goddesses of the Egyptian pantheon, pharoahs (who were considered divine) and slaves and other figures created for inclusion in burials; these sculptures, along with real items (e.g., chariots) would become part of the deceased’s “estate” in the afterlife (ibid., 64). The majority of Egyptian sculptures were all in the same style, regardless of whether they represented an animal-headed god, a king, or a scribe. The typical pose was frontal and standing, with the arms hanging close to the body, the hands with clenched fists, the left foot slightly advanced, and an ambiguous facial expression. It must be noted that this “typical Egyptian style” is much more a product of the Egyptian belief system and its associated symbology than the artistic imagination or technical competence of Egyptian artisans (ibid., [YOUR LAST NAME] 2 88). The influence of this Egyptian style can be seen on some of the earliest Greek sculptures, particularly those of two important Greek styles....
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...statue that stands 6 5/16 inches tall. The statue is the artwork of Honor’e-Victorin Daumier. Daumier was born on February 26, 1808 and died February 10, 1879. This sculpture was made using the substitution method. This method is also called casting. The sculpture is made of bronze metal. One method that could have been used to make the sculpture was the ancient technique called lost wax or cire-perdue. This method consists of the artist making the basic mold by using a wax model. The sculpture is a depiction of a man who is very pleasant and happy. The sculpture is of an older man. Even though the sculpture is small in size the artist does a good job of showing the happiness in the man’s face. The main focal area of the sculpture is the man’s face. While you cannot see the color of his eyes or the color of his hair the smile on his face is very visible. The artist’s main purpose was to show the person that is seeing the sculpture the man’s smile on his face. Even though it is not known why the man depicted in the sculpture is smiling or happy, the artist uses something as simple as a smile to get the attention of people. The artist wanted to show people that the man depicted was a pleasant man to be around. The artist wanted the man’s smile to stand out when someone looks at the sculpture. The sculpture also depicts the man living a simple life. The artist wanted to portray the man as being thankful and happy for the simple things in life, and that the man did...
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...2014 Sculpture and Architecture Essay We are often told that it is not good for us to live in the past; however, it is impossible for us to ignore the origins of our culture. Greek artist and architects are renowned worldwide, and the reasoning for that is perfectly clear. When a civilization considers themselves to be culturally advanced they seem to make strides in the arts. The Greek world is a classic example of this fact, whether we examine their sculptures, relief artwork or their architecture it is clear to see that their work was both trend setting and timeless. One of the earliest Greek statues found is the “Figurine of a woman from Cyclades. Ca. 2500 BCE” page 41 of the textbook (Sayre). This statue was found in what is called the Cyclades, a group of islands located in the Aegean Sea. The medium for the statue is marble and it is considered to be the most famous of the artifacts found. The reason for its fame is the abstract style that was used to create it. These figures have been found within burial chambers but their actual purpose still remains unknown (Sayre). In contrast to the sculpture from the Cyclades, the Greek sculptures continued to evolve and eventually took on what is called a Naturalistic form. This style developed in the sixth century and featured sculptures without clothing as seen in the above representation of the goddess Aphrodite. The above sculpture is a...
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...The American Woman Who: David L. Hostetler What: Bronze sculpture When: 1989 Where: outside Alden library Why: To show appreciation to women At a first glance one would not know that the sculpture The American Woman was made of bronze. The work of art has streaks of a striking blueish green color and gives the appearance of painted metal. But as a viewer would notice as he or she got closer is that the color is really due to a chemical reaction, a result when bronze is in contact with water and oxygen. The statue is a smooth texture and with abrupt curves to convey the basics of a woman’s figure. A critic requires a closer and longer look of Hostetler’s work to understand that it is not just a figure. After observing the work of art the viewer can gather a lot of information about the woman and Hostetler’s beliefs of them. By the shape and direction of her body the audience can see that the artist had a favorable view of women and that they showed a significance in this world. The woman’s head is turned far to the left slightly pointing down, her back is arched and legs bent portraying elegance, pride, and honor. A witness to this work could gather that he finds the female body beautiful, giving a romance to it while also showing the sensitiveness of a woman. Though it is hard to technically “define” what art is, many can agree that art is a creative expression of imagination, should give whoever is viewing the art an emotional response, and in most cases (but certainly...
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...Art t history According to Becker, art can be generators of identity for a specific community. In his maiden speed to NDMOA, Becker notes that historically, art has been used to give a specific sociocultural direction within a community. As Haley, notes, Becker is a renowned expert in the field of art, his personal reflection of the role of art in humanizing cities lies in the human interactions with art is such cities. The use of art to capture day to day undertakings within a city is a classic example of how art humanizes cities. Becker uses that typical example of social media and use of pictures to capture existing moment with artistic expression especially sculptures in large cities (Haley, 2014). This is a form of humanizing that art brings to cities. As people interact more with art in cities, the length of interaction will automatically translate into a sense of connection thus giving human qualities to these works of art. This is therefore what Becker refers to humanizing of cities by art. Art can indeed be a generator of identity for a given community. As Becker notes, art is a presentation of social and cultural alignments within a culture. The depiction of these ideas through artistic expression, therefore, serves as a form of bringing out the identity of respective communities. Nankain compound in Ghana was c related with the sole aim of promoting Ghanaian culture on the international level. The work captures a natural setting of the Ghanaian community thus giving...
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...Comparison of Three Sculptures The sculptures of David, the slayer of Goliath, are all highly revered sculptures. The three sculptures from Michelangelo, Bernini, and Donatello all carry the same meaning, which is that David was an important symbol for freedom from tyranny. The way that each artist conveyed their message was very different from the others. Michelangelo’s David is based on the time just prior to battle with Goliath, and Donatello’s was just after the battle. There are similarities these two some of it may be that they are both from the Renaissance era. Both positioned in a manner that they have a curved form to them, and they are both nude. These are a common style in this period of art and relates to the way that the human body was perceived at the time. Michelangelo depicted David larger than life and gave him the sculptured look of the Greek gods. The way he is sculptured gives him a muscular and mature look. Donatello showed David as an adolescent that was still developing into his role. Bernini takes a different approach to the same idea, but he puts David in battle, in the midst of the swing that takes Goliath down. He is taking action there is not any thought of what is coming, nor is he standing confident of from his accomplishment that he has already done. The pose that Bernini has David in shows how David is preparing to throw the stone at Goliath, showing the force that the stone has and the amount of energy that David had. In this period of art...
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...I chose to write about Duane Hanson’s sculpture Woman Eating. This work is full-round because it can be viewed from any angle and is free standing; it does not have a base supporting the sculpture; you can walk around the sculpture. He delivers a likeness that looks real. He creates life size sculptures. He uses textures such as the clothing, hair, jewelry, and other accessories. The simplicity of the art is the reality of everyday life. I was amazed by the different textures such as the ice cream glass, the newspaper, the napkin holder, the salt and pepper shakers, the bag of grocery and the purse. The color allows us to perceive the textures and surfaces. Initially, it is starling when you view the art. He created the art during the mid to late 20th centuries. The theme is Superrealism in this art period. The sculpture demonstrates life in America; such as class prejudgment of the middle class and the stigma of obesity. Most people are not beautiful, wealthy, or famous. In my opinion, the art could suggest loneliness and isolation that a lot of people feel in their life. This will be a masterpiece because it gives you a glimpse into real life of the seventies as the future progresses. Modern technology and future artists will have progressed with relevant and new techniques, therefore Hanson’s art will be teaching material for the future artists. I do not like sculpture because I depicts prejudgment and prejudice of obesity. Why use an obese woman, why not use...
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...Sculptures of the Renaissance period Johnny R. Hilton ART/101 March 18, 2012 Kristy Yau “Madonna of humility” 1403 by Jacopo Della Quercia Jacopo Della Quercia was probably trained by his father in the art of sculpturing using both methods of wood and marble; he was influenced by such artist as Donatello and Michelangelo. Jacopo Della Quercia influences in sculpturing made him a very transitional artist from the Gothic styles to the Italian Renaissance era. In Jacopo Della Quercia sculpture of “Madonna of humility” we see that the Virgin Mary is seated and posed with the look of divine intervention of the birth of baby Jesus as she cradles him in her lap. This devotional theme sets as a humbling background for the churches as it shows a divine will for God. “St John the Baptist” 1412 by Lorenzo Ghiberti Lorenzo Ghiberti was an artist who thrived during the early years of the renaissance...
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...At art prize I looked at many different sculptures, but none of them spoke to me the way Rodrigo Lara Zendejas “Crowd Gate” did. The first thing I saw when noticing this piece was four faceless children swinging from the ceiling by their feet. My first reaction was to be appalled; this is really what grabbed my attention though. Upon more analysis I realized that the children swinging from the ceiling was perhaps the most enlightening part of the sculpture, as the rest of the project they hung over was even more dark. Underneath the children was an open door way or gate. This made me ask the question, “what is this sculpture trying to represent or symbolize.” After examination I started to see what Hell’s gate could be. The Gate was all black and depicted pretty sinister mini sculptures. Figures in what most people would consider uncomfortable or odd positions. The features of each of the figures is ill-defined giving it an even more creepy feel. On the top of the gate is a replication of the famous sculpture “The Thinker”. This was a bit perplexing to me, as you wouldn’t expect this to be a hell bounding act....
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...Bazin, Germain. The History of World Sculpture. New York Graphic Society, 1968. I discovered The History of World Sculpture by conducting a search on the art library’s online catalog. After finding the book’s call number. I received assistance from a librarian in locating the publication on the oversized book section of the Sloane Art Library. As inferred from the title, the amount of information in this publication was daunting, however, once I located the section specifically on Roman sculpture, I found that the information it offered would be useful for my research, particularly because of the background it provided on how the Romans adopted Greek styles. Translated from French, I did an online search on the author, Germain Bazin, and discovered...
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...Sculptures: Loud vs Quiet For the past year, I have continuously walked past buildings and statues paying little to no attention to them. Ask me what sculpture was in front of the tower and I had no idea. However, after observing Luis Jimenez’s Progress II, and Seymour Lipton’s Guardian, I have a whole new appreciation for the difference in artwork. While some pieces are meant to draw you in with their loud presence and bold figures, others are very quiet with an audacious meaning. Once closely examining both realms, there are many contrasts such as orientation, materials, subject matter, and expressive content. One essential contrast between Luis Jimenez’s Progress II, and Seymour Lipton’s Guardian is the varying orientations. While Progress II has a clear front and back, Guardian does not. I found Guardian to be much more open to interpretation than Jimenez’s artwork due to the lack of clarity and definition within the piece. I originally found the side facing the main entrance to the reading room to appear as if the piece was “cut in half” and you were experiencing a cross-sectional view whereas Progress had a clear front and back from first glance and was less open to interpretation in that sense. Luis Jimenez carefully sculpted the red-eyed longhorn, horse, and cowboy to appear in motion in a specific direction. This sculpture is slightly larger than life and slightly above eye level, placed on a base. Raising the work off of the ground allows the viewer to truly capture...
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...In viewing the three different sculptures of David by Donatello, Michelangelo, and Bernini, the different artistic styles that were prevalent in each time period is immediately evident. Donatello’s David, carved during the Renaissance period, is a cast bronze sculpture. It shows Greek influences in the contrapposto style pose of the statue, yet it is also more stylized than either the Michelangelo or the Bernini David. The artist also sculpted David as a much younger person. Donatello’s David seems more fragile than the other two sculptures, almost an anti-hero. Michelangelo’s David is sculpted from marble. The statue is carved in a heroic manner, with every detail of the figure’s musculature and form carved to show perfection of the male athletic form. The figure is carved in the nude to impart a timeless quality, since clothing “dates” artwork. This sculpture idealizes the human form, using perfectly carved physique and great attention to detail, giving the piece a larger than life appearance. This sculpture appears to be in a pensive mood, as if contemplating the coming action of attacking the giant. Bernini’s David, on the other hand, is carved in a splendid life like style, showing the muscle tension, the intent of the attack on Goliath, the human effort of movement needed to attack the giant. The figure is muscular, but does not appear to be superhuman in the manner of Michelangelo’s David, nor is it carved in the youthful, almost anti-heroic style...
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...“Classical art” was referred to the art of ancient Greek and Roman sculpture which the three primary areas of classical art are painting, architecture, and sculpture. The differences between Greek and Rome art are both interesting and significant for identification. Historically, the Greeks were the primary influences of the Romans in terms of artwork. The most obvious difference between Greek and Roman architecture is the material used. The Greeks used marble and the Romans used concrete. Greek sculptures are associated with white marble, Greek sculpture in the early classical period was often made in bronze during the high classical period. They were made from white marble and were often painted. Roman sculptors also used primarily white marble, though they did not paint their sculptures as Greeks did. Throughout the classical period Greek sculpture consisted primarily of depictions of Gods, mythological scenes and figures. These figures are often sculpted as "heroic nudes," in which the male figure is idealized. Although Roman sculpture, which features many copies of Greek sculptures, is also apprehensive with mythology. Romans often storied emperors and naturalistic examples of noble individuals. The Greeks not only had free-standing sculptures, but also sculpture worked into architecture. The panels primarily ran in horizontal strips above architectural columns. These architectural sculptures also depicted Gods and mythological figures and were often featured...
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...The Elgin Marbles / Parthenon Sculptures I read two articles on the internet that provided some very interesting points in regards to the “Elgin Marble” which are better known as the “Parthenon Marbles.” Between 1801 – 1805, Thomas Bruce, Seventh Lord Elgin, procured the marble art and took them to Britain. Lord Elgin’s original intentions were to obtain some sketches and plaster casts made of the great sculptures and reliefs on the Parthenon and other nearby ruins. At the time Greece was under Ottoman rule. When Lord Elgin obtained his permit for his request, he was given access to take whatever he desired. It was further ordered that Lord Elgin and his agents were not to be hindered from taking away any pieces of stone with inscriptions and figures. This is equivalent to today’s political give and take. For many years, the Ottomans were thankful to Britain for assisting with the Napoleon. Eventually, Greece won their independence from Ottoman rule in 1829 and called for the immediate return of the sculptures. Now, back to Lord Elgin: with his all-inclusive permit in hand; he and his little party began to take some of the most renowned symbols of the golden age of classical Greeks. Lord Elgin had allowed greed to manipulate his original mission. He took advantage of the situation to such a degree; many British people thought Elgin had committed acts of cultural vandalism. In 1816, he was forced to sell the sculptures to the British Government to alleviate...
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