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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
Is there such a thing as "Impressionist sculpture"? Since 1881 when
Edgar Degas presented Little Dancer Aged Fourteen at the Sixth
Impressionist Exhibition in Paris, the term has existed along with
the discourse around it. This book is dedicated to the extensive
examination of the question what it would mean to translate the
characteristics of Impressionist painting, such as light, colour,
ephemerality, and the ethereal, into sculpture. The book features a
selection of artists including Edgar Degas, Auguste Rodin, and
Medardo Rosso and examines the artistic processes that traverse
genres in which one medium is enhanced by others. This valuable,
fascinating resource offers a unique addition to the scholarship on
the Impressionist era.
Developed in the early 1950s to meet a Soviet Army requirement and
first flown in June 1957, the Mi-6 was the largest-yet helicopter
created in the Soviet Union. Its notable features included a
power-plant consisting of two turbo-shaft engines (for the first
time on a Soviet helicopter) and stub wings offloading the main
rotor in forward flight; the cabin was big enough to accommodate
artillery systems and tactical ballistic missiles. Built by two
plants, the Mi-6 saw service with the Soviet Air Force (including
participation in the Afghan War) and the air arms of several Soviet
allies. It also proved valuable as a civil air-lifter during
oilfield exploration in Siberia, remaining in service right the way
up to 2002. A worthy successor to the Mi-6 appeared in 1977 - the
Mi-26. With its 20-ton payload, it was (and still is) the world's
largest and most capable transport helicopter. Again, the Mi-26 had
both military and commercial uses (the former included
participation in several armed conflicts); the type is still in
production, being updated to meet modern requirements, and has been
exported to several countries in Asia and Latin America.The book
describes the history, variants and service career of the Mil' 'big
lifters' and contains a detailed overview of the scale model kits
covering these types which are currently available on the market.
Elizabeth Catlett, born in Washington, DC, in 1915, is widely
acknowledged as a major presence in African American art, and her
work is celebrated as a visually eloquent expression of African
American identity and pride in cultural heritage. But this is not
the whole story. She has lived in Mexico for 50 years, as a citizen
of that country since 1962, and she and her husband, artist
Francisco Mora, have raised their children there. For 20 years she
was a member of the Taller de Grafica Popular (Popular Graphic Arts
Workshop) and she was the first woman professor of sculpture at the
Universidad Nacional Autonoma de Mexico. Her extraordinary career
has stretched from her years as a student at Howard University
during the 1930s through various political and social
movements-including the Chicago Renaissance of the 1940s, the Black
Power and Black Arts movements, the Mexican Public Art Movement,
and feminism-which have informed her art. This richly illustrated
and informative monograph is the first to document the full range
of Catlett's life and work. In addition to thoroughly researching
primary source materials and to critiquing individual art works
with sensitivity and erudition, the author has conducted numerous
interviews with Catlett and has analyzed with clarity the political
context of her work and her diverse sympathies and allegiances.
Herzog examines key artistic influences and shows how Catlett
transformed an extraordinary stylistic vocabulary into a socially
charged statement. In tracing Catlett's long and continuing career
as a graphic artist and sculptor in Mexico, Herzog explores an
important period in Catlett's life between the 1950s and the 1970s
about which almost nothing is known in the United States. She
examines the "Mexicanness" in Catlett's work in its fluent
relationship to the underlying and constant sense of African
American identity she brought with her to Mexico. Herzog's solidly
grounded interpretation offers a new way to understand Catlett's
work and reveals this artist as a fascinating and pivotal
intercultural figure whose powerful art manifests her firm belief
that the visual arts can play a role in the construction of a
meaningful identity, both transnational and ethnically grounded.
![Bernini (Paperback): Giovanni Careri](//media.loot.co.za/images/x80/633282257440179215.jpg) |
Bernini
(Paperback)
Giovanni Careri
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R1,046
Discovery Miles 10 460
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Ships in 12 - 17 working days
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This text explores three of Bernini's baroque chapels to show how
Bernini achieved his effects. Careri examines the ways in which the
artist integrated the disparate forms of architecture, painting and
sculpture into a coherant space for devotion, and then shows how
this accomplishment was understood by religious practitioners. In
the Fonseca Chapel, the Albertoni Chapel and the church of Saint
Andrea al Quirinale, all in Rome, Careri identifies three types of
ensemble and links each to a particular spiritual journey. Using
contemporary theories in anthropology, film and reception
aesthetics, he shows how Bernini's formal mechanisms established an
emotional dynamic between the beholder and a specific arrangement
of forms.
![The Making of Rodin (Hardcover): Nabila Abdel Nabi, Chloe Ariot, Achim Borchardt-Hume](//media.loot.co.za/images/x80/298339243137179215.jpg) |
The Making of Rodin
(Hardcover)
Nabila Abdel Nabi, Chloe Ariot, Achim Borchardt-Hume; As told to Phyllida Barlow, Sophie Biass-Fabiani, …
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R1,253
R990
Discovery Miles 9 900
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Auguste Rodin (1840-1917) was a radical sculptor whose unorthodox
approach to sculpture-making provided a definitive break in the
history of Western sculpture. Although much of his commercial
success was based on the bronze and marble versions of his work,
Rodin's greatest talent was as a modeller who captured movement,
emotion, light and volume in clay and plaster, to challenge
traditional conceptions of beauty and perfection. In line with new
thinking on Rodin, this book explores the artist's use of plaster,
a material which demonstrates his interest in creating sculptures
that are never completed, always becoming. United by their
materiality, fragile and experimental pieces are explored alongside
new readings of some of Rodin's iconic works, and a selection of
his watercolour drawings. Including an exclusive contribution from
sculptor Phyllida Barlow, The Making of Rodin sheds light on the
artist's use of materials, his unique way of working, and his
imaginative use of photography, revealing how Rodin reinvented
sculpture for the modern age - and why his work continues to
enthral and provoke to this day.
How does photography shape the way we see sculpture? In "David
Smith in Two Dimensions," Sarah Hamill broaches this question
through an in-depth consideration of the photography of American
sculptor David Smith (1906-1965). Smith was a modernist known for
radically shifting the terms of sculpture, a medium traditionally
defined by casting, modeling, and carving. He was the first to use
industrial welding as a sustained technique for large-scale
sculpture, influencing a generation of minimalists to come. What is
less known about Smith is his use of the camera to document his own
sculptures as well as everyday objects, spaces, and bodies. His
photographs of sculptures were published in countless exhibition
catalogs, journals, and newspapers, often as anonymous
illustrations. Far from being neutral images, these photographs
direct a pictorial encounter with spatial form and structure the
public display of his work.
"David Smith in Two Dimensions" looks at the sculptor's adoption of
unconventional backdrops, alternative vantage points, and unusual
lighting effects and exposures to show how he used photography to
dramatize and distance objects. This comprehensive and penetrating
account also introduces Smith's expansive archive of copy prints,
slides, and negatives, many of which are seen here for the first
time. Hamill proposes a new understanding of Smith's sculpture
through photography, exploring issues that are in turn vital to
discourses of modern sculpture, sculptural aesthetics, and postwar
art. In Smith's photography, we see an artist moving fluidly
between media to define what a sculptural object was and how it
would be encountered publicly.
This second volume on Early Cycladic (and Cycladicising) sculptures
found in the Aegean, examines finds from mainland Greece, along
with the rarer items from the north and east Aegean, with the
exception of those discovered in the Cyclades (covered in the
preceding volume), and of those found in Crete. The significance of
these finds is that these are the principal testimonies of the
influence of the Early Bronze Age Cycladic cultures in the wider
Aegean. This influence is shown both by the export of sculptures
produced in the Cyclades (and made of Cycladic marble), and of
their imitations, produced elsewhere in the Aegean, usually of
local marble. They hold the key, therefore, to the cultural
interactions developing at this time, the so-called 'international
spirit' manifest particularly during the Aegean Early Bronze II
period.This was the time when the foundations of early Aegean
civilisation were being laid, and the material documented is thus
of considerable significance. The volume is divided into sections
wherein contributions examine finds and their archaeological,
social, and economic contexts from specific regions. It concludes
with an overview of the significance and role of these objects in
Early Bronze Age societies of the Aegean and eastern Mediterranean
region. This will be the first time that this material has been
systematically gathered together. Highly illustrated, it follows
and builds on the successful preceding volume, Early Cycladic
Sculpture in Context (Oxbow 2016).
Delve into the world of air-dry clay crafting with 20 beautiful,
easy-to-make projects that are suitable for all skill levels.
Air-dry clay looks, feels, and performs like traditional clay but
requires no oven bake or fire. So you can create
professional-looking ceramics in your own kitchen without the need
for a kiln. Each project comes with step-by-step photos and
detailed, easy-to-follow instructions. The book also includes
instructions for all the core techniques, plus traceable templates.
In no time you can create beautiful homewares and jewellery that
will be sure to impress.
This volume investigates the artistic development during the Qing
Dynasty, the last of imperial Chinese dynasties, and shows the
importance of opera and playwriting during this time period.
Further analysis is dedicated to the development of scroll painting
and the revival of calligraphy and seal carving. A General History
of Chinese Art comprises six volumes with a total of nine parts
spanning from the Prehistoric Era until the 3rd year of Xuantong
during the Qing Dynasty (1911). The work provides a comprehensive
compilation of in-depth studies of the development of art
throughout the subsequent reign of Chinese dynasties and explores
the emergence of a wide range of artistic categories such as but
not limited to music, dance, acrobatics, singing, story telling,
painting, calligraphy, sculpture, architecture, and crafts. Unlike
previous reference books, A General History of Chinese Art offers a
broader overview of the notion of Chinese art by asserting a more
diverse and less material understanding of arts, as has often been
the case in Western scholarship.
This is the first comprehensive book written on the uses of
InLace*R resin inlay for gourd artists and wood turners. Chapters
present carving techniques in gourds, mixing resin, insetting,
sanding, and polishing. Step-by-step directions that can be applied
to any gourd and five projects from contributing artists are
include, as well as three original designs for the crafter's use.
The most common challenges working with resin inlay are addressed
and ten gourd artisans and a wood turner share their experiences
with this decorative inlay material. An extensive gallery of gourd
and wood turned art will inspire readers to add personal touches to
their projects. A resource list guides readers to suggested
supplies.
Few craft materials are cheaper to buy or easier to work with than
plaster, and by mastering and using a few simple techniques you can
turn this humble material into gloriously inspiring objects and
artefacts. No expensive equipment is required - plaster dries
naturally and does not need kiln-firing - so all you need to get
started is a bag of plaster, a few simple materials and some basic
shaping tools. The book shows how to make articles such as shells,
fruit, animals, masks, wall plaques and bows; practical objects
such as containers, candleholders, frames and bookends; and how to
restore damaged frames. There is also advice on finishing
techniques - from painting and gilding to weathering, distressing
and varnishing. The book presents the craft of plastering in a
beautifully inspirational form.
This catalogue of the Wyvern sculpture collection, which is not
open to the public, comprises outstanding European sculptures of
the medieval period, as well as some Late Antique and Byzantine
pieces and related works of the post-medieval era. Objects are made
from wood, stone (including alabaster and marble) and terracotta.
Also included are medieval works of art in metal, mostly consisting
of crucifix figures (corpora), and other functional metalware such
as aquamanilia (water vessels for the washing of hands) and
candlesticks. This sumptuous publication will interest all those
concerned with the material culture of the Middle Ages.
![Bill Brandt | Henry Moore (Hardcover): Martina Droth, Paul Messier](//media.loot.co.za/images/x80/708691755056179215.jpg) |
Bill Brandt | Henry Moore
(Hardcover)
Martina Droth, Paul Messier; Contributions by Lynda Nead, Nicholas Robbins, Audrey Sands, …
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R1,613
Discovery Miles 16 130
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Ships in 12 - 17 working days
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A close look at the work, relationship, and shared influences of
two masterful 20th-century artists "The camera," said Orson Welles,
"is a medium via which messages reach us from another world." It
was the camera and the circumstances of the Second World War that
first brought together Henry Moore (1898-1986) and Bill Brandt
(1904-1983). During the Blitz, both artists produced images
depicting civilians sheltering in the London Underground. These
"shelter pictures" were circulated to millions via popular
magazines and today rank as iconic works of their time. This book
begins with these wartime works and examines the artists'
intersecting paths in the postwar period. Key themes include war,
industry, and the coal mine; landscape and Britain's great
megalithic sites; found objects; and the human body. Special
photographic reproduction captures the materiality of the print as
a three-dimensional object rather than a flat, disembodied image on
the page. Published by the Yale Center for British Art/Distributed
by Yale University Press Exhibition Schedule: The Hepworth
Wakefield (February 7-November 1, 2020) Sainsbury Centre for Visual
Arts, Norwich (November 21, 2020-February 28, 2021) Yale Center for
British Art (November 17, 2022-February 26, 2023)
This book was written for people who have never used a 3D carving
machine. It teaches the basics of designing and making things with
Inventables' software (Easel) and 3D carving machines (X-Carve and
Carvey). We'll take you step-by-step through five projects you can
build yourself as a beginner: an inspiration tile, kitchen cutting
board, custom block stamp, fidget spinner, and balsa wood glider.
The book also features aspirational projects from makers in the
community, like an electric guitar, to show what is possible
through 3D carving. The design files and instructions for projects
- ranging from beginner to expert - can be found on the Inventables
website.
Starting with James Abbott McNeill Whistler and ending with Matthew
Barney, nearly every prominent figure in Modern art is represented
in vibrant double-page spreads that show how these artists
redefined norms and challenged tradition. Fascinating biographical
and anecdotal information about each artist is provided alongside
large reproductions of their most celebrated works, stunning
details, and images of the artists themselves. From the
Impressionists to the Surrealists, Cubists to Pop artists-readers
will find a wealth of information as well as hours of enjoyment
learning about one of the most popular and prolific periods in art
history.
Caricatures demand the same skill and sense of proportion that
realistic figures do. This is particularly true of carving heads,
which can easily become grotesque looking if certain rules are not
followed. With his years of carving, Pete LeClair has developed a
sure-fire method for carving great caricature heads. Now he shares
it with carvers around the country. He takes the reader
step-by-step through the process of carving 33 projects, with each
step illustrated with a color photograph and precise caption. A
gallery showing the variety that can be achieved by following this
method is included in the back.
This is the first major survey in English of the work of Katharina
Fritsch, one of the most important artists to emerge in Europe in
the last 20 years.
Ranging from the colossal to the miniature, Fritsch's sculptures
and installations bring to life figures and objects that already
exist in our imaginations. Using modern manufacturing techniques,
Fritsch fabricates people and things that seem to have their
origins in mythology, literature, and religion; they hover between
purity and danger, innocent yet also unnerving. Combining a
singular inner vision with an absolute material precision,
Fritsch's sculptures border on the surreal.
Katharina Fritsch lives and works in Dusseldorf. Her work was
the subject of a retrospective exhibition at the San Francisco
Museum of Modern Art in 1997; she has also exhibited at the Venice
Biennale, the White Cube in London, and the Matthew Marks Gallery
in New York.
Despite the fundamental functions that architecture must perform,
it will always inspire artists across all genres with its masterful
handling of space, harmony and proportion. Enric Mestre (b.1936) is
one of those observers of space and volume who have left their mark
on the ceramic sculptural art movement of the 20th century and
beyond. As one of the key artists of the Spanish school, his name
is mentioned in the same breath as master sculptors Jorge Oteiza
and Eduardo Chillida. His sculptures come across as sober spatial
constructions, but appearances are deceptive: these objects have a
poetic force that counters the gaze of the beholder. This book
celebrates the master's best creations and is a perfect opportunity
to discover or rediscover his timeless work. Text in English and
Spanish.
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