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Chapter_05_Sculpture.pptxThe Humanities Through the Arts Tenth Edition
Lee A. Jacobus │ F. David Martin
(NOTE: Pay particular attention to terms in italicized red font)
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Chapter 5
Sculpture
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Introduction
Sculpture
“All-at-onceness” doesn’t apply to sculpture as it does for painting because of sculpture’s three-dimensionality.
Sculpture has mass, volume, weight, shape.
Its tactile nature makes viewers want to touch and explore.
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Sculpture and Painting Compared
Most sculpture shows viewers the bulk, mass, and tactile quality of things.
Viewers often want to touch sculpture, which is not as common with paintings.
Sculpture is more than skin deep.
More senses are involved in analyzing sculpture.
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Sculptures and Space: Reliefs, 1
Sunken-relief
Sculpture made by carving grooves of various depths into the surface of sculptural material
Low-relief
Projects only slightly from background plane
Fig. 5-2. Temple Carving at The Temple of Edfu, Egypt
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Sculptures and Space: Reliefs, 2
High-relief
The image to the right has ample shape cut away from the surface background.
Fig. 5-5. Edgar Degas, The Little Fourteen-Year-Old Dancer, 1880, cast 1922.
Sculpture in the Round
Sculptures that stand alone without any background surface (image left).
Fig. 5-4. Mithuna Couple, 12th-13th cent., India.
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Sculpture and Architecture Compared
In architecture, inner space and outer space is separated so inner space can be functional.
Sculpture does not provide practical inner space, as with the Sphinx to the right.
Fig. 5-6. The Sphinx and Pyramid of Chelops, Egypt. Ca. 2850 BCE. Limestone and masonry.
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Sculpture in the Round and the Human Body
Sculpture in the round has no background plane from which the sculpture emerges.
Sculpture evokes our outward sensations and sometimes our inner sensations.
Human bodies that are the subject of sculpture in the round are often fascinating to us because of their sensual charm.
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Four Examples of Sculpture and the Human Body
Fig. 5-8. Michelangelo Buonarroti. David. 1501-04. Marble.
Fig. 5-7. Gaston Lachaise. Floating Figure. 1927. Bronze.
Fig. 5-9. Auguste Rodin. Danaïde. 1885. Marble.
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Contemporary Sculpture
Truth to materials
Respect for sculptural materials has often been ignored.
Modern sculpture is created more with laws of nature in mind.
In a technological world, it is easy to ignore truth to materials because viewers are so accustomed to artificial substances.
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Protest Against Technology
Sculptures of human figures that seem to be colorless, faceless, sexless, and less than alive suggest no free will or personality. The two images below demonstrate the concept.
Fig. 5-15. Ernest Trova, Study: Falling Man (Wheel Man). 1965.
Fig. 5-16. Magdalena Abakanowicz, Bronze Crowd. 1990–1991. Bronze.
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Accommodation With Technology
Some artists see technology as a blessing, not a curse.
Sculpture can take advantage of modern techniques where painting cannot.
Machine sculpture
Dedicated to humanizing the machine.
Jean Tinguely’s Homage to New York was a onetime sculpture performance.
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Sculpture in Public Places
Public sculptures serve to adorn buildings and add to surrounding landscape.
One particularly moving sculpture is Maya Lin’s Vietnam Veterans Memorial.
Fig. 5-27. Maya Ying Lin, Vietnam Veterans Memorial. 1982. Black granite, V-shaped.
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Three African Sculptures
Fig. 5-22. Head of an Oba, 16th century, Nigeria, Court of Benin, Edo peoples. Brass.
Fig. 5-25. Maternity Figure. 19th-early 20th century. Democratic Republic of the Congo, Luluwa peoples. Wood, metal ring.
Fig. 5-26. Olowe of Ise, The Veranda Post: Equestrian Figure and Female Caryatid, Early 20th century. Wood.
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Wrap-Up of the Chapter: Terms to Remember
Terms
Sculpture
Tactile
Sunken-relief
Low-relief
High-relief
Sculpture in the Round
Truth to materials
Machine sculpture
Notable People
Michelangelo Buonarroti
Auguste Rodin
Jeff Koons
Alexander Calder
Ernest Trova
George Segal
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