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Curriculum for Sculpture of the Human Figure In CURRICULUM FOR SCULPTURE OF THE HUMAN FIGURE IN SECONDARY SCHOOLS: AN HISTORICAL, CRITICAL, AND STUDIO APPROACH by Agness Philipps B. Ed., The University of British Columbia, 1971 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Visual and Performing Arts in Education We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1984 (6) Agness Philipps, 1984 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 >E-6 (3/81) ABSTRACT This study is to serve as curriculum resource for the teaching of sculpture in secondary schools. The programme was developed to aid a curriculum based on historical and critical discussions of art, and on studio activities in the area of sculpture of the human figure. It is to further the 1984 imple• mentation of the Provincial Art Curriculum for Secondary Schools, grades 8 to 12. To ascertain the usefulness of such a resource, a survey of British Columbia art teachers was carried out in February 1980 which confirmed this need. A reaction to and evaluation of the major areas of the study: the history of art, important con• cepts and several themes of sculpture, and studio processes for the making of sculpture of the human figure were sought from British Columbia art teachers in February 1983, and from Burnaby art teachers in October 1983. Respondents confirmed the useful• ness of this curriculum resource. The study makes use of a set of 431 slides in which the history of sculpture of the human figure is illustrated, from Prehistory to the present time. Examples are presented of all cultures of the world, which permit the use of the human figure as a subject. Such broad coverage was considered important in view of the multicultural roots of British Columbia secondary school students. In order to delimitate the study, the theme of the human figure was chosen for several reasons: it is the most common image in sculpture; it consists of great complexities of form; it is a most expressive tool for the portrayal of the human con• dition. Adolescence is a time of considerable growth and sen• sitivity and is therefore an appropriate time for the formation of self-concept which is greatly influenced by physical appear• ance. It is posited that the study of a great variety of sculp• ture of the human figure furthers adolescents' self-acceptance. Although the study deals with sculpture of the human fig• ure, the same methodology might be used for other areas of the visual arts. It is meant to provide viable and practical ass• istance to art teachers in the discussion of the history of art as related to the history of humankind, in the clarification of major concepts of sculpture, in the critical analysis of themes of sculpture, and in the production of creative works by students. iv. TABLE OF CONTENTS Page ABSTRACT ii LIST OF TABLES vii LIST OF PLATES viii LIST OF SLIDES ix LIST OF NAMES AND NATIONALITY OF SCULPTORS IDENTIFIABLE ON SLIDES xxxix ACKNOWLEDGEMENTS ..... xliv Chapter I. INTRODUCTION 1 Need for the Study: Survey Results of B.C. Art Teachers Regarding Teaching of Sculpture in Secondary Schools 1 The Purpose of the Thesis 4 Why Teach Sculpture of the Human Figure to Adolescents? 11 II. DEVELOPMENT OF THE CURRICULUM RESOURCES 16 Purpose of Slides 16 Unit Plans 16 Introduction to Sculpture 18 Historical Overview of Sculpture of the Human Figure Based on 398 Slides 24 Anatomy of the Human Figure: The Skeleton 36 . V. Chapter Page Study of Movement and Proportions Through Figure Drawing 45 Studio Activities for the Making of Sculpture of the Human Body, Methods and Materials 49 The Maquette in Clay 4 9 Terra-Cotta Sculpture 5 3 Metal Sculpture: Cold Wire Bending .... 58 Papier Mache Sculpture 61 Plaster of Paris on Armature 65 Plaster of Paris for Carving 68 Concepts of Sculpture 74 Threedimensionality 74 Form, Shape, Mass, Volume, Monumentality . 77 Criticism and Interpretation of Representations of the Figure 82 Linear Sculpture 82 Block Sculpture 85 Super-realism 89 Pathos in Sculpture 93 Religious Sculpture 99 Commemorative Sculpture 104 Everyday Sculpture 109 III. CONCLUSION 114 Response to Needs, the 19 8 3 Survey of Art Teachers 114 Recommendations for Use Within Other Areas of Art Education 116 Vi Page BIBLIOGRAPHY 117 APPENDIX 1: Needs Assessment - Sculpture Survey 123 APPENDIX 2: Evaluation 128 APPENDIX 3: Slides No. 1 - 431 130 vii . LIST OF TABLES Table Page 1. A Selection of 140 Slides for a Brief Overview of the History of Sculpture of the Figure for Senior Secondary Students 30 2. A Selection of 86 Slides for a More Condensed Overview of Sculpture of the Figure Throughout the Ages, Around the World, for Junior Secondary Students 34 viii. LIST OF PLATES Plate Page 1. Half Life-size Figures Under Construction in the Art Room 8 2. Enlargement of the Maquette with Plaster of Paris on Armature 9 3. Display of Student Work 10 4. Proportions of the Skeleton . 42 5. Gesture Drawing with the Skeleton 4 3 6. Gesture Drawing with the Skeleton 44 ix. LIST OF SLIDES Slide 1. Venus of Wildenmannlisloch bone, Neanderthal, c. 70,000 B.C. 2. Venus of Willendorf limestone, Ah in., Paleolithic, c. 21,000 B.C. 3. Venus of Willendorf limestone, Ah in., Paleolithic, c. 21,000 B.C. 4. Venus of Willendorf limestone, Ah in., Paleolithic, c. 21,000 B.C. 5. Venus of Laussel limestone, 17 in., Paleolithic 6. Venus of Lespugue ivory, 6 in., Magdalenian (Paleolithic), c. 15,000 B.C. 7. Venus of Lespugue ivory, 6 in., Magdalenian, c. 15,000 B.C. 8. Venuses of: (from left to right) Willendorf, Indus Valley, Cyprus, Aslash, Syria. 9. Marble Figure Cycladic, Early Bronze Age 10. Statuettes Cyclades, end of 3rd millennium B.C. marble, 20 in. 11. Deity Figure 12 in., Micronesian. 12. Bearded Figure 32 in., Micronesian. 13. Neck Rest wood, lh in., Congo, Africa. 14. Traitor wood with raffia skirt, 30 in., Congo, Africa. 15. Fetish Figure wood with textile, 9% in., Congo, Africa. 16. Mother & Child 15 in., Nigeria, Africa. Slide 17. Mother & Child 45 3/4 in., Congo, Africa. 18. Standing Figure wood, with shell and human hair, 17 3/4 in., Maori, New Zealand. 19. Wood Carving (Mother & Child) 33% in., Melanesian, New Guinea. 20. Female Figure human hair, canes, woven string, beads, 104 cm. Melanesian, New Guinea. 21. Male & Female Figures wood and rattan, Melanesian, New Guinea. 22. Ancestral Figures tree fern, 50 in. - 40 in., Polynesian, Fiji. 23. Goddess 14 7/8 in., Polynesian, Tonga. 24. Ancestral Figure wood, 17% in., Polynesian, Easter Island. 25. Crowned God solid gold, precious stones, 15 3/4 in. x 8% in., Inca, South America, Peru. 26. Seated Maiden terra-cotta, 11 3/8 in., Colima, c. 300-1000 A.D., Middle America, Mexico. 27. Effigy pottery, 12 in., Colima, Middle America, Mexico. 28. Adolescent stone, 112.5 cm., Huadiac, 700-1000 A.D., Middle America, Mexico. 29. Chac Mool limestone, 58% in. long, Mayan, 948-1697 A.D., Middle America, Mexico. 30. Ballplayer terra-cotta, 17 3/8 in., Jalisco, c. 300-1000 A.D., Middle America, Mexico. 31. Dancer earthenware, 2 2/3 in., Zapotec-Mixtec, c. 1200-1400 A.D., Middle America, Mexico. xi. Slide 32. Three Figures and Walrus stone, North American, Inuit. 33. Hunter with Harpoon stone, North American, Inuit. 34. Hunter with Seal stone, North American, Inuit. 35. Mother & Child stone, North American, Inuit. 36. ' Mother & Child stone, North American, Inuit. 37. Pipe Figure stone, 8 in., c. 1000-1700 A.D., North American Indian. 38. Great Totem Pole wood, North American Indian, B.C. 39. Two Mourners wood, 5 ft. 6 in., and 5 ft. 3 in., North American Indian, Salish. 40. Two House Posts wood, 5 ft. 2 in., and 5 ft. 9 in., North American Indian, Kwakiutl. 41. Kwakiutl Chief wood, 45 in., North American Indian, B.C. 42. Tsimshian Dancing Shaman Figure wood with abalone shell eyes and horsehair, 24 in., North American Indian, B.C. 43. Shaman wood, 19 in., North American Indian, Haida. 44. Woman on a Sea Monster wood, 12 in., North American Indian, Haida, 1810. 45. Naked Dancer copper, Ah in., c. 3000-1500 B.C., India. 46. Naked Dancer copper, Ah in., c. 3000-1500 B.C., India. 47. Visnu bronze, 8h x 10 3/8 in., c. 9th century, India (front) xii. Slide 48. Visnu bronze, 8% x 10 3/8 in., c. 9th century, India (rear) 49. Yakshi stone, 1st century B.C., India. 50. Buddha sandstone, 5th century A.D., India. 51. Buddha black chlorite, 32 x 18 in., late 8th to 9th century, India. 52. Raj rani Temple sandstone, c. 1100 A.D., India. 53. Goddess Tara (Mother & Child) stone, 11th century A.D., India. 54. The Jinas (conquerors) 68 cm., 12th to 13th century, India. 55. Shiva as Nataraja bronze, 12th to 13th century A.D., India. 56. Vasudhara bronze, 18% x 15 3/4 in., c.
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