Scuplture and the Third Dimension

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SCUPLTURE AND THE THIRD DIMENSION METHODS AND MATERIALS OF SCULPTURE • MODELING----ADDITIVE- add materials • ASSEMBLING----ADDITIVE • CARVING—SUBRACTS—until desired form remains • CASTING—mold—liquid—poured – remains harden MODELING • MOST COMMON MATERIAL TO US IS CLAY • TERRACOTTA: FIRED CLAY • MOST ANCIENT OF ANY ART FORM Figurine of a Voluptuous Lady late Classic period, 700-900 C.E. Ceramic • Modeled of clay • By hand • Survived as part of a group of objects buried in a tomb • Modeling is the most direct of sculpture methods • Use to test ideas • Clay is kept water and can be used over and over again CASTING—INDIRECT METHOD • SOMETIMES THE ARTIST NEVER TOUCHS THE FINAL PIECE • METAL AND BRONZE USED FOR CASTING • NO FEAR OF BREAKING OFF • ACHIEVE SMOOTH ROUNDED SHAPES—GLOWERY-REFLECTIVE SURFACE INDIRECT & INVESTMENT CASTING • ALLOWS FOR MULTIPLES TO BE MADE • MOLD MAKES WAX CASTING REUSABLE • EACH CASTING IS AN ORIGINAL WORK OF ART “Vaquero” by Luis Jimenez. Modeled 1980, Cast 1990 • Uses contemporary materials for contemporary art • Paints his sculptures using acrylic urethane enamels • Industrial “wet look” paint • Cast in sections/assembled around a steel armature • Front of the Smithsonian American Art Museum in Washington D.C. CARVING • MORE AGGRESSIVE THAN MODELING • MORE DIRECT THAN CASTING • WOOD AND STONE PRINCIPAL MATERIALS • BEGIN WITH A SOLID BLOCK OF MATERIAL BOWL WITH FIGURES 20TH CENTURY-WOOD-25” • Song about sculptor/praises him for carving the hardest wood as though it were as soft as melon • Lid carved from single piece of wood • Bowl/base/woman all carved from a single piece of wood • Freely rolling head inside the cage formed by the supporting figures beneath the bowl ASSEMBLING— Individual pieces or segments or objects are bought together to form a sculpture Smith’s XI Books and III Apples • made of steel • basic geometric shapes welded together • displayed outdoors/polished their surfaces/scribbling of the polishing markings contrasts with the calm geometry of the forms RELIEF SCULPTURE • MEANT TO BE VIEWED FROM ONE SIDE ONLY—3D DEPTH • DOES NOT OCCUPY SPACE • USED TO DECORATE ARCHITECTURE OR FUNCTIONAL OBJECTS • EXAMPLES: COINS, TOMBSTONES, PAINTINGS, WALLS AND BOOK COVERS LOW RELIEF OR BAS-RELIEF • THE SUBJECTS PROJECT SLIGHTLY FROM THEIR BACKGROUND King Tut and his Queen relief on the back of a throne found in his tomb High Relief (Haut-relief) • SHOULD PROJECT AT LEAST ½ THEIR DEPTH—PARTS OF FIGURES MAY BE IN THE ROUND The Story of Jacob and Esau Lorenzo Ghiberti The gates of Paradise—1435 Pharaoh and his Great Royal Wife—2460 BC • Idealized youthful bodies • Similar facial features • No intention of walking • Gesture of power serene and eternal existence • Pose used over 2000 years Greeks • Body itself was beautiful • Cultivated the body through gymnastics and sports • Admired their Athletes greatly( the Olympics was the Greek’s invention) • Statues usually depicted nude and male atheltes Contrapposto • Greek artist developed distinctive stance for their standing figures called: • Contrapposto meaning “counterpoise” or counter balance • Set the body in a gentle s-curve • Implies motion The Dying Slave Michelangelo—1513-16 What is important is the sculptor’s expression and the experience of the viewer—even if it lasts only a moment..

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Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig.
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Ghiberti Insert I
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INFORMATION to USERS This Manuscript Has Been Reproduced
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