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Journal articles on the topic 'Metal sculpture Metal sculpture Copperwork'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Kratina, Radoslav. "Variable Forms in Metal Sculpture: Real Motion as a Possibility." Leonardo 25, no. 2 (1992): 153. http://dx.doi.org/10.2307/1575704.

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Pannell, William C. "Hand Made: Photosynthesis—A Sculpture of Life Made From Metal." Journal of Hand Surgery 39, no. 12 (2014): 2496. http://dx.doi.org/10.1016/j.jhsa.2014.09.030.

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3

Whiteley, Gillian. "Metal, Fire and Magic: Welded Sculpture of the Twentieth Century." Sculpture Journal 6, no. 1 (2001): 108–12. http://dx.doi.org/10.3828/sj.2001.6.1.12.

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Plante, Michael. "Sculpture's Autre: Falkenstein's Direct Metal Sculpture and the Art Autre Aesthetic." Art Journal 53, no. 4 (1994): 66. http://dx.doi.org/10.2307/777565.

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Lu, JinRong, LiTing Yi, Lei Wang, SiCong Tan, Han Gui, and Jing Liu. "Liquid metal corrosion sculpture to fabricate quickly complex patterns on aluminum." Science China Technological Sciences 60, no. 1 (2016): 65–70. http://dx.doi.org/10.1007/s11431-016-0433-9.

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6

Talesara, Priyank, and Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India." Technium Social Sciences Journal 7 (April 25, 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.

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Rohida police station recovered an old sculpture, accidentally discovered from the cemetery of Bharja/Bhaja village. It is a broken bronze Buddhist Idol and very rare sculpture. It has exquisite Antique beauty with rust in red and corrosion in green. Sculpture of Buddha seated in Padma Asana (lotus posture) and his hand in Dhyan Mudra (meditation posture). Buddha is wearing the robe; the robe is decorated with the scene of Buddhacharita story, superimposed on the visible crust. This Sirohi district has the history of Jainism and Hinduism only, till the date there is no evidence regarding Buddh

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7

Walker, Stefanie. "Gold, Silver, and Bronze: Metal Sculpture of the Roman Baroque. Jennifer Montagu." Studies in the Decorative Arts 4, no. 2 (1997): 112–15. http://dx.doi.org/10.1086/studdecoarts.4.2.40662586.

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Riyanto, Sugeng. "KAJIAN IKONOMETRI ARCA LOGAM PRODUK PERAJIN TROWULAN." Berkala Arkeologi 28, no. 2 (2008): 52–62. http://dx.doi.org/10.30883/jba.v28i2.363.

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A question often raised on metal sculpture made by Trowulan artists is: do iconometric aspects of the sculptures follow the iconometric order? Studies on iconology, including iconographic and iconometric studies, are important in Indonesian archaeology. Iconometric study on metal sculptures made by Trowulan artists is an example for iconometric study in Indonesia.

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9

Zaluhi, Nor Zafharina, Ramlan Abdullah, and Khairi Shamsudin. "Reflection of the Mystical Element through the Form of Sape’ Using Metal in Modern Sculpture." Environment-Behaviour Proceedings Journal 6, SI5 (2021): 131–35. http://dx.doi.org/10.21834/ebpj.v6isi5.2938.

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The work of art construes the state of the pontoon during the semester to be adjusted by the Sape. He created Sape's current state after awaking from his rest in the vessel. As a result, the arrangement and standing model were created, as well as the Sape' theme. Porpion and engkerabang blossom themes enhance Pua Kumbu. Aims of the study: So that the guidelines and goals are met, they must be stated. They are incorporating a mystical element into Sape's instrument through free-standing sculptures. Create a sculpture using plate metal and a plasma cut machine—a series of free-standing sculpture

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Kakovkin, A. Y. "Little Known Piece of Metal Sculpture From the Coptic Collection in the Hermitage Museum." Ancient Civilizations from Scythia to Siberia 6, no. 1-2 (2000): 71–76. http://dx.doi.org/10.1163/157005700x00078.

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11

Son, Jong jun. "Defensive Measure Serise and Study on the Directionality of Contemporary Metal Sculpture in Korea." Journal of Basic Design & Art 22, no. 1 (2021): 185–96. http://dx.doi.org/10.47294/ksbda.22.1.15.

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Ko, Seung-Geun. "Metal Sculpture Research Applying Aesthetic Factor of 'Counting Stars at Night' by Yoon Dong Ju." Journal of Digital Convergence 14, no. 2 (2016): 345–50. http://dx.doi.org/10.14400/jdc.2016.14.2.345.

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Crespo Ibañez, Ana, Blanca Ramírez Barat, Iván Díaz Ocaña, and Emilio Cano. "Electrochemical evaluation of the patina of the weathering steel sculpture Once Módulo." Ge-conservacion 17 (June 25, 2020): 153–59. http://dx.doi.org/10.37558/gec.v17i1.761.

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Weathering steels (WS) have been widely used due to the protective rust formed on the surface of the bare metal exposed to the atmosphere. They have been studied attending to specifications and characteristics in engineering, but in cultural heritage the use of this material does not follow the same criteria and has different needs which must be addressed. Among them, the design and the location of the sculpture may have an impact on the rust formed and may not be as protective as it was supposed to be.  This work presents the study of the weathering steel sculpture Once Módulo which sho

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Lee, Wei-Hao, Yi-Fong Wu, Yung-Chin Ding, and Ta-Wui Cheng. "Fabrication of Ceramic Moulds Using Recycled Shell Powder and Sand with Geopolymer Technology in Investment Casting." Applied Sciences 10, no. 13 (2020): 4577. http://dx.doi.org/10.3390/app10134577.

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Lost-wax casting, also called precision casting, is the process of casting a duplicate metal sculpture cast an original sculpture. The ceramic shell mould used in lost-wax casting usually consists of several layers formed with fine zircon and granular mullite particles using silica gel as a binder. However, it is a complicated and time-consuming process. Large amounts of waste moulds that need to be disposed and recycled become an environmental concern. In this study, waste shell sand from the recycled mould and calcium carbonate/metakaolin were used as raw materials to prepare geopolymer slur

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Gnatiuk, Liliia, and Hanna Novik. "Metal in the design of public transport stops." MATEC Web of Conferences 170 (2018): 03008. http://dx.doi.org/10.1051/matecconf/201817003008.

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Public transport stops as special architectural forms in the urban environment are reviewed. Based on the analysis of foreign analogues, in accordance with the expressive means, the existing projects of stops are classified into subspecies as artistic, thematic, ecological and futuristic. As a result of the research, the conclusion is made about the influence of certain factors on the formation of pavilions: 1) the need to implement the priority requirements of different level users to the spatial planning structure of the stop complex, such as: transparency, control, protection, safety, acces

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Oh, Seung Jun, and Koang Chul Wi. ""A Study on the Manufacturing and Applicability of Liquid Wax for Surface Preservation of Outdoor Metal Sculpture Works"." Journal of Basic Design & Art 21, no. 6 (2020): 299–310. http://dx.doi.org/10.47294/ksbda.21.6.23.

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Żmuda–Trzebiatowska, Iwona, Anna Fietkiewicz, and G. Sliwinski. "Indoor Atmospheric Degradation of Historical Metal Objects Studied by Spectroscopic Techniques." Solid State Phenomena 183 (December 2011): 233–40. http://dx.doi.org/10.4028/www.scientific.net/ssp.183.233.

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The surface layers resulting from prolonged exposure to the indoor environment and the bulk material of metal artifacts from the collection of National Museum in Gdansk are studied by means of spectroscopic techniques. The composition of the surface layers of the forged iron box lid covered with polychrome (XVI c.), and of the bronze female nude sculpture (antiquity) is obtained from the XRF and µ-Raman spectra. The elemental composition is confirmed by the LIP (Laser Induced Plasma) spectroscopic measurements. The quasi-nondestructive LIP technique applied for stratigraphic sampling performed

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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.

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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what h

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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.

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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at

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Voroniatov, Sergey. "About Metal Rings of the “Zubovsky-Vozdvizhenskaya Type” Adorned with Sculptured Anthropomorphic and Zoomorphic Images." Nizhnevolzhskiy Arheologicheskiy Vestnik, no. 2 (December 2019): 145–55. http://dx.doi.org/10.15688/nav.jvolsu.2019.2.9.

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Metallic rings with sculpture images of anthropomorphic and zoomorphic types are known from the turn of the 19th and 20th centuries amongst findings in Sarmatian burials of “Golden Cemetery” burial ground in the region of the Kuban river. These days they present a distinctive feature of the material culture of the Zubovsky-Vozdvizhenskaya group sites. Some analogous artifacts were found in mounds of the Volga river and Don river regions. There is no single definition for the functional use of such rings. The main reason for that is the fact that they had been found mostly in graves plundered i

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Lyons, Daniel M., Davorin Medaković, Željko Skoko, et al. "Biomineralization on an Ancient Sculpture of the Apoxyomenos: Effects of a Metal-Rich Environment on Crystal Growth in Living Organisms." Crystal Growth & Design 9, no. 8 (2009): 3671–75. http://dx.doi.org/10.1021/cg900402b.

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22

Green, Alexandra. "Koleksi Raffles Dari Jawa: Bukti Dari Eropa Tentang Sebuah Peradaban." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 9, no. 2 (2020): 165–82. http://dx.doi.org/10.24164/pw.v9i2.376.

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Stamford Raffles was promoted to Lieutenant Governor of Java when the island was taken from the Dutch by the British East India Company in 1811 as part of the Napoleonic warsin Europe. During Raffles’ years on Java, he collected substantial cultural materials,among others are; theatrical objects, musical instruments, coins and amulets, metal sculpture, and drawings of Hindu- Buddhist buildings and sculpture. European interest inantiquities explains the ancient Hindu- Buddhist material in Raffles’s collection, but thetheatrical objects were less understood easily. This essay explored Raffles’ s

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23

Lloyd, John, and Philip Kenrick. "Excavations at Sidi Khrebish, Benghazi, 1971–75: the small finds." Libyan Studies 45 (November 2014): 97–150. http://dx.doi.org/10.1017/lis.2014.1.

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AbstractThe ‘small finds’ (miscellaneous objects of bone, metal and stone; ceramic objects other than vessels, lamps or sculpture) from the excavations carried out at Sidi Khrebish, Benghazi (1971–75), constitute a neglected category which was ready for publication ten years ago, in the projected final volume of the excavation reports. Since other reports which should have accompanied it in that volume are still far from being submitted, it has been decided to present the small finds in the form of a journal article instead.The conclusions which may be drawn from the 462 catalogued items in te

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24

Anisimov, K. V. "The “Living Statues” at Times of Mausoleums and Unknown Soldiers: New Commemorative Practices in the Mirror of Russian 20th Century Poetry." Critique and Semiotics 38, no. 1 (2020): 186–206. http://dx.doi.org/10.25205/2307-1737-2020-1-186-206.

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The article traces the alterations of the “harmful statue” motif as it was conceptualized by Roman Jakobson. In the present research the author draws upon a number of representative verses by Russian 20 th century poets – V. Bryusov, I. Selvinsky, B. Slutsky. The theoretical juxtaposition of the metaphoric nature of a monument and strategies of overcoming this nature has been put in focus of this work. These strategies are represented in the convergence of sculpture and body (the reinforcement of iconicity), in implicating the metonymic, substitutional character in new monuments. The author sh

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Kuo, Michelle. "Divinations." Programmer, no. 13 (June 29, 2010): 38–55. http://dx.doi.org/10.7202/044039ar.

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The essay “Divinations” focuses on Robert Rauschenberg’s Oracle (1962-1965), a work whose making and display entailed close collaboration between the artist and the engineers Billy Klüver and Harold Hodges, both of Bell Laboratories. The piece stemmed from Rauschenberg’s interest in sound, sculptural form, and radio networks: it housed ten radios and speakers in various sculptural elements constructed from found metal objects, including ducts, window frames, a bathtub, and a car door. Audience members could turn dials that indirectly modified the volume and tuning of the radios. Walking throug

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Whitmire, Heather, and Mary Haque. "INCORPORATING CREATIVE LEARNING INTO HORTICULTURE CLASSES." HortScience 40, no. 3 (2005): 883d—883. http://dx.doi.org/10.21273/hortsci.40.3.883d.

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The Clemson University Communication Across The Curriculum program is coordinating a creative response for learning (CRL) project to provide students with creative learning and critical thinking opportunities relevant to course content while creating a learning community. Faculty representing numerous disciplines asked their students to respond with creative projects (e.g., drawings, poems, posters, multimedia, sculpture, music, etc.) to the subject matter of the course. Students in Horticulture courses responded by writing poems in a Landscape Appreciation class, designing creative solutions

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McKiernan, M. "Sir Jacob Epstein, Torso in Metal from Rock Drill (1913-1914).: Sculpture Bronze object: 705 x 584 x 445 mm. Tate Britain, London." Occupational Medicine 58, no. 6 (2008): 386–87. http://dx.doi.org/10.1093/occmed/kqn055.

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Saffaie, Waleed Mohamed. "The Inscribed Metal Pots in the West of the Arab Gulf (Mleiha and Al- Fueda), Mesopotamia and Ancient Egypt: A Comparative Study." Asian Social Science 14, no. 10 (2018): 102. http://dx.doi.org/10.5539/ass.v14n10p102.

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The current study seeks to analyze some themes and ornaments that appeared on metal pots in the west of Arab Gulf (Mleiha in the United Arab Emirates and Al- Fueda in the Sultana of Oman). The study also makes a comparison between the metal pots of previous regions and their counterparts in Mesopotamia and Ancient Egypt. The Arab Gulf is of great importance because it represents an important center for commercial convoys and associates with ancient civilizations in Mesopotamia, ancient Egypt and other civilizations. The Arab Gulf produced a varied and splendid art with artistic output. On the

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Österlund, Lise-Lotte, and Margareta Ekborg. "Students’ Understanding of Redox Reactions in Three Situations." Nordic Studies in Science Education 5, no. 2 (2012): 115–27. http://dx.doi.org/10.5617/nordina.345.

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Redox models that explain electrochemical issues have been found to be difficult to teach and to learn. The aim of this study was to investigate students’ reasoning about redox reactions in three situations, how they used the activity series of metals and if they transferred knowledge between domains. Semi-structured interviews were carried out with ten students on two different occasions and dealt with three situations 1) a laboratory practical on corrosion; 2) a demonstration of zinc and copper sulphate solution; and 3) a corroded sculpture. The results indicated that the electron model was

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Oh, Seung-Jun, and Koang-Chul Wi. "A Study on the Development and Application of Perilla Oil Based Compound Wax Agent for Preserving Outdoor Metal Sculpture: A Case Study on Iron Sculptures." Journal of Conservation Science 33, no. 2 (2017): 121–30. http://dx.doi.org/10.12654/jcs.2017.33.2.06.

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Matteini, Mauro, José Delgado Rodrigues, Rute Fontinha, and A. Elena Charola. "Conservation and Restoration of the Don José I Monument in Lisbon, Portugal. Part II: Metal Components." Restoration of Buildings and Monuments 22, no. 2-3 (2016): 81–87. http://dx.doi.org/10.1515/rbm-2016-5678.

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Abstract The equestrian statue of D. José I, in Lisbon, is a masterpiece of the sculptor Joaquim Machado de Castro. It weights over thirty eight tons and was made in a single casting by Bartolomeu da Costa in a copper alloy (brass). After over two centuries exposure, the statue presented an unappealing heterogeneous appearance and showed some deterioration features that required attention. Preliminary studies showed that the deterioration phenomena were typical of copper alloys exposed to outdoor urban environments. The proximity of the seacoast also contributed to some specific decay mechanis

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Pouyet, Emeline, Monica Ganio, Aisha Motlani, Abhinav Saboo, Francesca Casadio, and Marc Walton. "Casting Light on 20th-Century Parisian Artistic Bronze: Insights from Compositional Studies of Sculptures Using Hand-Held X-ray Fluorescence Spectroscopy." Heritage 2, no. 1 (2019): 732–48. http://dx.doi.org/10.3390/heritage2010047.

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In the 19th and early 20th centuries, Paris was home to scores of bronze foundries making it the primary European center for the production of artistic bronzes, or bronzes d’art. These foundries were competitive, employing different casting methods—either lost-wax or sand casting—as well as closely guarded alloy and patina recipes. Recent studies have demonstrated that accurate measurements of the metal composition of these casts can provide art historians of early 20th-century bronze sculpture with a richer understanding of an object’s biography, and help answer questions about provenance and

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Jaworski, Adam. "Word cities and language objects." Linguistic Landscape. An international journal 1, no. 1-2 (2015): 75–94. http://dx.doi.org/10.1075/ll.1.1-2.05jaw.

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The focus of this paper is on language objects in contemporary ‘word cities’, or urban landscapes, shaped by art and consumer culture. I define ‘language objects’ as two- or three-dimensional pieces of writing (e.g. needlework samplers, fridge magnets, wooden or metal sculptures, etc.) that do not serve any apparent informational or utilitarian purpose, i.e. they are not ‘attached’ to or displayed on any objects with identifiable practical functions, e.g. buildings, t-shirts, mugs, paper weights, and so on. Two specific language objects considered here are Robert Indiana’s LOVE sculpture and a

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Zhilina, Natalya V. "Volga Bulgaria and Old Rus’. Comparative Characteristics of Attire of Adornments in Reconstructions of the 11th – 13th Centuries." Povolzhskaya Arkheologiya (The Volga River Region Archaeology) 4, no. 34 (2020): 125–44. http://dx.doi.org/10.24852/pa2020.4.34.125.144.

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On the base of typical hypothetical reconstructions according to the stages of the development of the attire upon archaeological material the comparative history of attires of two states is restored. At the end of the 11th – in the beginning of the 12th century and later, the features of heavy metal attire were preserved, in Volga Bulgaria – of Finno-Ugric and nomadic, in Old Rus’ – mainly of Slavic one. At the end of the 11th – the first half of the 12th century noisy attires of different designs were formed. In the first half – the middle of the 12th century filigree, niello, openwork weavin

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35

Delgado Rodrigues, José, A. Elena Charola, and Fernando M. A. Henriques. "Conservation and Restoration of the Don José I Monument in Lisbon, Portugal. Part I: Stone Components." Restoration of Buildings and Monuments 22, no. 2-3 (2016): 75–80. http://dx.doi.org/10.1515/rbm-2016-1234.

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Abstract The equestrian statue of D. José I, in Lisbon, Portugal, stands on an elegant and decorated plinth fashioned in a very dense limestone. The sculptor, Joaquim Machado de Castro, designed the pedestal with colossal stone pieces and selected one of the best Portuguese stones for this purpose, the Lioz limestone. The same stone was also used for the flanking sculpture groups and the base This stone is a very pure reef limestone, rich in fossils and a low porosity <1 %. It is extremely compact and highly resistant, even in the harsh environment of a busy metropolis and within the impact

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Maza, Carlos. "Ccopacatty: perfil de un creador relámpago." Illapa Mana Tukukuq, no. 16 (December 28, 2019): 98–111. http://dx.doi.org/10.31381/illapa.v0i16.2588.

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ResumenPeruko Ccopacatty es un escultor egresado de la Escuela Nacional Superior Autónoma de Bellas Artes del Perú (Ensabap) a principios de la década de 1980 emigró a los Estados Unidos, donde ha realizado una incansable labor de producción escultórica y mural especialmente en espacios públicos. Reconocida por instituciones públicas y privadas de su país de residencia, e incluso por la misma Organización de las Naciones Unidas, su obra ha pasado injustamente inadvertida en el Perú. Este artículo describe su proceso a la luz de las escasas fuentes disponibles y a partir de la exposición homena

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Borodovsky, Andrew P. "An Eastern Toreutics Item from Novosibirsk." Archaeology and Ethnography 20, no. 5 (2021): 96–104. http://dx.doi.org/10.25205/1818-7919-2021-20-5-96-104.

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Purpose. The article dwells upon the description and interpretation of a unique anthropomorphic Eastern toreutics item that was discovered by accident on the territory of Novosibirsk. This item comes from the traditional Ob river crossing site where a cult place with References to the Early Iron Age has already been identified. The study is aimed at attributing the imported item in terms of historical and cultural as well as material science aspects and establishing its relative chronology and possible intended purpose. Results. The functional purpose of the artifact is considered in terms of

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Slaczka, Anna, Sara Creange, and Joosje Van Bennekom. "Nataraja Informed through Text and Technique." Rijksmuseum Bulletin 67, no. 1 (2019): 5–29. http://dx.doi.org/10.52476/trb.9714.

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The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time fles

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Sparkes, B. A. "Myth, Man and Metal. Bronze Sculpture of Ancient Greece and Rome. By Carol C. Mattusch. Institute for Mediterranean Studies, Video Lecture Series, Volume III, Cincinnati, 1996. Length: 31 min. 819.95 (VHS-American format) or $26.95 (VHSEuropean format)." Greece and Rome 44, no. 2 (1997): 215–16. http://dx.doi.org/10.1017/s0017383500025043.

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Schuhmann, Leslie, and Christine Chagnon. "Collections Support Services (CSS) - 25 Years of Improving Access and Care to our Nation’s Collections." Biodiversity Information Science and Standards 2 (June 13, 2018): e25889. http://dx.doi.org/10.3897/biss.2.25889.

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Originally formed in the early 1980s as the Move Crew to move museum collections to the newly opened state of the art Smithsonian Institution’s Museum Support Center, Collections Support Services has evolved into a team of highly skilled museum professionals recognized as trusted experts, innovators, project managers, and problem solvers in all aspects of collections stewardship. We have packed, moved, and stored MILLIONS of objects across Smithsonian museums including the National Museum of Natural History and several of our art museums; the Freer Sackler Gallery, Hirshhorn Museum and Sculptu

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Purik, Elsa E., Marina G. Shakirova, Mars L. Akhmadullin, and Vilur R. Shakirov. "The Melody of Form and Space: Music as a Source of Inspiration." ICONI, no. 2 (2020): 97–107. http://dx.doi.org/10.33779/2658-4824.2020.2.097-107.

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The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding

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Darr, Alan Phipps. "Jennifer Montagu. Gold, Silver and Bronze: Metal Sculpture of the Roman Baroque. The A.W. Mellon Lectures in the Fine Arts, 1990. The National Gallery of Art, Washington, DC. Bollingen Series 35, 39. Princeton: Princeton University Press, 1996. 267 illus. + 12 pls. + xvii + 262 pp. $59.50. ISBN: 0-691-02736-6." Renaissance Quarterly 51, no. 2 (1998): 630–31. http://dx.doi.org/10.2307/2901602.

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Wujewski, Tomasz. "Kolos rodyjski: gdzie stał i jak był wykonany." Artium Quaestiones, no. 29 (May 7, 2019): 289–320. http://dx.doi.org/10.14746/aq.2018.29.11.

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Colossus of Rhodes: Where It Stood and How It Was Made The author, just as Ursula Vedder, who has expressed the same opinion recently, has been long sure that the place where the Colossus of Rhodes was located was the acropolis of the town of Rhodes. The paper includes also some arguments that have not been presented by the German scholar. At first, some source information concerning the Colossus has been briefly summarized. For instance, the expression in APV, 171 (Overbeck 1543), ou gar hyper pelagos monon anthesan alla kai en ga, may be understood as confirming its location in the acropolis

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., Alfan Hisbullah, Drs I. Nyoman Sila,M Hum ., and I. Nyoman Rediasa, S. Sn ,. M. Si . "KERAJINAN COR KUNINGAN DI DESA CINDOGO, KABUPATEN BONDOWOSO." Jurnal Pendidikan Seni Rupa Undiksha 7, no. 2 (2017): 97. http://dx.doi.org/10.23887/jjpsp.v7i2.11409.

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Penelitian ini bertujuan untuk mendeskripsikan (1) keberadaan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (2) alat dan bahan yang digunakan dalam pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso, (3 proses pembuatan kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. (4) Jenis kerajinan yang dihasilkan dari kerajinan cor kuningan di Desa Cindogo, Kabupaten Bondowoso. Penelitian ini adalah penelitian deskriptif kualitatif. Teknik pengumpulan data yang digunakan adalah observasi, wawancara, dokumentasi dan kepustakaan. Hasil penelitian ini men

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"Gold, silver and bronze: metal sculpture of the Roman Baroque." Choice Reviews Online 34, no. 02 (1996): 34–0721. http://dx.doi.org/10.5860/choice.34-0721.

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Rantung, R. "The Utilization Of Sawdust Waste As A Media For Sculpture." Journal of Educational Method and Technology 2, no. 2 (2021). http://dx.doi.org/10.36412/jemtec.v2i2.1015.

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Technology has penetrated into the community as a necessity for the sake of acceleration, while art is an inseparable part of the needs of every human being's life, both fine art and applied art. Technology and art cannot be separated at every step forward but the residual waste of technology can used into works of art without using technological aids. Some sculpture works made of wood, cement, fiberglass, metal (brass). This research will look at the extent to which sawdust can used as a medium for making sculptures. Sawdust waste is found in many furniture industries and stage home industrie

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"Mathematical Lens: Starry Night." Mathematics Teacher 102, no. 6 (2009): 408–12. http://dx.doi.org/10.5951/mt.102.6.0408.

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At first glance, James Yamada's Our Starry Night, on view at the Doris C. Freedman Plaza in New York City from April to October 2008, is a black, twelve-foot-tall sculpture with 1900 unlit colored LED lights on its two flat surfaces (see photograph 1). When one passes through the sculpture's rectangular passageway, however, patterns of light appear. The explanation, on a nearby plaque and the Public Art Fund Project Web site, states: “When visitors walk through the portal in the piece, they trigger a metal detector hidden inside the structure's casing. This activates the LED lights that perfor

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"Mathematical Lens: Starry Night." Mathematics Teacher 102, no. 6 (2009): 408–12. http://dx.doi.org/10.5951/mt.102.6.0408.

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At first glance, James Yamada's Our Starry Night, on view at the Doris C. Freedman Plaza in New York City from April to October 2008, is a black, twelve-foot-tall sculpture with 1900 unlit colored LED lights on its two flat surfaces (see photograph 1). When one passes through the sculpture's rectangular passageway, however, patterns of light appear. The explanation, on a nearby plaque and the Public Art Fund Project Web site, states: “When visitors walk through the portal in the piece, they trigger a metal detector hidden inside the structure's casing. This activates the LED lights that perfor

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"THE UTILIZATION OF SAWDUST WASTE AS A MEDIA FOR SCULPTURE." Journal of Educational Method and Technology Volume 2 Nomor 2 (August 1, 2019). http://dx.doi.org/10.36412/jemtec/001035e1/agustus2019010.

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Technology has penetrated into the community as a necessity for the sake of acceleration, while art is an inseparable part of the needs of every human being's life, both fine art and applied art. Technology and art cannot be separated at every step forward but the residual waste of technology can used into works of art without using technological aids. Some sculpture works made of wood, cement, fiberglass, metal (brass). This research will look at the extent to which sawdust can used as a medium for making sculptures. Sawdust waste is found in many furniture industries and stage home industrie

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Tilki, Ramazan, and Özlem Ayvaz Tunç. "THE CONTRIBUTION OF SCULPTURE COURSES IN DRAWING METHODS TO THE PERCEPTION OF THREE-DIMENSIONAL (3D) OBJECTS AND TO THE PROCESS OF APPLYING THE OBJECTS ON TWO-DIMENSIONAL (2D) SURFACES." Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, November 29, 2016, 193. http://dx.doi.org/10.17770/amcd2016.2200.

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It is established that drawing courses have an important place in the ateliers in the Department of Painting in Fine Arts Education, and that drawing is taught with different methods. The reason why great importance is attached to the ways drawing is handled is because it provides a basis for the departments that constitute plastic arts. The instruction of drawing in terms of its purpose, principles, in other words how it can be taught, reveals the problem of method in drawing instruction. Although it is quite difficult to solve this problem due to the features of this field, the solution to t

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