Sculptural Composition Research Articles

Unconventional materials in the contemporary sculptural composition

تستهدف الدراسة الحالية التعرف على أثر الخامات غير التقليدية في تركيب الشكل النحتي، فضلا عن التعرف على الخامات الجديدة الداخلة في النحت المعاصر؛ وقد تضمنت الدراسة أربعة فصول: خصص الأول منها إلى الإطار المنهجي، وشمل مشكلة البحث التي يمكن تلخيصها بالتساؤل عن السبب الذي دعى النحات الذهاب للبحث عن خامات جديدة لإنجاز أعماله النحتية؟ الم تكن خامات النحت التقليدية تستجيب للإشكالات التقنية والمفاهيمية الجديدة؟ فضلا عن أهمية البحث وحدوده التي حصرت في المدة الواقعة بين عام 1950 وعام 2000. وأهدافه، ثم تحديد المصطلحات؛ وتضمن الفصل الثاني الإطار النظري والدراسات السابقة، والذي تكون من ثلاثة مباحث؛ تناول الأول الخامة بوصفها عنصرا أساسيا في التنظيم الشكلي النحتي، ثم تضمن دراسة حول الخامات التقليدية الأكثر تداولا في النحت كـ(الطين والبرونز والحجر والخشب) وبيان أثرها وإمكاناتها الشكلية والتعبيرية. وتناول المبحث الثاني أثر الخامات غير التقليدية في النظام الشكلي، في دراسة تاريخية شملت التحولات الأسلوبية خلال القرن العشرين. فيما شمل المبحث الثالث دراسة أنظمة العلاقات البنائية في تركيب الشكل النحتي؛ واحتوى الفصل الثالث إجراءات البحث التي تضمنت مجتمع البحث والمتمثل في النحت الأوربي والأمريكي المعاصر، وعينة البحث(الأصلي)التي تكونت من (20) إنموذجا تم اختيارها بقصدية بما يلائم خصوصية أهداف البحث، فضلا عن أداة البحث التي اعتمد فيها الباحث استمارة تحليل، كما تضمن هذا الفصل المنهج المتبع في دراسة العينة وهو المنهج الوصفي التحليلي، بغية الوصول إلى النتائج والاستنتاجات التي خصص لها الفصل الرابع، وكان منها ما يأتي:1.أصبح النحت المعاصر من خلال استخدام المواد غير التقليدية انجازا يتجه إلى خيالات بعيدة عن التقليد، فأحيانا يكون التركيب النحتي أشبه بالإنشاءات المعمارية، أو آلات صناعية، أو أكوام خردة .2.الحرية التي منحتها الخامة للنحات جعلته ينجز التراكيب النحتية بارتجالية وتلقائية منسجمة مع مزاجه وإبداعه.3.إن استعمال الأجهزة الالكترونية كمستشعرات الحركة والترانزستورات وغيرها في النحت، غيرت التركيب النحتي التقليدي بشكل كامل، وخلقت نسقا جديدا من العلاقات التفاعلية بين العمل الفني والمشاهد

Античная тема в архитектурно-пластическом убранстве российских парусных кораблей

The present study focuses on the analysis of the décor of Russian sailing fleet during the period of the18th ‒ first half of the 19th centuries, namely using stories, motifs and heroes of ancient mythology. The author describes ships in terms of art history. In Russian art history ancient images in the ship’s decor have not previously been studied, though over a century and a half they were always in demand both in the titles and in the decoration of the ships. On Russian ships the main semantic accent was expressed in the decor located on the stern. The most popular subjects taken from the myths of ancient Greece are considered in the article. The sculptural compositions placed on the surface of the ship can tell us about the events taking place at that time in Russia. The author traces how the images of ancient heroes, ornaments were dependent on the prevailing art styles — baroque and classicism — and changed over one and a half century of sailing fleet history. On the basis of the historical and cultural analysis the prerequisites for the appearance of sculptural decor on Russian ships were traced and the influence of historical and cultural processes taking place in Russia on the features of development of the storylines in the architectural and sculptural decoration of the ships were determined. The comparative-descriptive method was used in analyzing and identifying the specific properties of the ship’s decor artistic expression. The research methodology is based on the study and systematization of theoretical and illustrative material, the analysis of the documents of Russian State Archive of the Navy, the collection of drawings, models of ships, models and authentic decor from the funds of the Central Naval Museum. Ancient stories were a great source of inspiration for the artists who decorated Russian sailing ships. The study of the ship’s décor allowed us to expand our knowledge of Russian applied arts of the 18th ‒ first half of the 19th century.

Angel of the Waters (Bethesda Fountain) by Emma Stebbins.

Back to table of contents Previous article Next article PerspectivesFull AccessAngel of the Waters (Bethesda Fountain) by Emma StebbinsMeredith M. Wortzel, M.A.Meredith M. WortzelSearch for more papers by this author, M.A.Published Online:1 May 2014https://doi.org/10.1176/appi.ajp.2014.14020230AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail The Angel of the Waters, more commonly known as the Bethesda Fountain, by Emma Stebbins (1815–1882) is one of the most beloved sculptures in all of New York City’s Central Park. The designers of the park, Frederick Law Olmstead and Calvert Vaux, carefully laid out the park design in their 1858 Greensward Plan, and they believed that artificial additions to the landscape should be as limited as possible. The main focus of the park, they thought, should be the natural landscape (1).The Bethesda Fountain and Terrace were the only sculptural compositions that were commissioned as part of the original Greensward Plan. The fountain cost over $60,000, which was an extraordinary amount at the time (2). The terrace is such an important aspect of the park design because it spatially joins the lower and upper portions of the park. Emma Stebbins was officially awarded the commission in 1863, and it made her the first woman to receive a major art commission in New York City (3).Although it is still unclear whose idea the central program of the angel and four cherubs was, the biblical reference seemed appropriate in light of the fact that New Yorkers were still celebrating the fresh water brought to the city by the Croton Aqueduct, built in 1842, and the new reservoirs in the park. The pool of Bethesda is described in John 5:2–4 and was quoted in the brochure at the dedication of the sculpture: “Now there is at Jerusalem by the sheep market a pool, which is called . . . Bethesda . . . whoever then first after the troubling of the waters stepped in was made whole of whatsoever disease he had” (1, 3).The angel atop the fountain with her widespread wings steps forward with her left leg while she symbolically stirs the waters with her right. She holds a lily in her left hand, which is a symbol of purity. The angel is stylized as a neoclassical figure in composition and attire, though her drapery has great movement in its line. It is form fitting and has an extensive pattern of curves and lines. Four cherubs surround the column above the upper basin and symbolize Temperance, Purity, Health, and Peace. Capitals and a pair of columns support the lower basin of the fountain (2).When the Angel of the Waters was finally unveiled in 1873 it had a mixed reception among the critics. The substructure of the basin was universally acclaimed, but many critics attacked the angel. Some believed it to be marvelous and a perfect symbol of the preciousness of water, while others believed it to be the least successful work in the park (1, 2). In spite of this fact, today the Bethesda Fountain is one of the main attractions in Central Park. There are many works of art that go unnoticed within the landscape of the park, but this is certainly not one of them.Ms. Wortzel will present a workshop, “The History of New York City’s Central Park and Its Statuary,” at this year’s annual meeting of the American Psychiatric Association.From the Department of Art, Montana State University–Billings.Address correspondence to Ms. Wortzel ([email protected]com).References1 Milroy E: The public career of Emma Stebbins: work in bronze. part two with index. Archives of American Art Journal 1994; 34:2–14Crossref, Google Scholar2 Gayle M, Cohen G: The Art Commission and the Municipal Art Society Guide to Manhattan’s Outdoor Sculpture. New York, Prentice Hall Press, 1988, pp 216Google Scholar3 New York City Department of Parks and Recreation: Central Park: Bethesda Fountain. http://www.nycgovparks.org/parks/centralpark/monuments/114Google Scholar FiguresReferencesCited byDetailsCited ByNone Volume 171Issue 5 May 2014Pages 509-509 Metrics PDF download History Accepted 1 February 2014 Published online 1 May 2014 Published in print 1 May 2014

Памятники Уфы: соединяя Восток и Запад

Monuments of Ufa traditionally combining cultural traditions of West and East are considered in the article. Author consistently reveals specifics of sculptural compositions made in different periods of time and outlines theirs symbolics and
 signifi cance in the system of urban area.

Pyro-expanded black slate in sculptural art

Black slate transformed through a pyroplastic process named pyro-expansion or exfoliation has been explored in the present work in order to be used as sculptural material. Black slate is a highly fissile, fine grained and organic matter rich rock that is the product of the action of low-grade regional metamorphism on black shale (a sedimentary clay and organic matter rich, also fissile and fine grained rock). Black slate if fired at an adequate firing rate up to the temperature range 1000 ºC-1240 ºC shows great potential for the manufacture of sculptural pieces. The technical possibilities of the shaping or conformation of pyro-expanded black slate have also been studied, including the reactions that take place when two different black slate pieces are closely associated with each other, or when black slate pieces are closely associated to other materials, such as metals and ceramics. These interactions, while associating different materials that react with each other, emphasize the unique characteristics of new sculptural compositions increasing the plastic capacities of the pyro-expanded black slate. Some examples of the associations referred to will be shown, which highlight the close functional relationship between art and science; research involves the approach to new techniques and materials, looking at the development of unique plastic configurations.

The space of narrative in Caro's Trojan War

Caro's The Trojan War (1993/4), is a complex 40-piece sculpture series given to exploring the narrative of the ancient war. This article, while it makes reference to the historical and artistic context of Caro's creation, focuses principally on the aesthetics of Caro's engagement with the narrative. It holds that in his turn to the figurative, perplexing perhaps to contemporary critics, Caro developed a new and reflexive visual strategy of representation - where the spaces of narrative are as instrumental in the work's meaning as the figures. His strategy is explained by making correlations between visual devices in Caro's sculpture and literary devices in Homer's Iliad, understanding the relation between the narrative text and sculptural composition. The relation is explained here as a hermeneutic one, where the space of the sculpture series requires an act of narrative-creation on the part of the viewer. This further imposes significant ideas on the problematic development of the figurative in contemporary sculptural practice.

VILNIAUS SENIENŲ MUZIEJAUS VERTYBIŲ SUSIGRĄŽINIMO IŠ RUSIJOS PROBLEMOS

Lietuvos kultūros tyrimų institutasSaltoniškių g. 58, LT-08105 Vilnius, LietuvaVilniaus universiteto Bibliotekininkystės irinformacijos mokslų institutasUniversiteto g. 3, LT-01513 Vilnius, LietuvaEl. paštas: nastazija.kersyte@kf.vu.ltStraipsnyje analizuojamos apie 10 000 vertybių,1855–1865 m. buvusių Vilniaus senienų muziejuje ir 1868 m. (tikėtina, ir 1914 m.) carinės Rusijos išvežtų į Rumiancevo muziejų Maskvoje. Tiriant ir vertinant šių vertybių atgavimo pastangas nuo XX a. pradžios iki šių dienų, aptariamos aplinkybės ir pateikiami argumentai, kodėl iš tų vertybių šiandien Lietuvoje yra tik 286. Iš jų 1956, 1966, 1968 metais Lietuvai grąžinta 285 vertybės ir 1928 m. Lenkijai – viena. Šioji 1931 m. sugrąžinta į Vilnių. Straipsnyje keliamos šios pagrindinės problemos: nepakankamas teisinis Lietuvos kultūros turtų restitucijos iš Rusijos pagrindimas, blogai organizuotos Lietuvos derybos su Rusija dėl kultūros vertybių susigrąžinimo, Rusijos nenoras šias vertybes atiduoti.

Los proyectos para la columna conmemorativa de la independencia en la ciudad de México (1843-1854)

<p>Este artículo analiza los proyectos presentados a concursos y convocatorias para realizar un monumento conmemorativo de la Independencia mexicana en la ciudad de México. En 1843 Antonio López de Santa Anna convocó un concurso para un monumento que perpetuase la memoria de la Independencia. Se presentaron varios proyectos que fueron valorados por los profesores de la entonces Academia Nacional de Bellas Artes de San Carlos.</p> <p>Sólo tres de dichos proyectos fueron considerados por los profesores, que emitieron un juicio al respecto. Este estudio analizará el contenido iconográfico de algunos proyectos presentados en ese concurso y en convocatorias posteriores: el panteón de héroes en ellos propuestos, el significado de los elementos simbólicos y su composición escultórica, pues todo ello tuvo una gran influencia en la construcción del definitivo monumento conmemorativo de la Independencia levantado en el Paseo de la Reforma.</p>

The Dresden Type Satyr-Hermaphrodite Group in Roman Theaters

The Dresden type satyr-hermaphrodite group is known through more than 30 Roman replicas in various media. The meaning of the group has traditionally been derived from its discovery in domestic contexts, but replicas from the theaters at Daphne and Side raise different questions regarding viewer reception. The horizontal composition and small scale of the groups suggest they may have decorated the pulpitum (stage) of those theaters. At the Daphne theater, where two replicas were found, the groups were likely displayed as pendants, offering complimentary views of the same sculptural composition. In terms of subject matter, the Dresden type satyr-hermaphrodite group yields several nuanced interpretations associated with the theater, including connotations of paideia (Roman reverance for the Greek past), Dionysiac aspects, the reversal of norms, the objectification of the body, the sexual tryst, and the agon.

The Economy of the Trinity at the Creation of Adam and Eve

The visual representation of the Trinity at the creation of Adam and Eve arguably appears among the relief sculptures of two early Christian sarcophagi, one now in Arles, the other in the Vatican Museo Pio Cristiano. The significance of showing all three persons of the Trinity (in the form of adult males), is both amplified and reinforced by aspects of the entire sculptural composition of both sarcophagi, including a compositionally parallel and spatially juxtaposed presentation of the three magi arriving to present their gifts to the Christ child. Taken as a whole, the iconographic programs of both sarcophagi appear to reflect the doctrine of the economy of salvation and the role of the entire Trinity in the activity of the creation and restoration of humanity.

Concrete as casting material in sculptural construction

Reinforced concrete, which has revolutionized architecture both in its structural components and in its morphology, still causes some rejection, because of its harshness, on those who have more consideration for singular aspects than for the global analysis of the work. Concrete links together architectural form and sculptural composition. The sight of a bridge whose arch draws a magnificent line high in the space, can wake up deeper emotional feelings than a sculpture made out of the richest materials. In the first case there is indeed an ingenious component in its construction, but we realize about it after our senses have recorded that previous emotion.

The Sculptural Composition of the Nike Parapet

The Sculptural Composition of the Nike Parapet