Log in

Relevant bibliographies by topics / History of Art ; Sculpture

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'History of Art ; Sculpture'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'History of Art ; Sculpture.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "History of Art ; Sculpture"

1

Fidler, Luke A. "The Coercive Function of Early Medieval English Art." Radical History Review 2020, no. 137 (May 1, 2020): 34–53. http://dx.doi.org/10.1215/01636545-8092762.

Full text

Abstract:

Abstract This article examines the spectacular representation of confinement in early medieval English sculpture in the context of poems, sermons, and translations. By identifying a series of features that early medieval spectators would have paid special attention to, it shows that sculptors used imprisoned and fugitive figures to craft a discourse about power in the absence of both a strong state and a regime of punitive incarceration. Compelling pictures of prisoners and verbal images of captivity flourished as a kind of carceral imaginary in the public landscape before the carceral state’s rise, as well as licensing forms of community policing in which early medieval subjects were required to participate. As such, these sculptures model a relationship between art and coercive power predicated on historically specific expectations about sculpture’s capacity to instruct and surveil.

APA, Harvard, Vancouver, ISO, and other styles

2

Miller, Sanda. "Sculpture and Art History." Art History 23, no. 4 (November 2000): 633–38. http://dx.doi.org/10.1111/1467-8365.00231.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Simpson, Pamela H. "Butter Sculpture: The History of an Unconventional Medium." Sculpture Review 68, no. 4 (December 2019): 40–59. http://dx.doi.org/10.1177/0747528420901917.

Full text

Abstract:

With its roots in ancient food molds and table art for Renaissance banquets, butter sculpture in the United States debuted during the centennial and flourished in the first quarter of the twentieth century. As the dairy industry moved from farm to regional cooperative creameries and eventually to national brands, butter sculpture appeared at fairs and expositions. Both amateur and professional sculptors used this unusual medium for busts and portraits, dairy-related subjects, and models of buildings. The ephemeral nature of the medium and the novelty of food as art drew crowds to exhibits advertising butter as the natural, healthy alternative to oleomargarine.

APA, Harvard, Vancouver, ISO, and other styles

4

Chen, Jing, and Yiqiang Cao. "Research on the Drapery in Ancient Greek Sculptures." Asian Social Science 17, no. 6 (May 31, 2021): 29. http://dx.doi.org/10.5539/ass.v17n6p29.

Full text

Abstract:

Sculpture in the ancient Greek period has an extremely lofty position in the history of Western art, and the drapery is one of the most important modeling characteristics of ancient Greek sculpture. This article summarizes the style evolution of drapery in ancient Greek sculptures through the performance of ancient Greek costume characteristics and dressing methods in sculptures. And through the drapery produced by the different postures of the human body in the sculptures, it is explored how the ancient Greek artists used drapery to show the dialectical relationship between clothing, the human body and the posture, thereby shaping the beauty model of classical clothing.

APA, Harvard, Vancouver, ISO, and other styles

5

Hajdú, Attila. "Lukianos és Kallistratos műtárgyleírásai: szöveg és hagyomány." Antikvitás & Reneszánsz, no. 1 (January 1, 2018): 21–40. http://dx.doi.org/10.14232/antikren.2018.1.21-40.

Full text

Abstract:

Lucian of Samosata’s descriptions of works of art are invaluable for the studying of the Classical and post-Classical Greek sculpture. The Second Sophistic author does not only give accurate and detailed descriptions about Greek sculptures and paintings, but as a real connoisseur of art he also judges them from the perspective of aesthetics. In the first main part of my paper, I will focus on the characteristics of his descriptions by analyzing the nude figure of Aphrodite of Cnidus made by Praxiteles and the ‘eclectic’ portrait of Panthea. The aim of the second part of my paper is to present the essential features of Ekphraseis of the sophist Callistratus who lived in Late Antiquity (IV–Vth century AD). It has been disputed if Callistratus’ work inspired by the rhetorical exercises has any art history values. This paper also raises the question how the tradition of both Lucian and Callistratus could influence the description of the sculpture ‘Apollo Belvedere’ included in Winckelmann's epoch-making Art History.

APA, Harvard, Vancouver, ISO, and other styles

6

Babic, Valentina. "The sculpture of the church of the holy virgin of the Studenica Monastery. Origin and models." Zograf, no. 43 (2019): 89–112. http://dx.doi.org/10.2298/zog1943089b.

Full text

Abstract:

The paper deals with the architectural sculpture of the twelfth century Church of the Holy Virgin at the Studenica Monastery. Its parallels with Italian Romanesque sculpture have long been identified in academic literature, and attention has been drawn to the influence of classical sculpture, mostly in terms of style, which has been attributed to the impact of Byzantine art. The paper demonstrates that all the motifs present in Studenica?s sculptural decoration originate from Romanesque sculpture in the Italian regions of Emilia Romagna and Apulia. Most of them rely on ancient Roman models and the motif known as peopled or inhabited scrolls is dominant among them.

APA, Harvard, Vancouver, ISO, and other styles

7

Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (March 2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

Full text

Abstract:

The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private collector who purchased the sculpture in India in around 1930. Incidental discoveries are then documented, extending the published provenance of objects in museum collections in the United States and Europe. Finally, consideration is given to the sculpture’s changing legal and ethical position, and the collecting rationales of its various collectors. The case study illustrates the contributions provenance research can make to archeological, art-historical, and collections knowledge, and elucidates aspects of the heterodox twentieth-century Asian art trade, as well as concomitant shifts in collecting ethics.

APA, Harvard, Vancouver, ISO, and other styles

8

Collins, Bradford R., Frederick Hartt, Helen Gardner, Horst de la Croix, and Richard G. Tansey. "Art: A History of Painting, Sculpture, and Architecture." Art Journal 48, no. 2 (1989): 190. http://dx.doi.org/10.2307/776971.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Carrier, David. "The Aesthete in Pittsburgh: Public Sculpture in an Ordinary American City." Leonardo 36, no. 1 (February 2003): 35–39. http://dx.doi.org/10.1162/002409403321152284.

Full text

Abstract:

There is a great deal of public art in Pittsburgh. Surveying some examples of this public sculpture suggests some general lessons about the role of such art. Art in public spaces needs to be accessible to the public. One way to make it so is to present local history, commemorating local sports heroes, politicians or artists. Public art also needs to be placed in a way that is sensitive to local history. Most public art in Pittsburgh is not successful because it does not deal with the interesting history of that city. Much sculpture that is successful in a museum is not good public art, and some successful public art in Pittsburgh does not belong in a museum.

APA, Harvard, Vancouver, ISO, and other styles

10

Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.

Full text

Abstract:

Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "History of Art ; Sculpture"

1

Basnett, Brian David. "Brian Basnett's sculpture thesis." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413285691.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Currie, Morgan. "Sanctified Presence: Sculpture and Sainthood in Early Modern Italy." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226067.

Full text

Abstract:

This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings.

APA, Harvard, Vancouver, ISO, and other styles

3

Wright, Jeanne. "Colour and sculpture : an investigation into the use of two dimensional media in sculpture." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004783.

Full text

Abstract:

From Introduction: Creative images which are normally called 'art' can be distinguished as either 'plastic' or visual. Both these forms throughout the history of art have relied to a greater or lesser degree on the use of colour. It is my intention to investigate specifically the changing role which colour has played in sculpture - the 'plastic' media of the visual arts and to chart the technical and aesthetic reasons for the use of colour. This investigation will encompass the historical perspective, the material qualities, aesthetic considerations, transitional codes and methods of approach in sociological frameworks and the examination of colour as a metaphysical element in the presentation of three dimensional media.

APA, Harvard, Vancouver, ISO, and other styles

4

Marx, Nadia Lares. "Images of Adam and Engagements with Antiquity in Romanesque and Gothic Sculpture." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493288.

Full text

Abstract:

In the abundant literature on the afterlife of classical forms in the Middle Ages, medieval “classicism” has generally been understood as a series of stylistic borrowings and iconographic quotations, occurring as either isolated instances of individual genius or as the result of a momentary cultural flourishing—a “renascence” to use Erwin Panofsky’s term. This dissertation reconfigures this discourse on antiquity and the Middle Ages. It frames medieval classicism as a set of expressive possibilities that encode and transmit culturally contingent meaning, arguing that classical models were invoked selectively by artists, in concert with a range of other representational modes, in order to communicate complex messages to an audience sensitive to differences in style. Presented as a series of case studies, it examines three sculptural representations of Adam and the Creation narrative from the Romanesque and Gothic periods in Italy and France, considering them as key sites for medieval engagement with the art of antiquity. The evocation of antiquity, effected through material and formal assimilations of sculpted objects to ancient artifacts, functioned as a rhetorical device in Romanesque and Gothic sculpture, constructing frameworks of meaning around a given object. This dissertation examines the particular character and purpose of such evocations in images of Adam from the cathedral churches of Modena, Paris and Auxerre, offering new interpretations of three important monuments in the history of medieval sculpture, engaging with landmark studies in medieval classicism, and reconsidering attitudes towards the public display of nudity in the centuries preceding the Renaissance, the period when, it is generally accepted, it became a part of common artistic parlance.
History of Art and Architecture

APA, Harvard, Vancouver, ISO, and other styles

5

Heisler, Eva. "Reading as sculpture: Roni Horn and Emily Dickinson." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1109756723.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Gotschalk, Kelly J. "The Seated Cleopatra in Nineteenth Century American Sculpture." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4350.

Full text

Abstract:

This thesis explores Cleopatra as presented in the work of three nineteenth century American sculptors: Thomas Ridgeway Gould, Edmonia Lewis and William Wetmore Story. It illuminates their work in the context of the nineteenth century and within the history of Cleopatra's image. Victorian opinions of Cleopatra's nature are exposed by examining the Egyptian Queen in essays and literature of the period, including works by Anna Jameson, Emily Dickinson, Charlotte Bronte, Nathaniel Hawthorne and Theophile Gautier. By studying the role of Cleopatra in these literary examples, the notion of some recent scholars of Cleopatra as a feminist symbol is dispelled and a light shed on a deeper interpretation. Cleopatra's ethnicity is taken into consideration against the political climate of the United States before and after the Civil War. Eroticization of the female body through an association with the Orient is examined against the contemporaneous American Suffrage movement. The role that complexion and hair coloring has sometimes played in the temperament of female heroines is explored through the work of Edgar Allen Poe, Hawthorne and Gautier, as is the female "sexual monster" returned from the grave in the work of Bram Stoker and Poe. Strong willed women and their tendency towards "indirect suicide" is investigated through the writing of Edith Wharton, Kate Chopin and Henry James. These diverse factors and events are taken into account in order to reveal the significance of Cleopatra and her legendary sexuality and suicide to the Victorian artist and audience.

APA, Harvard, Vancouver, ISO, and other styles

7

Richards, Christopher. "Ed Mieczkowski's Contradictory Cues in Dimensionality in Painting and Sculpture." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1467906772.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Bristow, Maxine. "Pragmatics of attachment and detachment : medium (un)specificity as material agency in contemporary art." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12033/.

Full text

Abstract:

This research arises out of my situated experience and the subsequent indeterminate positioning of my practice in-between the traditional disciplinary fields of textiles and fine art. Through a body of studio enquiry and accompanying theoretical and reflective commentary, the research questions whether a practice and knowledge base that is historically grounded in the interrogation of medium specific conventions can continue to be viable within a post medium/ postmodern contemporary art context. Implicit within this are two further considerations concerning the relationship between aesthetic and extra-aesthetic contexts and the tensions between subjective and material agency that arise in negotiating these positions. Through a sculptural and installational practice I propose a constellatory opening up of textile in conjunction with other materials, in terms of material agency and ‘productive indeterminacy’, where boundaries become blurred, meaning is unable to settle and fundamental categorical divisions between subject and object are destabilised. The processual inter-relational model of ‘attachment/detachment’ is offered as a conceptual framework and overarching practice methodology that maintains these productive tensions and opens up a complexity through which the medium specific can be mapped in a fluid and fragmentary way. Three interdisciplinary concepts; ‘camouflage’ (Neal Leach/architecture), mimetic comportment (Theodor Adorno/philosophy) and ‘complicity’ (Johanna Drucker/contemporary art) provide theoretical models which allow for assimilation and differentiation and embodied adaptive behaviour. Drawing particular reference from Adorno’s notion of mimetic comportment, the research involves a mode of behaviour that actively opens up to alterity and returns authority to the indeterminacy of the aesthetic encounter in a way that overturns the centrality of the subject. This is manifest through a range of practice strategies - ‘thingness’, ‘staging’ and the confluence of ‘sensuous immediacy and corporeal containment’ - which forge connections where distinctions remain mutable and mobilise a productive tension between subjective attachment and detachment. The research takes the ‘affective turn’, and increasing interest in the agency of material across the arts, humanities and social sciences over the course of the last decade, as contexts which mark a shift away from concerns with signification and which focus instead on the corporeal intensities of material/matter. Acknowledging the critical currency afforded to textile in terms of signifying agency, the project is notable in placing an emphasis on materially embodied experience that privileges aesthetic artifice, complicit formalism and an ambiguous abstract sculptural language over more overt strategies of representation. The research offers a reinscription of medium specificity in terms of material agency, where contrary to modernist conceptions of self-contained aesthetic autonomy there is a simultaneous concern with the distinct material properties of the medium and what they do in the social world. The research reveals that it is the ontological condition of textile as simultaneously social and material that has paradoxically accounted for its historical cultural ambivalence and its cultural significance. Moreover, it demonstrates that it is the interweaving of the sensuous and semantic so effectively mobilised through textile that gives rise to its affective indeterminacy. This affords it agential capacity as a transformative sensuous mode of knowledge production and artistic medium where boundaries between subject and object are destabilised and aesthetic considerations can be continuous with an engagement with social, historical and cultural contexts.

APA, Harvard, Vancouver, ISO, and other styles

9

Grenier, Marlène. "Les artistes propagateurs de l'idéal allemand en art pictural et en sculpture au Canada au XIXe siècle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26215.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Wescoat, Ruby. "The History of the World." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1177.

Full text

Abstract:

This Thesis is my effort to understand what subjects I find interesting and why. In the processes of writing and making sculpture, I discovered that my underlying fascination is in history. I am interested in places and objects for their individual qualities, but I also want to know how they relate to the world. If I am drawn to an ancient place or object, I want to examine how it fits into the contemporary world, and visa versa. The complexity of these relationships is increased by the vast number of histories (or stories) that are intertwined in the world. Over the course of the thesis I write about my various influences, and the development of my work from undergraduate to graduate school. This progression has been from observation of natural world to a more complex questioning of how the world came to be what it is. I conclude by defining the direction in which I want my work to continue: directly along the border between myth and reality.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "History of Art ; Sculpture"

1

Art: A history of painting, sculpture, architecture. 4th ed. Englewood Cliffs, N.J: Prentice Hall, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Hartt, Frederick. Art: A history of painting, sculpture, architecture. 4th ed. Englewood Cliffs, N.J: Prentice Hall, 1992.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Art: A History of Painting, Sculpture, Architecture. 4th ed. Englewood Cliffs, N.J: Prentice Hall, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Art: A history of painting, sculpture, architecture. Englewood Cliffs, N.J: Prentice-Hall, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Hartt, Frederick. Art: A history of painting, sculpture, architecture. 4th ed. Englewood Cliffs, N.J: Prentice Hall, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Hartt, Frederick. Art: A history of painting, sculpture, architecture. 3rd ed. New York: H.N. Abrams, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Art: A history of painting, sculpture, architecture. 2nd ed. New York: Abrams, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Hartt, Frederick. Art: A history of painting, sculpture, architecture. 3rd ed. Englewood Cliffs: Prentice-Hall, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Hartt, Frederick. Art: A history of painting, sculpture, architecture. 3rd ed. Englewood Cliffs, N.J: Prentice-Hall, 1989.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Hartt, Frederick. Art: A history of painting, sculpture, architecture. 4th ed. Englewood Cliffs, N.J: Prentice Hall, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "History of Art ; Sculpture"

1

Nathanson, Alex. "Sculpture and Installation." In A History of Solar Power Art and Design, 156–87. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Braysmith, Hilary A. "Public Sculpture Exhibitions in Neighborhoods: Arts-Driven, Heritage-Based, Urban Revitalization, and Social Practice (Part 1)." In Socially Engaged Art History and Beyond, 143–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-43609-4_11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Noriaki, Kitazawa. "The Evolution and Modernization of the Sculpture Genre in East Asia According to the Japanese Example." In East Asian Art History in a Transnational Context, 126–51. New York: Routledge, 2019. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Peleggi, Maurizio. "CHAPTER FOUR. THE PLOT OF THAI ART HISTORY: BUDDHIST SCULPTURE AND THE MYTH OF NATIONAL ORIGINS." In A Sarong for Clio, edited by Maurizio Peleggi, 79–94. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501725937-006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

Full text

Abstract:

Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.

APA, Harvard, Vancouver, ISO, and other styles

6

Hartwig, Melinda K. "Sculpture." In A Companion to Ancient Egyptian Art, 189–218. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Hornik, Heidi J. "Freestanding Sculpture." In The Routledge Handbook of Early Christian Art, 73–85. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Gjesdal, Kristin. "Sculpture, Embodiment, and History." In Philosophy of Sculpture, 33–49. New York : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429462573-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Abe, Stanley. "Sculpture." In Comparativism in Art History, 94–108. Routledge, 2017. http://dx.doi.org/10.4324/9781315095530-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Costin, Jane. "Sculpture." In The Edinburgh Companion to D. H. Lawrence and the Arts, 338–53. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0023.

Full text

Abstract:

A brief history of declining interest in sculpture helps this chapter to contextualise why Joseph Epstein, Eric Gill and Henri Gaudier-Brzeska believed the only way forward for this art lay in a return to the ancient skill of direct-carving. Discussion of these sculptors’ relationship to direct-carving is related to Lawrence’s parallel ambition to ‘break down the boundaries between verbal and visual expression’ as evidenced by The Rainbow. Reviewing the sculptural efforts of Lawrence’s close friend, Mark Gertler, suggests how they impacted on Women in Love, through Lawrence’s depiction of the sculptor Loerke and the expression of ideas associated with Futurism, Deutscher Werkbund and Vorticism. This leads to the suggestion that the Vorticist sculptor, Gaudier, may have had more effect on Women in Love than has hitherto been recognised. The chapter concludes with evidence of Lawrence’s influence, primarily through Lady Chatterley’s Lover, on the sculptors Barbara Hepworth and Henry Moore.

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "History of Art ; Sculpture"

1

Eaton, Ed. "Wall Sculpture with Postits." In ACM SIGGRAPH 2006 Art gallery. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1178977.1179011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Deng, Xijun. "Sculpture Bearing “Meanings”: Tradition of French Classical Sculpture and Modern Sculpture of Sichuan Province." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.108.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

"The Influence of Ancient Sculpture on Contemporary Sculpture Education." In 2018 1st International Conference on Education, Art, Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/eamss.2018.041.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

O’Rourke, Michael. "REDEFINING SCULPTURE DIGITALLY." In CAT 2010: Ideas before their time : Connecting the past and present in computer art. BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/cat2010.12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Charalambous, George E., Dustin E. Bennetts, and Kenneth P. Akins. "Case History-Olympic Sculpture Park MSE Structures." In Earth Retention Conference (ER) 2010. Reston, VA: American Society of Civil Engineers, 2010. http://dx.doi.org/10.1061/41128(384)61.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

"The Enlightenment of Installation Art to Sculpture Creation." In 2018 4th International Conference on Education & Training, Management and Humanities Science. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/etmhs.2018.29116.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Michalou(di)s, Ioannis. "Aer()sculpture, art made out of threatened sky." In the 3rd international conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1413634.1413638.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Zhang, Yanxiang, Dong Dong, and Yanlong Guo. "3D Shadow Art Sculpture Based On Real Items." In C&C '17: Creativity and Cognition. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3059454.3078858.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Byrne, Valerie. "National Sculpture Factory." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.39.

Full text

Abstract:

The purpose of the National Sculpture Factory, which speaks to our artistic policy and remit, is to support and nurture the production of art and the role of culture in society. We work to be the leading institution for identifying, nurturing and activating talent; for ambitious and fearless commissioning; promoting discourse on contemporary visual culture through public engagement activities; and engaging diverse audiences, driving more inclusion and accessibility. Primarily we are a factory of innovation in new technologies and artistic production in the expanded practice of sculpture.

APA, Harvard, Vancouver, ISO, and other styles

10

Link, John. "Electronic art history." In the 22nd annual ACM SIGUCCS conference. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/196355.196503.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "History of Art ; Sculpture"

1

Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada231842.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Healey, Patrick. The Social Sculpture in Practice: Joseph Beuys, Waldo Bien and the Free International University World Art Collection, A Report. Edited by Gerhard Bruyns. FIUWAC, October 2020. http://dx.doi.org/10.31182/001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Ashdown, Susan P., and Kimberly A. Phoenix. Half Scale, Full Engagement: Uniting Art, History and Technology to Teach Patternmaking. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Carlin, P. W., A. S. Laxson, and E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), March 2001. http://dx.doi.org/10.2172/776935.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Galenson, David. Anticipating Artistic Success (or, How to Beat the Art Market): Lessons from History. Cambridge, MA: National Bureau of Economic Research, February 2005. http://dx.doi.org/10.3386/w11152.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Wiel, S. The science and art of valuing externalities: A recent history of electricity sector evaluations. Office of Scientific and Technical Information (OSTI), May 1995. http://dx.doi.org/10.2172/503480.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

McGowan, Kevin M. A Great War More Worthy Of Relation Than Any That Had Preceded It: Thucycides History of the Peloponnesian War as a Rosetta Stone for Joint Warfare and Operational Art. Fort Belvoir, VA: Defense Technical Information Center, June 2006. http://dx.doi.org/10.21236/ada463540.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

Full text

Abstract:

The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.

APA, Harvard, Vancouver, ISO, and other styles

9

Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, November 2020. http://dx.doi.org/10.4271/epr2020024.

Full text

Abstract:

This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.

APA, Harvard, Vancouver, ISO, and other styles

10

Health hazard evaluation report: HETA-2007-0167-3078, evaluation of exposures in sculpture studios at a college art department, Brooklyn College, Brooklyn, New York. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, February 2009. http://dx.doi.org/10.26616/nioshheta200701673078.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!