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Various aspects of sculpture, including freestanding and relief sculpture, carving, modeling, casting, and modern sculptural techniques. It covers famous sculptures and artists, their materials, and the historical context of their works.
Typology: Schemes and Mind Maps
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PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Sculpture made to be seen from many sides is known as freestanding, or sculpture in the round Relief is a type of sculpture specifically designed for viewing from one side- very little depth (bas-relief) or a great deal (high relief)
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Sculpture can be made from any material: glass, wax, ice, plastic, fiber, food, trash, etc.
Sculptures exist in three dimensions and occupy physical space
They invite us to interact with them: by looking, walking round
Giambologna, Sabine , 1583. Marble, 13’6” Rape of a high. Loggia dei Lanzi, Piazza della Signoria, Florence, Italy
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
In bas- relief the sculptor’ s marks are shallow When a sculptor chooses to incise the surface more deeply, he or she is working in high relief
Henri Matisse The Backs, I-IV Cast bronze, 1910-
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
The most ancient works of art that still exist were made using subtractive methods of sculpture
Most of these were worked by chipping, carving, sanding, and polishing
PART 2 MEDIA AND PROCESSES
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 2.9 Sculpture
Used an unconventional sculpting technique to “release” the figure, as he saw it, from the stone Rather than remove stone progressively from all sides, as most sculptors do, Michelangelo began on one side of the stone and sculpted through to the other side He felt that he was freeing the figure from the stone in which it had been trapped
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Modeling in clay or wax (for example) is an additive process; the artist builds up the work by adding material Because such materials as clay often cannot support their own weight, sometimes an artist will employ a skeletal structure, called an armature, to which the clay will be added; the armature will then later be removed (or burned away) when the work is dry Because the process produces a very dry and hard material, many works from antiquity made from clay still exist
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Involves adding a liquid or pliable material to a mold The first step in casting is to make a model of the final piece. This is used to make a mold A casting liquid (often molten metal, but other materials such as clay, plaster, acrylic polymers, or glass are also used) is poured into the mold When it hardens, the result is a detailed replica of the original
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Seven steps in the lost-wax casting process
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Great attention to detail and was made at a time when the Greeks emphasized the perfection of the human body http://www.youtube.com/watch?v=6- TxIKt2cUE Bronze casting
Great Serpent Mound, c. 800 BCE– 100 CE, 1330 x 3’, Locust Grove, Adams County, Ohio
PART 2 MEDIA AND PROCESSES
Chapter 2.9 Sculpture
Gateways to Art: Understanding the Visual Arts , Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
As can be readily seen from the air, it resembles a snake with its mouth open, ingesting an egg
The head of the serpent and the egg are aligned to the position of the setting sun on the summer solstice, suggesting that it was used in making solar observations
The original artists heaped piles of earth to “sculpt” this work onto the Ohio landscape
