Sculptural Works Research Articles

Misterios de la vida de Jesucristo en la puerta de madera de la catedral de Split

La catedral de Split es, de hecho, el ex mausoleo del emperador Diocleciano, transformado en Iglesia. La catedral fue enriquecida durante el siglo xiii con varias obras escultóricas románicas de gran maestría. Entre ellas destacan la puerta de madera de doble batiente con escenas que representan los misterios de la vida de Cristo, esculpidas como bajorrelieves por el artista Andrija Buvina, natural de Split, inaugurada el 23 de abril del 1214. Entre las pocas puertas de madera medievales que conservamos es la única que se encuentra aún in situ y en un buen estado de conservación. Sobre cada una de las hojas de la puerta se encuentran siete pares de escenas en bajorrelieve que representan la vida, la muerte y la gloria de Cristo Redentor. Esta puerta está considerada, con razón, como una obra maestra de la escultura medieval en Croacia. La clave iconológica de la obra de Buvina consiste en la mistagoga cristológica y soteriológica de las escenas de la vida del Salvador.

Dobro – Prawda – Piękno w sztuce naszego czasu

It is a common assumption that for an artist abilities and talent are something natural and obvious. However, what contributes to an artistic success, even the smallest one, apart from intangible talent is also work. This kind of work is painstaking, systematic and selfless. This selflessness in art is the basis of any artistic activity. Every work of art, painting, sculpture, music or literature (poetry) is, in a sense, the liberation of personality. Art is the realm of emotions – it is an emotion, which cares about its good and proper form. Art should, through its quality, educate, pacify but, at the same time, disturb, it should make us think and ponder on our lives as well. It is significant that an educated man should also be shaped through art, philosophy, religion and even politics. History proves the permanent value of classic sculpture and Greek temples. It is not necessary for all values to be equally either objective or subjective. Art in Poland transformed itself and changed depending on the era. It was different in the 15th century, different during the partitions, in the interwar period and different during the Martial Law (1981–1983) as well as after Poland regained independence after 1989. Although many years have passed, education through art in our educational system has not improved. Instead of teaching art, doubts are raised whether it is worth dealing with art at school at all. On the other hand, aggression is spreading on a greater scale, not only in the street but also at schools, yet sometimes many teachers fail to notice that. To restore the proper order of things as well as the hierarchy of values art is indispensable.

The EU Public Interest Clinic and Wikimedia Present: Extending Freedom of Panorama in Europe

This paper advocates for the adoption of freedom of panorama in the European Union. The term “freedom of panorama” (FoP) refers to an unconditional copyright exception vis-a-vis works of architecture and sculpture placed permanently in public places. The current lack of uniformity with respect to copyright exceptions at the EU level has proven problematic to end-users, service providers and other intermediaries. It has also frustrated the ultimate goal of promoting a single internal market throughout Europe, and safeguarding freedom of expression and free movement of services throughout the EU.The current system does not harmonize copyright exceptions throughout the EU. Rather, each Member State is free to adopt copyright exceptions as it sees fit. The result is a heavily fragmented system that leaves businesses and users with the necessity to individually deal with each Member State and rights holder concerned. A mandatory exception for FoP would play a key role in guaranteeing freedom of expression, access to education and the free movement of digital services in the internal single market.FoP is critical for ensuring freedom of expression and access to education. Additionally, the growth of net companies that rely on user generated conduct (UGC), such as through YouTube, Wikipedia and blogs, has led to the constant fear among most EU citizens of violating copyright law. This reiterates the need for a FoP exception that covers both commercial and non-commercial uses. Furthermore, many new cross-border educational initiatives in Europe do not fall within the “non-commercial educational and scientific research purposes” exempted under the current InfoSoc Directive. Some national systems that broadly extend the education exception to uses that fall outside the “non-commercial” definition do not extend the exception to online uses.The EU Copyright Directive should be re-written to include a mandatory FoP provision, as is already the case in the national law of EU Member States such as the United Kingdom and Germany, as well as third countries like Brazil. This solution would also comply with copyright-protective countries’ call – among them Italy, Spain and France – for such an exhaustive list. This solution would provide clear direction to Member States without becoming an overly lengthy and unwieldy document.Several problems remain with this approach. First, there has been reticence on the part of the European Court of Human Rights to protect FoP from a freedom of expression standpoint when the images’ use was commercial. Second, there is the possibility for Member States to use trademark law, cultural heritage law, or other national laws to get around a mandatory FoP exception. The uses of trademark and cultural heritage law do not pose a significant barrier to a mandatory FoP exception at present. However, the reforms ultimately decided upon must take into account the possibility of the use of this law to frustrate the Directive’s objectives.The HEC-NYU EU Public Interest Clinic (the “Clinic”) presents its justifications for a mandatory FoP exception below. We also include an annex and model legislation that addresses many of the deficiencies of current EU law.

Transferred Flesh: Reflections on Senga Nengudi’s R.S.V.P.

The performance of Senga Nengudi’s sculptural work R.S.V.P., as part of the exhibition Radical Presence: Black Performance in Contemporary Art, explores the limits of sculptural form, while also submitting idealized representations of the black body in contemporary performance to abstract interrogation.

‘The child is father of the man’: Alfred Drury and temporality

This article takes a thematic approach to analyse aspects of the sculpture of Alfred Drury (1856–1944), notably his concern with temporality, both as an iconographical leitmotif of his works, and as a characteristic of the ‘realistic allegory’ typical of the late nineteenth-century New Sculpture of which this artist was a key exponent. Drury’s poetic treatment of childhood, particularly in his series of pensive heads of girls exemplified by The Age of Innocence of 1897, displays a Wordsworthian awareness of the passing of time, and a dawning sense of mortality – so that the poet’s well-known lines ‘the child is father of the man’ could also be applied to Drury’s sculptural works. New archival evidence will be presented to demonstrate how Drury’s sensitive treatment of childhood could take on a wider social dimension, for example in the debates surrounding the commission of the Edward VII memorial in Sheffield.

Традиция классики в скульптуре Ленинграда-Петербурга. Коллекция скульптуры Русского музея

The author traces the development of classical principles in Russian sculpture from the period of A. T. Matveev to his disciples who finished their creative activity in the 1990s. Matveev school of sculpture was based on the traditions of classicism and became a unique artistic phenomenon in the history of Soviet sculpture. It was a result of pedagogical activities of the outstanding Russian sculptor Alexander Matveev, whose oeuvre is inseparably linked to the principles of classical sculpture. Classicality as a stylistic category of Matveev’s work was noted by his contemporaries. One of the critics defined the peculiarity of the first graduates of Matveev’s school in the 1920s and 1930s as a “classicizing sculptural style” in Soviet sculpture. The images of young characters of the new Soviet epoch dressed in modern clothes invariably revealed classical ideals still retaining high artistic level. However, the politics of ideological pressure and “class approach” even in the sphere of studying and preserving sculptural traditions controlled and held the natural creative process back. Later on, until the 1960s, Matveev’s creative system was forced to oppose official culture:it was a subject to groundless criticism. The works were accused of “formalism” and non-compliance with “standards” of Soviet sculpture. The 1960s–1990s were the heyday of Matveev school. The whole galaxy of sculptors had emerged. They enjoyed their individual peculiarities, though retained Matveev’s typical way of sculptural vision and creative rethinking of classical heritage. It encouraged the artists of the Matveev circle in their quests for modern sculptural forms. The Russian Museum owns a collection of sculptural works made by several generations of artists — Alexander Matveev’s followers — shown at the Alexander Matveev and His School exhibition in 2005.

Senza sostanza di corpo? Bernini and the problem of the sculptor’s drawing

What use could a two-dimensional drawing have for a sculptor? This article explores the question from the perspective of Bernini’s use of drawings as part of his preparatory process for sculptural works. After a brief review of the place of disegno in Renaissance and Baroque art theory, the argument explores how modern scholarship has handled the role played by drawing in relation to sculpture of the early modern period, with particular attention to Bernini. The article then introduces a novel approach to this topic by turning to recent studies of embodiment and embodied knowledge. After suggesting how such work might be applied in general terms to the embodied knowledge encoded in a drawing, the article concludes by drawing attention to Bernini’s habit of adopting the attitudes of the figures that he wished to represent. In such a way, it is argued, certain sculptors’ drawings can be understood as exercises in embodied posture.

РЕЗУЛЬТАТИ МІНЕРАЛОГО-ПЕТРОГРАФІЧНОГО ДОСЛІДЖЕННЯ КОЛЕКЦІЇ СКІФСЬКОЇ КАМ’ЯНОЇ ПЛАСТИКИ З ДНІПРОПЕТРОВСЬКОГО НАЦІОНАЛЬНОГО ІСТОРИЧНОГО МУЗЕЮ ІМЕНІ Д. І. ЯВОРНИЦЬКОГО

The types of rock that were used by the Scythian population of Transdnepria for stone sculpture production were determined. Conclusions were drawn about the raw stone materials used and the probable locations of their mining. An important issue for archeology and quaternary geology is to determine the origin of raw materials ancient stone sculptures. To solve similar tasks allows mineralogical and petrographic analysis of raw material artifacts. This article focuses on the mineralogical and petrographic research works Scythian stone sculpture of funds Dnipropetrovs’k National History Museum. Installed name rocks used Scythian people of the Middle Dnieper for making stone sculptures, as well as identify possible design space stone materials. It is concluded that the Scythian people of the Middle Dnieper for making stone sculptures, most likely used the local rocks outcrop near the places of production and further location data artifacts. The raw material for works of stone sculpture served Archean granites and Neogene limestone - rocks that form the largest deposits of construction stone in the territory of the Dnipropetrovsk region.Key words: raw stone materials, Transdnepria, Scythian culture, plastic figures, archaeological petrography, ancient mining.

Consideraciones sobre el lugar: la regla y el modelo. De Igueldo a Zabalaga / Igeldotik Zabalagara

The present text approaches the work of sculptor Eduardo Chillida from a two folded point of view. On one hand, it states that the sculpture of Chillida builds places, which is argued through the exploration of the meaning of words place and space. On the other hand, it points to the close relationship that can be found between the concepts of rule, model and paradigm and the singular work of sculpture. Both threads lead to the final conclusion: the sculptures of Chillida, especially the ones in open spaces like the Peine del viento or those in Chillida-Leku, propose themselves as a paradigm that, in each particular situation, give place to the place.

Teknik Arsir dan Proses Menggambar dengan Media Pena

Pen is one of the tools for an artist or designer in expressing ideas in visual form. Strong character of the pen scratch has a special attraction in the diversity of drawings style. It requires a long process for an artist to find the distinctiveness in a pen scratch with full of confidence. Besides determining the choice of the type of pen that will be used, the choice of the type of hatching used also determines the identity of signature scratch in the drawing. Referring to the strong character of a pen scratch as a preliminary sketch of a work, a great artist and designer will produce great masterpiece that will be in a work of painting, sculpture and visual communication design. Research methodology study uses data collection techniques from some of the literature, observations, and analysis of different forms of shading and its influence on the results of the drawing. Research results can be used as a template for the development of the media pen drawing techniques.

The Eugene Garbáty Collection of European Art

Little has been written about the art collection of Eugene Garbáty, a Jewish industrialist from Berlin who fled Germany and settled in the United States in the late 1930s. Yet, many American museum collections include works of art that belonged to Garbáty, and the Museum of Fine Arts, Boston (MFA) is no exception; between the 1940s and the 1960s, the MFA acquired thirty-four works of European painting, sculpture, and decorative art from him. Based on a study of the provenance of these objects, this article offers preliminary observations on the formation of Garbáty's collection, its fate during World War II, and its dispersal within the United States.

Embodied dreaming in the archive

Abstract The research purpose of my article is to use writing to interrogate a sculpture project of my own, using the psychic framework presented in the psychoanalytical theories of Christopher Bollas so as to retrieve actions, methods and process as case studies to support my claim. As a sculptor I will write through the ‘Others’ project to narrate, analyse and interpret my practice as it existed in, with and through the archive. Writing is not the moment of the production of art, but it offers the best opportunity to record my own projects as a sculptor. A photographic record would satisfy methods of observation, description, process and action. However, writing particularly allows me to additionally identify and articulate the theory in sculpture in terms of the work of sculpture itself. My narrative aims to evidence the idea of the psychic dimension of practice within the production of sculpture and, hopefully, contribute to sculptural theory and pedagogy.

TRADUÇÕES, TRANSMUTAÇÕES, INTERMIDIALIDADE: DE MILETO A NOVA YORK, COM RAINER M. RILKE, INGMAR BERGMAN, WOODY ALLEN

O presente trabalho desenvolve uma breve reflexão sobre questões tradutórias subjacentes a procedimentos que extrapolam e problematizam a discussão da noção de intertextualidade ou do que o senso comum chama de (mera) ‘citação” ou ‘referencia” de uma obra artística em outra. Consideraremos o percurso efetuado por uma obra escultórica, inspiradora de um poema, que por sua vez assume importante papel dentro de uma narrativa fílmica.

The Tomb of D. Rodrigo Sanches: the rediscovery of an iconographic program

The Tomb (Cenotaph) of D. Rodrigo Sanches (illegitimate son of King Sancho I) was recently removed from the arcosolium that housed it in the cloister of the Monastery of S. Salvador Grijo since 1626. This transfer, which had as its main consequence the possibility of visualization of the remaining sides of the chest tomb, as well as the improved visualization of the tomb effigy and other figures of the slab brought interesting news to the panorama of History of Portuguese Medieval Art, from the iconographic point of view and also from the plastic/aesthetic point of view, since all faces are carved. Therefore, this is the moment to rewrite the analysis of this work of late-Romanesque sculpture, to place it regarding all the represented, to attempt to decode the main intentions of his commissioner and seek its integration into a broader geographic universe, from the artistic point of view, (peninsular and trans-Pyrenean). The responsibility of being the first time that the work is studied in its entirety leads to the presentation of proposals, interpretive hypotheses, rather than conclusions.

Zumbro by Stanton G. Sears

Stanton Gray Sears received his art education at the Rhode Island School of Design in Providence, Rhode Island, and Penn State University, in University Park, Pennsylvania. He is an Associate Professor of Art at Macalester College in St. Paul, Minnesota,1Stanton Gray Sears: Sculptor. http://www.zoominfo.com/s/#!search/profile/person?personId=158438516&targetid=profile. Accessed October 22, 2013.Google Scholar where he teaches sculpture and 3-D design.2Macalester CollegeFaculty Profile. http://www.macalester.edu/about/whymacalester/faculty/. Accessed October 22, 2013.Google Scholar He began collaborating with Andrea Myklebust, an alumni from Macalester College, in 1993,3Moberg Gallery website. http://moberggallery.com/myklebustsears_portfolio.shtml. Accessed October 23, 2013.Google Scholar and their specialty involves combining art into architectural settings.4Hamilton Gateway designed by Stanton G, Sears. http://books.google.com/books?id=Mb-FbG5pBLwC&pg=PA125&lpg=PA125&dq=stanton+g.+sears&source=bl&ots=YL8tXtzSa2&sig=gIgZriiCgSVSGx3iB80BfPHCJsU&hl=en&sa=X&ei=9HVmUvK5K46WyAHohIGwBA&ved=0CF8Q6AEwCA#v=onepage&q=stanton%20g.%20sears&f=false. Accessed October 22, 2013.Google Scholar This is a brilliant strategy for introducing creativity and beauty into the world – it brings the art to the public eye, not tucked away in a museum behind ropes and rules requiring one to stand back. In conjunction with this collaboration, Sears notes:We have completed more than forty sculptural projects at sites across the United States since we began working collaboratively in 1993. We create art which connects people to places.3Moberg Gallery website. http://moberggallery.com/myklebustsears_portfolio.shtml. Accessed October 23, 2013.Google Scholar Sears and Myklebust maintain a 4500 square-foot studio on 37 acres of woodland in rural Wisconsin, which becomes the muse for much of their work. They also concentrate on being good stewards by reusing materials and seeking durable materials for their compositions.5Mykelbust-Sears Process website. http://myklebustsears.com/?110000. Accessed October 25, 2013.Google Scholar Another interest of the artist is depicting landscapes from a bird's-eye view. One such example is Mayo Clinic's Zumbro, a 20X240X3-inch wood, aluminum, and polychrome sculptural work. That calculates to being 20 feet long– too long to capture in 1 photograph, but with the aid of photoshop can be pieced together for a complete view. Like a river, silver (aluminum) streams meander through an imaginary topographical map. Primary colors overlay earth-tones, and sections of the work are intentionally placed unevenly to provide depth and texture to the aerial view of the cartography. Corrugated sections simulate rolling hills, and color variations imply rows of plowed fields and man-made structures. Zumbro is located on the fifth floor of the Gonda Building in Rochester, Minnesota, and is the gift of Anita and Julian L. Zelman in honor of Dr and Mrs Daniel Z. Uslan.

바닥의 장소화 방법에 대한 칼 안드레와 건축적 전략의 비교 연구

The floor is an essential part of the daily human activity, as well as in the field of architecture; however, its value as a fountain of meanings and its characteristics or emanating expressions, have been somehow diminished in the modern architecture. Carl Andre is one of the representing sculptor who sought for a change in understanding the traditional concept of the term 'placeness' by denying the object's vertical form and embracing a new method of sticking the fragmental units of the artwork on the floor. Therefore this study emphasizes the hidden potential that the term 'floor' can have, by basing the claims of the research from the ideas reelected in Carl Andre's sculptural works. Moreover, this study seeks for a methodological approach of application of the new term of 'floor' in the architectural design.

Application of Computer Aided Design in Sculpture Art

With the rapid development of computer technology, especially with the progress in computer graphics technology, a revolutionary change occurred in urban sculpture, architecture, animation and other art and design field. Three-dimensional computer technology information technology and digital technology also challenged the traditional art of sculpture which takes manual approach to create and produce sculpture works; they provide designers with a new creative fashion and art form. This interdisciplinary technology surpassed the single and limited mode of the traditional tools through turning two-dimension to three-dimension, static to dynamic situations. Large sculptures began to appear in the city with the assistance of computer technology in varying degrees. The programs accurate operating and precise drawing bring strong reliability in sculpture design, which has become the primary means of urban sculpture creation.

The Material Etymologies of Cecilia Vicuña

This article examines Chilean poet and artist Cecilia Vicuña’s aesthetic practices from the 1970s to today. The recent republication of Vicuña’s Saboramí by Chainlinks Press (2011) permits a new generation of readers to experience her paintings from the 1970s and to read Vicuña’s own explanations behind her ongoing sculpture work, the precarios. The paintings reveal an intersection of multiple philosophical and theoretical footholds; but more important, they show Vicuña the artist searching through concepts and practices to give form to the eruption of experiences that describe the West during the late twentieth century, particularly those that erupt from Salvador Allende’s brief presidency in Chile and the many confrontations between neoliberalism, indigenism, and political activism. Following the movement of visual representation to sculpture, I trace how Vicuña explores the concept of collectivization through aesthetic form and material extension during the 1980s and 1990s, in the precarios. I then map how Vicuña uses form to disclose the interplay of etymology and materiality in Palabrarmás (1992) and Instan (2002), giving plural voice to collectivized expression. The open-endedness of this interplay conducts our readerly attention to the way in which Vicuña stages critical and philosophical engagements with twentieth-century and pre-Columbian aesthetics to reveal a more complex sense of the “present” in the West. A more inclusive temporality, the present in Vicuña’s poetic lyric unlocks ways of building community from the various acts of expressing rights, self, and being.

La influencia sarda en la imaginería del Cristo gótico doloroso en Mallorca

This study aims to highlight the relationships and influences that were forged between Mallorca and Sardinia in the field of Gothic sculpture during the first half of the fifteenth century. In Mallorca has been conserved an interesting set of polychrome wood devotional sculptures of crucified Christ that stands out for their uniform design and their similarities to contemporary Sardinian sculptures. Based on previous studies and an exhaustive analysis of these sculptures, the objective of this paper is to shed light on interaction between Sardinian sculptural work and the development and dissemination of the model of the suffering Gothic Christ in Mallorca.

3D laser scanning of Parthian sculptural reliefs: The experience of the Iranian-Italian Joint Expedition in Khuzestan (Iran)

Three-dimensional (3D) digital models obtained by laser scanning are particularly useful for monuments located in remote places and suffering from erosion such as ancient rock carvings. Here we describe research by the Iranian-Italian Joint Expedition in Khuzestan, which conducted surveys on three rock carvings dating to the Parthian period (2nd century b.c.–3rd century a.d.). The rock carvings of Hung-e Azhdar, Hung-e Yaralivand, and Hung-e Kamalvand are located near the modern city of Izeh, in the highlands of the Khuzestan province of southwestern Iran. The 3D digital models of the rock carvings provide new information on their method of manufacture and cultural significance by bringing forward previously undetected details, both technical and iconographical. The digital measurements reveal that the Hung-e Azhdar relief was re-sculpted in antiquity, and that on the upper part of the Hung-e Yaralivand relief there are clear traces of an inscription unnoticed by previous surveys. Given that these observations are the result of objective measurements verifiable by other observers using the same data, the 3D surface analysis offers promise of an advance in the study of ancient sculptural works and the models are innovative means for documenting and sharing both raw and elaborated data.