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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.
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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.
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Miller, Sanda. "Sculpture and Art History." Art History 23, no. 4 (November 2000): 633–38. http://dx.doi.org/10.1111/1467-8365.00231.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.
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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Gamba, Ezio. "Du sollst dir kein Bildnis machen: Das Problem der künstlerischen Darstellung des Göttlichen in Hermann Cohens Ästhetik." Zeitschrift für Religions- und Geistesgeschichte 62, no. 4 (2010): 356–66. http://dx.doi.org/10.1163/157007310793352197.
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AbstractJewish monotheism forbids every representation of God. In ancient Greece, on the contrary, great sculptural art was mainly representation of several gods. I wonder whether, according to Hermann Cohen, sculpture and paganism are necessarily bound together. What, then, is the meaning of artistic representation of Jesus Christ? Is he the ideal of an unification of God and Man?
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Abreu, José Guilherme, Salomé Carvalho, Rui Bordalo, and Eduarda Vieira. "THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS." ARTis ON, no. 9 (December 26, 2019): 74–85. http://dx.doi.org/10.37935/aion.v0i9.240.
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A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.
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Myrone, M. "Sculpture and the Two Art Histories." Oxford Art Journal 27, no. 2 (January 1, 2004): 249–53. http://dx.doi.org/10.1093/oaj/27.2.249.
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Honcharuk, Oleksandr. "Portrait sculpture of Lviv on the border of modernism and postmodernism." Bulletin of Lviv National Academy of Arts, no. 41 (December 26, 2019): 25–30. http://dx.doi.org/10.37131/2524-0943-2019-41-03.
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Main vectors of develovpment of portrait sculpture in Lviv of 90s of the XX century in the context of the time. Changes, which occured in art, were identified; where new environment is being formed, in which portrait sculpture becomes an object of preservation and transmission of information. It’s proved that visualization of Ukrainian history is mainly due to developments in individual personification of events of prominent leaders of their time. The analysis of a number of sources related to the peculiarities of artistic and critical understanding of complex creative processes specific to Lviv sculpture of the period, was done. Portrait sculpture of Lviv of of 90s of the XX century is a complex of artistic phenomenon, which is rich in innovations and authentic artistic discoveries. Contemporary portrait sculpture is a history and culture of the people and their country, immortalized in stone and bronze. Themes of heroism, patriotism, courage, creative work, love and family prevail in works of Lviv sculptors. Most of masters are turning to the historical past of their land. In the image-structural solutions portraits influenced the previous days, and plastic language primarily focused on traditional solutions. Portrait sculpture of Lviv artists resist to platitudes, engagement, technocracy, contrasting its naturalness, sensitivity and anxiety. Gender theory, which asserts that the very fact the differences are not so important how important their socio-cultural assessment and interpretation, as well as construction of power systems based on these differences, dominated in portrait sculpture of contemporary Lviv artists.
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Wang, Jun Xiao. "Study on Sculpture Based on New Materials." Applied Mechanics and Materials 340 (July 2013): 335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.340.335.
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In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.
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Gyalókay, Zoltán. "From France to Central Europe. Jean Pépin De Huy and A Group of Fourteenth-Century Sculptures in Hungary and Poland." Acta Historiae Artium 61, no. 1 (December 18, 2020): 5–18. http://dx.doi.org/10.1556/170.2020.00001.
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AbstractThe paper presents results of research on a particular group of wooden sculptures originating from a medieval borderland area between Poland and Hungary. A juxtaposition of the group of sculptures in question with particular examples of French sculpture, as well as an analysis of the historical relations between the French and Hungarian milieus of patrons, resulted in a hypothesis about the French origin of the maker of the Central-European figures. Thus, a group of sculptures which plays an important role in the history of art of the Kingdoms of Poland and Hungary has been for the first time associated with a particular Parisian workshop active in the first third of the fourteenth century.
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Habetzeder, Julia. "The impact of restoration. The example of the dancing satyr in the Uffizi." Opuscula. Annual of the Swedish Institutes at Athens and Rome 5 (November 2012): 133–63. http://dx.doi.org/10.30549/opathrom-05-07.
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The aim of this article is to show that reputed restorations may have an unexpected impact on the study of ancient sculpture. During the 17th–19th centuries, a number of restored antiques were held in exceptionally high regard. One of the consequences of their renown was the production of copies and adaptations in different scales and media. Such reproductions did not distinguish between the ancient and the restored parts of the work. Today these reproductions are centuries old, and in many cases their provenance has long since been forgotten. Therefore, such post-Antique sculptures are easily misinterpreted as ancient. Subsequently, they are at times used as evidence of ancient sculptural production. Needless to say, this may cause flawed notions of Classical sculpture. The complexity of this relationship, between the ancient and the restored, is here exemplified by tracing the impact that a restored motif—“Satyrs with cymbals”—has had on the study of an ancient sculpture type: the satyr attributed to “The invitation to the dance”.
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Streltsova, Maryna. "SPECIFIC FEATURES OF LANDSCAPE SCULPTURE PARKS OF UKRAINE IN VARIOUS SYMPOSIUM MODELS." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 28 (December 15, 2019): 149–54. http://dx.doi.org/10.33838/naoma.28.2019.149-154.
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The precedent of the Kaniv AllUkraine Symposium “Shevchenkivsky Park” in 2007 laid the foundation for the formation of a new model of the state symposium of national importance. This in conjunction with the municipal symposia subsequently stimulated the introduction of a private model. The objectives of the research, was through an artstudy and comparative analysis; taking a representative sample of sculptural ensembles of state and private symposia to determine their specificity, common features and perspectives.As a result of the study, it is acknowledged that neither state nor private symposium models are benchmarked, since they can`t avoid of unsuccessful works of art in terms of their technical performance; or from the point of view of conformity of their concept; nor can they prevent from making mistakes during installation of a sculptural ensemble. Similarly the state format has the potential for development, under the condition of proper financing and balanced cultural policy of the state and local authorities. The general discrepancies between state and private symposia consists of concepts and exposition principles of symposium sculpture parks. Additionally in case of private sculptural symposia, private or public space is exempted from the integral information mission and gives a chance to use this place for rest and contemplation. This explains the greater percentage of abstract sculptural works in the Kaniv symposia. State symposia raise questions of the ethnonational and cultural identity of Ukrainians, dealing with certain "memory places", therefore, they are called to create interpretive works of art; that mentally and spiritually integrate the recipient into the history of a particular environment.So, in both models; the clear formulation of the communicative task and the definition of the exhibition strategy of various spaces are implied. This is illustrated by the nearby Kaniv parks of symposium sculptures — “Knya zhaya Hora” and “Shevchenkivsky Park”.
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Compton, Ann. "Mapping Sculpture in context: art history in an online environment." Sculpture Journal 21, no. 2 (January 2012): 87–98. http://dx.doi.org/10.3828/sj.2012.20.
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Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.
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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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ÖZDEMİR, Soner. "ARTIFICIAL LIGHT SOURCE AS A COMPONENT CONSTITUTING THE SCULPTURE." IEDSR Association 6, no. 15 (September 20, 2021): 235–45. http://dx.doi.org/10.46872/pj.351.
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Light, which is the main source in which plastic arts produce meaning by processing it, indirectly takes place in all works of art with its different colors and tones throughout the history of art. With the use of new materials and techniques in art with the modern period, it is seen that the light itself, that is, the light source, is also included in art works as a medium. This situation allowed the artists to create brand new perceptions and effects. With the second half of the 20th century, the use of artificial light source in sculpture as an element belonging to the sculpture is encountered. Some of the artists selected as examples in this study were chosen in terms of being the first example in terms of the material they used, the way they used the light source and the diversity of the content they produced with these materials. Light, which is one of the primary conditions for perception in sculpture; In this study, the material forming the sculpture, such as transparency and reflection, is not based on its interaction with its structure, but as an element that forms a part or whole of the sculpture. It is aimed to show the effect of using artificial light source in sculpture on expression and perception through selected examples.
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Niittynen, Miranda. "Interspecies Blendings and Resurrections: Material Histories of Disability and Race in Taxidermy Art." Canadian Journal of Disability Studies 9, no. 2 (July 30, 2020): 103–38. http://dx.doi.org/10.15353/cjds.v9i2.627.
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This paper analyzes the contemporary art practice of rogue taxidermy. Specifically, I look at the rogue taxidermy of Sarina Brewer, an artist who utilizes sensationalist aesthetics and representations found in historical sideshows alongside unconventional forms of taxidermy to critique historical and contemporary forms of body display. I discuss the material histories that informed and shaped the practice of taxidermy and how taxidermy was (and continues to be) bound up with a complex history of human and nonhuman animal exploitation. I analyze the interconnections between nonhuman animal taxidermy display and the historical preservation, study, and exhibition of postmortem human bodies in museums. The ethical implications of using nonhuman animal bodies as objects for political art entangle rogue taxidermy artists within the domination of nonhuman animals (alive and dead). The act of using postmortem nonhuman animal materials in artistic sculpture makes rogue taxidermy artists complicit in the history of modernity that used various bodies to outline “undesirable” racial and physiological variances. Furthermore, I analyze the subversive potential of Brewer’s sculptures to differently reconstruct sculptures of lusus naturae – from past representations – but, also, address the risky complexity of staging “monstrosity” in contemporary rogue taxidermy art. I conclude that the access and permission to place nonhuman animal bodies on display – from the outset – shows a normalization of human domination over nonhuman animal bodies, but argue that Sarina Brewer’s art, in various instances, critiques exploitation through multiple forms of body display.
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Antwi, Emmanuel, and Martin Adi-Dako. "THE WAY IT LOOKS: CONTEXTUALIZING EARLY PAINTINGS IN TRADITIONAL ART OF PREGOLD COAST ERA." JOURNAL OF ADVANCES IN HUMANITIES 4, no. 2 (December 9, 2016): 443–52. http://dx.doi.org/10.24297/jah.v4i2.5101.
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Documentation of paintings in the history of African art in regions south of the Sahara is rare. It is rather common reading of wood sculpture and other three dimensional works as the main stay of African art. However art in West Africa is rife with paint. This paper studies six forms of painting found within pre Gold Coast traditional art by ethnographic, historical and descriptive research. These are mural, body, fabric, hearth & bed, stool and sculpture painting. Observing through the philosophical lens of Contextualism, the authors recognise it as the most appropriate way of looking at this traditional art, since its attributes seem to facilitate the best means of experiencing understanding and evaluating this art as against other philosophical proffers.
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Шипицин, Антон, and Anton Shipitsin. "Urban sculpture and cultural code of Volgograd in the context of branding the territory." Universities for Tourism and Service Association Bulletin 10, no. 4 (December 19, 2016): 89–97. http://dx.doi.org/10.12737/23656.
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The sculpture and monuments of Volgograd are discussed in the article as cultural and symbolic objects expressing the local identity and the defining image of the city, and also as resources for branding areas. Field studies and analysis of publications in print and electronic media showed that in the period from 2006 to 2016. in Volgograd, it was installed about 50 different sculptural forms and art objects – sculptures, memorials, monuments, small architectural forms. The author carried out a content analysis of the sculptural text and made the classification of monuments installed over the last 10 years. There were identified dominant themes and motifs, proving the irreducibility of the identity of Volgograd to a common denominator with a predominance of heroic discourse of the Soviet past. Specific examples show that the development of object environment of Volgograd clarifies three main trends: the assertion of the identity of the city-hero, stream professional-corporate symbols, representation of the images of the pre-Soviet past, first of all, an appeal to the history and culture of Tsaritsyn. The empirical material of Volgograd highlights the key functions of modern urban sculptures and monuments: monumental, memorial, axiological, aesthetic, social, advertising, entertainment, cultural and educational. It’s stated that creation and promotion of a positive image of Volgograd as a modern city of cultural innovations is difficult in the absence of a developed strategy of cultural policy aimed at the use of intelligent, creative, real assets and the search for alterna- tive symbolic models.
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Magomedov, Amirbek Dzhalilovich. "FROM THE HISTORY OF ART SCULPTURE OF THE VILLAGE OF KUBACHI." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 21 (March 16, 2020): 80–87. http://dx.doi.org/10.31029/vestiyali21/14.
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The attitude of Islam to the visual arts is an insufficiently explored topic. The article by an orientalist O. G. Bolshakov on this topic, published a long time ago, is well known to researchers. In recent decades, due to re-Islamization, this topic has attracted increased public attention. So in 1997 in Dagestan, due to the position of the clergy of the republic, a monument to the leader of the national liberation movement of Dagestan Imam Shamil was not erected in Dagestan. The task is to study the history and practice of implementing such bans. The article attempts to identify the causes of damage to the sculptural images of living beings, known from medieval art of Kubachi. The researchers expressed different points of view on the causes and time of their damage. We want to present one of the points of view on these events.
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Liu, Zhe, Pieter Uyttenhove, and Xin Zheng. "Moving Urban Sculptures towards Sustainability: The Urban Sculpture Planning System in China." Sustainability 10, no. 12 (December 16, 2018): 4802. http://dx.doi.org/10.3390/su10124802.
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Following the continuous development characterized by large-scale constructions, Chinese urban development has shifted to the promotion of refined urban space quality. Urban sculpture, an important part of public arts, has been receiving increased attention in China as an important carrier for highlighting urban characteristics, culture, and history within cultural policies. As a type of cultural capital, it offers innovative methods to address the issues of economic, social, and environmental sustainability, in particular cultural sustainability. Interdisciplinary theories of urban planning are creatively applied to guide, coordinate, and improve the sustainable production of urban sculptures in China. This research was initiated to: (1) Illustrate how urban sculptures are produced through an urban planning system in the context of China; (2) explain what kind of influencing factors in relation to sustainability exist, mainly within the framework of planning strategies and cultural policies; and (3) put forward sustainable planning strategies to produce urban sculptures. To answer the above inquiries, we reviewed more than 100 articles, plans, and government documents, and we conducted several semi-structured interviews. The article argues that urban planning strategies and policies have been conceived as strategic instruments by the Chinese municipal governments to realize sustainable development of urban sculptures. Our findings would enrich knowledge on geographic studies of public art planning through the contextualized analysis of a Chinese urban sculpture planning system. It also fills the gap in the literature on the sustainability of urban sculptures by approaching the perspectives of planning strategies and cultural policies.
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Mohammad, Mahizan Hijaz, and Aznan Omar. "Colonial Architecture on Local History Through Glass Sculpture." Idealogy Journal of Arts and Social Science 6, no. 1 (April 28, 2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.
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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.
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Meldesh, G. "Synthesis of academic and modern practices of learning sculpture in creative universities of kazakhstan." Pedagogy and Psychology 46, no. 1 (March 31, 2021): 41–47. http://dx.doi.org/10.51889/2021-1.2077-6861.05.
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The article put attention on the need for a methodological collaboration analysis of the academic and modern types of teaching sculpture in the specialized creative colleges and universities of the Republic of Kazakhstan in the modern educational and aesthetic discourse. The main research problem focuses on identifying and characterizing the most relevant educational theoretical and practical methods that can significantly increase the level of domestic art education in the art of sculpture. The author believes that a comprehensive scientific analysis of the educational potential of the Kazakhstani aesthetic originality of modern sculpture, its history and technical and technological features will give a possibility to understand deeply and see the big picture of the art education role in the general socio-cultural canvas of sovereign Kazakhstan. At the moment, the Kazakhstani art education system is on a peripeteia and it is necessary to clear the choice between academic and contemporary art practices or their harmonious synthesis. This work is devoted to these question’s analysis and the author's research work disclosure.
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Məhəmməd qızı Rzayeva, Gülgəz. "Artistic features of memorial plaques in the works of Natig Aliyev." SCIENTIFIC WORK 65, no. 04 (April 23, 2021): 290–92. http://dx.doi.org/10.36719/2663-4619/65/290-292.
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The literaryization of historical events and memories of personalities in world art, the choice of artistic interpretations of images are of particular relevance. The most common type of memorial plaques are a close synthesis of architectural monuments and sculptures and serve as an integral part of the history and material culture of society. Memorial plaques occupy a large place in the work of Natig Aliyev. In addition to the similarity of the portrait in each of his images, the spiritual and psychological fullness of the work comes to the fore. Key words: sculpture, artist, poet, writer, memorial, plastic
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Wang, Shujing. "Traditions of the Soviet Academy of Art History in the theses of the Chinese students of I. E. Repin Institute of Painting, Sculpture and Architecture at the turn of the 1950s – 1960s (based on the archival materials)." Культура и искусство, no. 4 (April 2021): 82–93. http://dx.doi.org/10.7256/2454-0625.2021.4.35248.
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This article is dedicated to the relevant problem of art history, and determines the degree of impact of the traditions of the Soviet Academy of Art History upon the art education of the People's Republic of China. The fundamental role in this process is assigned to the Chinese students who studied in I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture of the USSR Academy of Arts during the 1950s – 1960s, as well as their pedagogues and academic advisors. The article analyzes the stenographic materials of state attestation of the four Chinese students of the faculty of Theory and History of Art, who defended their theses in 1959 and 1960. The novelty of this research lies in the fact that the the materials of the Scientific Archive of the Russian Academy of Arts that were not previously used in scientific discourse, namely work with the stenographic materials of state attestation of the selected students, reveal certain peculiarities of art history and art education of the People's Republic of China, description of the tradition of the Soviet Academy of Art History and its impact upon the Chinese education at the turn of the 1950s – 1960s. The Chinese graduates of I. E. Repin Leningrad State Institute of Painting, Sculpture and Architecture have later continued the traditions of the Soviet Academy of Art History, and laid the foundation for education of the future generations of specialists in the field of art. The conducted research determines several relevant trends of the Soviet School that influenced the development of Chinese art history.
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Freeman, Elizabeth. "A FOUNTAIN BASIN SCULPTED BY DRUDUS DE TRIVIO (fl c 1230–40): A RECONSIDERATION." Antiquaries Journal 99 (September 2019): 105–32. http://dx.doi.org/10.1017/s0003581519000076.
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This article looks at a fountain basin that is of outstanding art-historical interest as a surviving example of secular Romanesque sculpture. The fountain basin is signed by the Italian sculptor Drudus de Trivio and is dated c 1240. The article situates the fountain basin within Drudus’s oeuvre – most notably the ciborium in Ferentino and the choir-screens at Cività Castellana – and relates it to the recently completed cloister sculpture of the Lateran and San Paolo fuori le mura, of which Drudus had close knowledge. Possible sources are explored, and chronology, classical precedents and the innovative use of garlands are discussed. A new translation of the inscription, which has been rather neglected in previous studies, is offered. The translation places the inscription within the wider context of Italian fountain inscriptions and is used to suggest that the fountain was secular in purpose with the aim of querying the long-standing view that Drudus carried out only liturgical sculpture, thereby adding to our understanding of the work of the Cosmati.
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Skierski, Marcel. "Twórczość Aliny Szapocznikow w świetle hermeneutyki egzystencjalnej (na wybranych przykładach)." Artium Quaestiones, no. 27 (September 8, 2018): 93–128. http://dx.doi.org/10.14746/aq.2016.27.5.
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The essay is a response to a biographical dominant of the critical discourse on the works of Alina Szapocznikow. It seems to miss an aspect of her sculpture which isthe most important from the point of view of art history – that of the impact of thespecific works on the spectator. Such an objective of art history has been formulated by Michael Brötje, the founder of the existential-hermeneutic study of art. That radical theory, based on the dismissal of the discourses which are external to the artistic object, instead turning the critic’s attention to the medium as the meaningful foundation of the work, is adequate to a perspective adopted in the present essay. It has been modified to fit sculpture since Brötje himself applied it mainly to painting. The essay includes analyses of her three works: “Stopy (Fetysz V),” “Maria Magdalena,” and “Dwuczęściowa.” In each case, the existential-hermeneutic method has been applied; focusing mainly on the impact of the medium, as well as the term “creation-analogy” has been used, also originally introduced by Brötje. That term makes it possible to express nonreflective qualities which constitute the meanings of the works in question. The descriptions present evidence that such qualities are inseparably connected to the substance of sculpture and stem from its structural order.The analysis of “Stopy (Fetysz V)” introduces the term “creation-analogy,” demonstrating that a description which reveals the artifact’s impact does not have tobe related to meanings implemented by external discourses. Autonomous reflectionon the work’s medium points at a visual analogy to the key stages of the history of salvation described in the Bible. A biblical parable, so distant from the usual contexts which have determined the perception of the work, coherently grasps each of the sculpture’s elements. Another analysis proves that the content can be intentionally grafted on the medium. In “Maria Magdalena,” Szapocznikow presented in a concise way the life of the title figure, including the stages of her advancement to sainthood shown in the Scripture. That allowed the critic to show a possible connection of the artist’s intention with a visual analogue. The description offered stresses also the formal complexity of the sculpture, which makes it difficult to follow the perceptual logic of the work. That contributes to a network of meanings, graspable only through non-rational contemplation. The last analysis demonstrates that Szapocznikow’s works can also generate parables which are not related to religion. “Dwuczęściowa” turns out to express the artist’s opinion on the influence of technology on human life. Still, the sculpture reveals also meanings far from those opinions, activating the archetype of “Mother-Earth.” That analogy, unrelated to biblical topics, is quite general, yet intelligible to all spectators who enjoy contemplation. The conclusion is that the results presented must be systematized to become a starting point for a future theory of systematic analysis of sculpture in terms of existential-hermeneutic study of art.
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Radke (book author), Gary M., Martin Kemp (book contributor), and Filomena Calabrese (review author). "Leonardo da Vinci and the Art of Sculpture." Renaissance and Reformation 33, no. 4 (December 12, 2011): 139–41. http://dx.doi.org/10.33137/rr.v33i4.15983.
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Cole, Michael, and Diletta Gamberini. "Vincenzo Danti’s Deceits." Renaissance Quarterly 69, no. 4 (2016): 1296–342. http://dx.doi.org/10.1086/690314.
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AbstractThe great sculptor Vincenzo Danti wrote one of the longest poems to have survived from a Renaissance artist, but the text’s close thematic and conceptual connections to its author’s art have gone entirely unnoticed. What Danti’s poem and sculpture share, this essay argues, is a concern with mystified identity. Danti’s poetic sensibility stands at odds with the biographical frameworks that typically guide the interpretation of Renaissance art and literature. At the same time, his example shows how much there is to be gained from an investigation of how artists learned to be writers, and of what came of those efforts.
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Abd El Baset, Hussein, and Fakhriya Al-Yahyai. "The Language of Visual Communication between the Variable Culture and Beliefs in Light of Art Formation." Journal of Arts and Social Sciences [JASS] 9, no. 2 (October 1, 2018): 79. http://dx.doi.org/10.24200/jass.vol9iss2pp79-87.
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Physical language takes on a universal dimension, where people can communicate through it as an understandable language related to the different environments and elements associated with man, animal, and plant, for forms that have meaning for the public and individuals because they have different thoughts and cultures. The art is a rich material for the transmission of ideas and beliefs, a material for recording history and everyday life, within its formal and spontaneous framework, and a material for the documenting of human relations. It contributed to the direction of public thought in a cultural or ideological framework. It was possible to exploit the color and the sculptural modeling as a strong means that varies between the even and sculptural within the framework of official sculpture in a changing relationship throughout history to take a modern form that is related to modernity and the wide impact under technological development. This research aims to review the aspects of communication, and the influence of art through ancient civilizations to contemporary time.
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Barker, Simon. "Henry Moore Foundation–BSR Fellowship in Sculpture: Discovering the statue within the sculpture: the art of re-carving spoliated sculpture." Papers of the British School at Rome 85 (October 2017): 340–41. http://dx.doi.org/10.1017/s0068246217000150.
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Johnson, Geraldine A. "‘(Un)richtige Aufnahme’: Renaissance Sculpture and the Visual Historiography of Art History." Art History 36, no. 1 (July 26, 2012): 12–51. http://dx.doi.org/10.1111/j.1467-8365.2012.00917.x.
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Ballard, Susan, and Liz Linden. "Spiral Jetty, geoaesthetics, and art: Writing the Anthropocene." Anthropocene Review 6, no. 1-2 (April 2019): 142–61. http://dx.doi.org/10.1177/2053019619839443.
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Despite the call for artists and writers to respond to the global situation of the Anthropocene, the ‘people disciplines’ have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a ‘geological agent’ in 1972. We suggest that Smithson’s land art sculpture Spiral Jetty could be the first marker of the Anthropocene in art, and that, in addition, his creative writing models narrative modes necessary for articulating human relationships with environmental transformation. Presented in the form of a braided essay that employs the critical devices of metaphor and geoaesthetics, we demonstrate how Spiral Jetty represents the Anthropocenic ‘golden spike’ for art history, and also explore the role of first-person narrative in writing about art. We suggest that art and its accompanying creative modes of writing should be taken seriously as major commentators, indicators, and active participants in the crafting of future understandings of the Anthropocene.
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Михайлова, Р. Д., and С. С. Кисіль. "ПРО ОБРАЗНО-ЗМІСТОВНІ ДОМІНАНТИ ПЕЙЗАЖНОЇ АЛЕЇ В м. КИЄВІ." Art and Design, no. 3 (December 5, 2019): 97–105. http://dx.doi.org/10.30857/2617-0272.2019.3.10.
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Purpose. An analysis of figurative and informative accents of the Landscape Alley with graphic and design tools in the context of modern improvement of the historical landscape of Kyiv. Methodology. Research was conducted to study the object on the basis of historical and art history, functional, architectural and planning, landscape analysis. For a general assessment of the territory, field surveys, analysis of scientific, journalisticsources and design studies of previous years were carried out. Results. The figurative and meaningful dominants of the Landscape Alley in the historical landscape of Kyiv are determined. The essence and features of art and design tools are revealed during the shaping of its art elements, by combining sculpture with design art. It has been established that the Landscape Alley in Kyiv is an example of a new design thinking of fine art, as an option for designing a recreation zone of a metropolis and is determined by symbiosis: landscape, modern urbanism, traditions of fine art and modern design.Scientific novelty. For the first time, the meaning of the figurative and artistic solution for the arrangement of the Landscape Alley, the product of the collaboration of artists and design, was revealed. As a result, the historical landscape has been turned into a modern gaming, entertaining and comfortable recreational space. The content, role and significance of compositions of park sculptures, art objects of sculptural monumental and decorative plastic in the urban environment are determined.Practical significance. The scientific and practical results of the study can be used in the implementation of landscape-recreational design of urban areas – theme parks, squares, with the development of elements of improvement in them; in computer-aided design of the landscape and the subject environment with it; in the practice of image creation in art and design.
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Raja, A. "கலை, பண்பாட்டுத் தளத்தில் சோமேசுவரர் திருக்கோயில்." Shanlax International Journal of Tamil Research 5, no. 1 (July 1, 2020): 22–27. http://dx.doi.org/10.34293/tamil.v5i1.3400.
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The temples have existed since the Sangam period, although they were built of perishable soil and wood and did not last long. But instead the Pallavas were the first to build cave temples and stone temples. It was later followed by the Pandya and Chola dynasties. This article describes the history, architecture and sculpture of the Someswarar Temple in Anthakudi, in the Keezhvellore taluk, Nagapattinam District, based on the evidence obtained through a field study. Along with these, the information known through the medieval Chola inscriptions here, the ancient Tamil people Architecture technique, structure of the temple and Chola sculptures have been studied historically. Therefore, it would not be an exaggeration to say that the ancient temples are not only places of worship but also treasures of art, history and culture.
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Bulycheva, Elena I. "Sergey Timofeyevich Konenkov’s Mythopoetics." Observatory of Culture 18, no. 1 (May 24, 2021): 55–65. http://dx.doi.org/10.25281/2072-3156-2021-18-1-55-65.
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The article deals with the features of mythopoetic models in S.T. Konenkov’s sculpture. Despite the fact that monographs, albums, dozens of articles are devoted to the maestro’s works and they are quite well studied, the nature of the mythologism of S.T. Konenkov’s artistic thinking has not been fully revealed. In the ideological context of Soviet art studies, which were based on the methodology of the “social history of art”, only the fact of the sculptor’s deep interest in archaic folk traditions was noted, while this topic can be considered as a natural manifestation of the myth-making process characteristic of the art of the 20th century as a whole. Using the example of S.T. Konenkov’s works, the article attempts to retrace the formation specifics of the “non-classical artistic language” of mythopoetics in the Russian land, which consisted in the fact that, unlike Western European artists who would immerse in the exotic world of archaic art of non-European origin (primarily Africa), Russian masters were fascinated by their home antiquity. When considering the mythological structures that served as the basis for the mythopoetic models of S.T. Konenkov’s sculptural projects, three basic groups can be conditionally distinguished: a direct appeal to ancient mythology, pagan Slavic reminiscences, and a mythological interpretation of a freshly created new world. It is thanks to myth-making that the characters of S.T. Konenkov’s sculptural compositions, despite all the heterogeneity of specific subjects, belong to the integrity of a single cosmos created by the mythopoetic consciousness of the maestro. At the same time, the common mythological foundations of the Russian sculpture development in that period determine the commonality of the mythopoetic models, characteristic not only of S.T. Konenkov’s works. In many ways, they are also quite clearly manifested in the works of S.D. Erzia, A.S. Golubkina, and others.
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Stefanou, Maria Ioanna, and Ulf Ziemann. "Neuroaesthetical Changes in Sculpture: The Case of Yannoulis Halepas (1851–1938)." European Neurology 82, no. 4-6 (2019): 116–23. http://dx.doi.org/10.1159/000505546.
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The theoretical conceptualization of artistic ingenuity and creativity, as reflections of the highest-level cognitive functions in the human brain, has recently evolved from a purely philosophical pursuit to a compelling neuroscientific undertaking. Changes in artistic style have been extensively studied in association with brain dysfunction in the presence of neurological and psychiatric diseases in famous artists. This paper presents the case of Yannoulis Halepas (1851–1938), who is widely regarded as the most influential sculptor of modern Greek art. At the age of 27, already at the peak of his fame, Halepas abruptly abandoned the sculpture world after developing schizoaffective disorder, only to resurge onto the art scene after an almost 40-year-long hiatus with a fundamentally reformed artistic style. Two distinct periods have preoccupied art critics: Halepas’s early premorbid years (1870–1878), which were imbued with the principles of neoclassicism, and the later postmorbid years (1918–1938), which mark the artist’s transcendence to expressionism and contemporary art. From a neuroaesthetical perspective, the extensive and multifaceted oeuvre that Halepas produced in his lifetime allows a close study of his artistic development throughout and beyond mental disease. In addition, his lifework is a unique account in the history of art of the struggle of artistic genius with the limits of the rational mind and its conscious reality.
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Bouhet, Elise. "Alexis Peskine, Guillaume Bresson, and Adel Abdessemed as sculptors of history: a study of visual arts inspired by the riots of 2005 in France." Contemporary French Civilization 45, no. 3-4 (December 1, 2020): 285–303. http://dx.doi.org/10.3828/cfc.2020.17.
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What do the visual arts tell us about historical events happening in our societies? In this article, we will examine the case of the French riots of 2005. While anthropology, media, and cultural studies have investigated visual forms such as video games, YouTube videos, and graffiti that address the riots, there has been a blind spot in the study of the representation of the riots in the fine arts, such as painting and sculpture. This study will thereby identify and analyze the art works of three contemporary francophone, and transnationally recognized artists who visually represented the riots of 2005. Indeed, the art pieces by Alexis Peskine (La France “des” Français), Guillaume Bresson (Untitled), and Adel Abdessemed (Practice Zero Tolerance) could not be more different esthetically speaking. Peskine’s colorful painting offers a postcolonial reading of the riot, deconstructing stereotypes associated with race that the riot reinforced. Bresson’s imposing neoclassical painting stages the choreography of agitated rioters. Abdessemed comments on the violence provoked by the governmental management of the riots with a sculpture installation showing three burnt cars. Despite these differences, the three artists’ approaches indubitably converge insofar as they first react to the constant play between images of power and the power of images. In addition, this observation involves an intervention into the discourse and imaginative processes that are currently shaping the narrative and interpretation of the riots. In this sense, Peskine, Bresson, and Abdessemed operate as sculptors of history.
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Bigliardi, Victoria. "The Reincarnation of the Aura." International Journal of Semiotics and Visual Rhetoric 1, no. 1 (January 2017): 72–80. http://dx.doi.org/10.4018/ijsvr.2017010108.
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In 1935, Walter Benjamin introduced the aura as the abstract conceptualization of uniqueness, authenticity, and singularity that encompasses an original art object. With the advent of technological reproducibility, Benjamin posits that the aura of an object deteriorates when the original is reproduced through the manufacture of copies. Employing this concept of the aura, I outline the proliferation of plaster casts of sculptures in 18th- and 19th-century Europe, placing contextual emphasis on the cultural and prestige value of originals and copies. Theories of authenticity in both art history and material culture are used to examine the nature of the aura and to consider how the aura transforms when an original object is lost from the material record. Through an object biography of a 15th-century sculpture by Francesco Laurana, I propose that the aura does not disappear upon the loss of the original, but is reincarnated in the authentic reproduction.
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Bradley, Mark. "OBESITY, CORPULENCE AND EMACIATION IN ROMAN ART." Papers of the British School at Rome 79 (October 31, 2011): 1–41. http://dx.doi.org/10.1017/s0068246211000018.
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This article explores the significance of sculptural and painted representations of ‘overweight’ and ‘underweight’ body types in the visual culture of Roman Italy from the fourth centurybcthrough to the late Empire, and considers the relationship of this imagery to Greek and Hellenistic precedents. In spite of the topical character of fat in 21st-century sociology, anthropology and medical science, obesity and emaciation in the ancient world remain almost completely unexplored. This article sets out to examine the relationship of fat and thin bodies to power, wealth, character and behaviour, and seeks to identify patterns and continuities in the iconography of fleshiness and slenderness across a stretch of several hundred years. Such bodies could be evaluated in a number of different ways, and this article exposes the diverse — and sometimes contradictory — responses to body fat in the art and culture of the Roman world. It first examines the significance of obesity and emaciation in language, literature and medicine, and then discusses visual representations under three headings: ‘Fertility’; ‘The marginal and the ridiculous’, examining the relationship between body fat, humour and figures at the edge of civilized society; and ‘Portraits’, exploring fat and thin in the portraiture of real-life individuals in the realms of philosophy, Hellenistic rulership, Etruscan funerary art and Roman public sculpture.
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Rasmussen, Chris. "Corn Palaces and Butter Queens: A History of Crop Art and Dairy Sculpture." Annals of Iowa 72, no. 3 (July 2013): 297–99. http://dx.doi.org/10.17077/0003-4827.1726.
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Jacoby, Thomas. "ROMAN SCULPTURE (Yale Publications in the History of Art). Diana E. E. Kleiner." Art Documentation: Journal of the Art Libraries Society of North America 12, no. 2 (July 1993): 91. http://dx.doi.org/10.1086/adx.12.2.27948546.
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Schnell, Steven M. "Corn Palaces and Butter Queens: A History of Crop Art and Dairy Sculpture." Journal of Historical Geography 41 (July 2013): 100. http://dx.doi.org/10.1016/j.jhg.2013.04.015.
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Bush, Sara E. "The Protection of British Heritage: Woburn Abbey and The Three Graces." International Journal of Cultural Property 5, no. 2 (July 1996): 269–90. http://dx.doi.org/10.1017/s0940739196000057.
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SummaryThis article describes the removal of Canova's sculpture, The Three Graces, from Woburn Abbey and the British laws that determined its subsequent treatment and ownership. In this case, the group of laws intended to protect the integrity of Woburn Abbey's Sculpture Gallery was deemed to be less important than the goal of retaining the sculpture within the country. It is therefore necessary to examine the relationship between the object and the building and the effectiveness of the laws designed to preserve objects and buildings for the benefit of the public. This article examines the implications of the laws regulating the preservation of historic buildings and the export of works of art for definitions of cultural property and national patrimony.