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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms
The first book to be dedicated to the topic, Patronage and Italian
Renaissance Sculpture reappraises the creative and intellectual
roles of sculptor and patron. The volume surveys artistic
production from the Trecento to the Cinquecento in Rome, Pisa,
Florence, Bologna, and Venice. Using a broad range of approaches,
the essayists question the traditional concept of authorship in
Italian Renaissance sculpture, setting each work of art firmly into
a complex socio-historical context. Emphasizing the role of the
patron, the collection re-assesses the artistic production of such
luminaries as Michelangelo, Donatello, and Giambologna, as well as
lesser-known sculptors. Contributors shed new light on the
collaborations that shaped Renaissance sculpture and its reception.
Christo (1935-2020) and Jeanne-Claude (1935-2009) created some of
the most breathtaking artworks of the 20th and 21st centuries.
Their projects radically questioned traditional conceptions of
painting, sculpture, and architecture. This lavish photo book is
the first comprehensive publication on the artists' oeuvre to be
released after Christo's death in May 2020. It also serves as a
curtain-raiser for Christo und Jeanne-Claude's last major project -
the wrapping of the Arc de Triomphe in Paris, which will be carried
out posthumously in the fall of 2021. Presenting a wealth of
photographs and studio snapshots from 1949 to 2020, some of which
are private, this book allows an intimate peek behind the scenes of
Christo und Jeanne-Claude's monumental installations which
fascinated the public for decades. In addition to pictures
capturing the artists at work, it includes photos documenting all
of their major projects. Matthias Koddenberg (b.1984), art
historian and close friend of the artists, spent many years
compiling the more than 300 images featured in this volume. Among
them are pictures taken by companions and friends and hitherto
unpublished photographs from the artists' estate. Together they
tell the extraordinary story not only of the couple's artistic
collaboration, but also of their five-decade-long partnership.
South African beadwork has a rich and diverse history and is
abundantly represented in the beaded art pieces in the Wits Art
Museum (WAM) collection. Some works date back to the 4th century CE
but most date from the 19th to the 21st centuries. Currently
numbering over 9 000 items, the three major collecting areas of
classical, historical and contemporary African artworks are broad
in their geographical range and deep in some local areas of
specialisation. Paying homage to this collection, Beadwork, art and
the body is a compilation of essays by scholars who have researched
and written about the traditions, practices and aesthetic forms of
beadwork in southern Africa. The book covers an expansive history
of beadwork in South Africa from the 19th century to the
contemporary moment. The artists and the beadwork featured range
from Sotho-, Tsonga-, Xhosa- and Zulu-speakers, ending with a focus
on fashion designer Laduma Ngxokolo, whose work has been inspired
by Xhosa beadwork. Questions of ethnic affiliation and beadwork
patterns are explored in relation to the different aesthetic forms
of beadwork and its use as a marker of identity and status within
and beyond communities.
A catalogue of 108 portrait bronzes of great masters of the Tibetan
Buddhist traditions. It presents a history of these teaching
lineages. The sculptures span the most productive period in the
history of Tibetan Buddhist art, illustrating Tibetan portraiture's
long and varied history. This is a catalogue of 108 portrait
bronzes of great masters of the Tibetan Buddhist traditions, it
presents a history of these teaching lineages based on and
illustrated by the collection. Ranging in date from the 12th to
18th century, the sculptures span the most productive period in the
A study of two exhibitions that took place five years apart in the
same building in Brussels city-centre Full House explores two
exhibitions that took place five years apart in the same building
in Brussels and featured over 300 contemporary art works from the
renowned collection of Frederic de Goldschmidt. The first show, Not
Really Really, was organized in 2016 in a building that had only
been vacated a few months before by a mental health clinic. The
works were mostly sculptures made with everyday objects and played
with the ambiguity of what the last occupants could have left and
what the artists purposefully created. The building then underwent
a long renovation, with photos included illustrating this process.
The second show, Inaspettatamente (Unexpectedly), then engaged with
themes such as order and disorder, time, classification, the
artist's process or his/her position in world conflicts using the
prism of the famous Arte Povera artist Alighiero Boetti. Curatorial
texts and images of the works both in context and in studio allow
the reader to discover and appreciate both exhibitions. Distributed
for Mercatorfonds Exhibition Schedule: Cloud Seven , Quai du
commerce 7 (November 11, 2021-January 30, 2022)
For six decades, sculptor Bruce Beasley has worked in a range of
media to build complex, resonant sculptures that communicate the
primacy of form and express the emotional language of shape. Bruce
Beasley: Sixty Year Retrospective is an elegant survey of his
illustrious career: from early experiments in scrap iron during the
1960s; aluminum works of the 1970s; cast acrylic sculptures of the
1970s and 80s; and stone, stainless steel and bronze works of the
1990s to the present day. The catalogue also features Beasley's
latest venture into two-dimensional media. This richly illustrated
book includes Beasley's reflections on his career. In a
conversation, Beasley and Lawrence Weschler discuss art and
activism. Essays discussing his processes and appraising his impact
are written by curator Tom Moran and Marlena Doktorczyk-Donohue,
Director of the Bruce Beasley Foundation and Professor of Art
History at Otis College of Art and Design, Los Angeles.
Detailed instructions, illustrations for carving animals, flowers, figures, more. Tips on tools, techniques, painting, finishing, exhibiting.
This inspiring book provides a wealth of fascinating projects for
woodturners. It will extend their skills and give them a chance to
try more unusual, challenging pieces. The book reflects the
author's fascination with complex geometrical shapes, puzzles and
mathematical curiosities. It gives woodturners the chance to try
their hand at making twisted polygons, gravity-defying clocks and
much more. A wealth of close-up photographs guide the reader
through each project and a gallery section provides further
inspiration, showing how a range of artists have decorated the
author's work. David Springett's interest in woodturning began when
he was a woodwork teacher - by reading each of the few books
available, experimenting and persevering, he improved his skills.
Since leaving teaching nearly 20 years ago, he has earned his
living doing what he enjoys most. David and his wife Christine live
in Rugby, Warwickshire.
Despite the profusion of knightly effigies created between c. 1240
and c. 1330 for tombs throughout the British Isles, these
commemorative figures are relatively unknown to art historians and
medievalists. Until now, their rich visual impact and significance
has been relatively unexplored by scholars. In this study, Rachel
Dressler examines this category of sculpture, illustrating how
English military figures employ a visual language of pose, costume,
and attributes to construct a masculine ideal that privileges
fighting prowess, elite status, and sexual virility. Like military
figures on the Continent, English effigies represent knights
wearing chain mail and surcoats, and bearing shields and swords;
unique to the British examples, however, is the display of an
aggressive sword handling pose and dynamically crossed legs.
Outwardly hyper masculine, the carved figures partake in artistic
subterfuge: the lives of those memorialized did not always match
proffered images, testifying to the changing function of the knight
in England during the thirteenth and early fourteenth centuries.
This study traces the development of English military figures, and
analyzes in detail three fourteenth-century examples-those
commemorating Robert I De Vere in Hatfield Broad Oak (Essex),
Richard Gyvernay at Limington (Somerset), and Henry Allard in
Winchelsea (Sussex). Similar in appearance, these three sculptures
represent persons of distinctly different social levels: De Vere
belonged to the highest aristocratic rank, where Gyvernay was a
lesser county knight, and Allard was from a merchant family,
raising questions about his knightly standing. Ultimately,
Dressler's analysis of English knight effigies demonstrates that
the masculine warrior during the late Middle Ages was frequently a
constructed ideal rather than a lived experience.
Here Barbara Freitag examines all the literature on the subject
since their discovery 160 years ago, highlighting the
inconsistencies of the various interpretations in regard to origin,
function and name. By considering the Sheela-na-gigs in their
medieval social context, she suggests that they were folk deities
with particular responsibility for assistance in childbirth.
This fascinating survey sheds new light on a controversial
phenomenon, and also contains a complete catalogue of all known
Sheela-na-gigs, including hitherto unrecorded or unpublished
figures.
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Krzysztof Wodiczko
(Hardcover)
Duncan McCorquodale; Contributions by Dick Hebdige, Denis Hollier, Lisa Saltzman
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R1,290
Discovery Miles 12 900
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Ships in 12 - 17 working days
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Krzysztof Wodiczko's artistic projects stage a dynamic and vivid
encounter between aesthetics, ethics and technology. For almost 40
years, the artist's powerful and extensive body of work has
deployed contemporary technologies to engage with the problematics
of alterity, social responsibility and urban experience. Believing
that 'public art' should perform an ethical interruption of
existing social processes and their ideological underpinnings,
Wodiczko's critical interventions in the urban environment have
addressed issues of urban violence, homelessness, alienation and
wartime trauma. Since the 1980s, he has produced large-scale slide
and video projections, transforming the facades of official
buildings and historical monuments into temporary spaces for
critical reflection and public protest. The Public Projections
series include: The Grand Army Plaza Memorial Arch, Brooklyn, NY
(1983), The Hirshhorn Museum, Washington D.C. (1988), The Whitney
Museum of American Art, New York (1989), Bunker Hill Monument,
Boston (1998), A-Bomb Dome, Hiroshima (1999) and El Centro
Cultural, Tijuana, Mexico (2001). By nature, Wodiczko's work is
often controversial and the book looks at his development of a
series of nomadic instruments for both homeless and immigrant
operators that function as implements for survival, communication,
empowerment, and healing. The Homeless Vehicle project in New York
City, equips nomadic 'evicts' with tools for self-articulation,
whilst the elaborate Xenology instruments are designed to empower
the 'immigrant' by providing access to speech and figuration in the
public realm. Like much of his work, his interrogative designs and
portable instruments are animated by a desire to bring the socially
opaque into the public sphere of appearances, to restore voice and
visibility to those rendered mute within the parameters of the
public domain. Krzysztof Wodiczko is the first full-scale study of
the artist's work, its ethico-political imperatives, and the
diverse interpretive lenses which accompany its theorization.
Developed in close collaboration with the artist, and bringing
together an array of essays by leading scholars from a variety of
disciplines, the book represents the most significant and sustained
engagement with the artist's practice to date.
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Walter Leblanc
(Hardcover)
Francesca Pola; Contributions by Robyn Farrell, Serge Lemoine, Francesca Pola, Eva Wittocx
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R1,259
Discovery Miles 12 590
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Ships in 12 - 17 working days
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Little is known about Walter Leblanc (1932-1986), one of the key
representatives of kinetic and optical art in the mid-20th century.
This comprehensive monograph, the first on this artist for an
international audience, includes unpublished materials, which
provide insight not only into the art of LeBlanc, but also into the
ZERO artist movement to which he was connected and with which he
was in close dialogue beginning in the 1950s. Walter Leblanc is
based on extensive studies of the artist's work: with about 150
images of his paintings and sculptures, comparative works,
historical photos and documents, it includes a selection of
Leblanc's writings, an iconographic mapping of selected works in
museums around the world, and a bio-bibliographical appendix.
Demonstrating the wealth of his creative output, the book reaffirms
the enduring role Leblanc played in the development of modern and
contemporary art on a global scale. Distributed for Mercatorfonds
Published to celebrate the 200th anniversary of the birth of G.F.
Watts, this book provides a lively and engaging introduction to one
of the most charismatic figures in the history of British art.
Covering all aspects of Watts's career, it places him back at the
centre of the visual culture of the 19th century. George Frederic
Watts (1817-1904) was one of the great artists of the 19th century.
As a young man Watts exhibited alongside Turner, and by the end of
his long career he was influential upon Picasso. Sculptor,
portraitist and creator of classic Symbolist imagery, Watts was
seen also as more than an artist - a philanthropic visionary whose
art charted the progress of humanity in the modern world. After
four years in Italy in the 1840s, Watts was recognized as a
Renaissance master reborn in the Victorian age. Nicknamed 'Signor',
and working in isolation from the mainstream commercial art-world,
he became a cult figure, obsessively returning to a series of
subjects describing the fundamental themes of existence - love,
life, death, hope. Engaging in turn with Romanticism, the
Pre-Raphaelites, the Aesthetic Movement and Symbolism, Watts
remained true to his own personal vision of the evolution of
humanity. As a portraitist, Watts set out to capture the essence of
the great characters of 19th-century Britain, donating his finest
portraits to the National Portrait Gallery in London. Watts's
portraits of figures such as William Morris, John Stuart Mill and
the poets Tennyson and Swinburne have become the classic images of
these cultural celebrities, while more intimate portraits such as
Choosing, showing the artist's first wife, the actress Ellen Terry,
are among the most popular of all British portraits. During the
1880s Watts emerged from his cult status to be embraced by the
public. Feted as the great modern master, even as "England's
Michelangelo", he was given large retrospective exhibitions in
London and at the Metropolitan Museum in New York. His reputation
grew also in Europe, where the Symbolists revered him as one of
their great exemplars. Watts's most celebrated works, such as Love
and Life, Hope, and the epic sculpture Physical Energy, were
reproduced globally and their fame was unsurpassed within
contemporary art in the years around 1900. By this time, Watts had
acquired a country home in Surrey - Limnerslease - around which he
and his second wife, the designer Mary Watts, built a type of
utopian settlement, which has recently been restored and opened to
the public as Watts Gallery - Artists' Village. By the end of his
life Watts was a national figure, an inspirational artist who had
found a meaningful role for art as a catalyst for social change and
community integration.
A celebration of the power of public art to express a community's
cultural heritage, Arte del Pueblo explores San Antonio's heart and
soul. In moving photography and poetic commentary, it covers five
genres of public art in a variety of artistic styles, from murals,
sculpture, and mosaics to street art and digital art projections.
Readers will come away with a deeper understanding of this
multicultural crossroad through an introduction to its major
artistic influences, as well as thought-provoking interviews with
11 of the 190 artists featured. San Antonio's public artworks can
be found everywhere: from its famous River Walk to the West Side
Barrio, in parks and libraries, along roadways and bridges, on
high-rises and restaurants. The book's suggested self-tours guide
those who wish to appreciate their favorite pieces in person.
Moore at Kew marks an exhibition of 28 large sculptures placed
throughout Kew's unique 300 acre World Heritage Site landscape,
making this the first exhibition of its kind ever to be held in
London. There have been previous exhibitions of Moore's work in the
capital but never on such a scale and in such a magnificent public
setting. Gorgeously illustrated, the book allows readers to engage
with the sculptures and landscape on several levels. They will be
drawn around the Gardens to enjoy the sculptures set against a
variety of striking backdrops, from the formal gardens and great
glasshouses to the spectacular arboretum. Essays and appendices
authored by renowned experts from The Henry Moore Foundation
provide a unique insight into the increasing popularity of outdoor
sculpture displays, the installation of sculptures outdoors,
Moore's life, his working methods and tools and material.
This volume brings together new research by some of the world's
leading experts, exploring the artistic production and cultural
context of Renaissance sculpture from Ghiberti's Gates of Paradise
to the small bronzes of Giambologna and his followers. The essays
cover a range of sculptural materials and forms to cast fresh light
on the artists, their creative and collaborative processes, and
those who commissioned, owned and responded to their work. The
papers were originally presented at a conference at the V&A in
2010 as part of the Robert H. Smith Renaissance Sculpture
Programme.
1961, three years after meeting Jeanne-Claude in Paris, Christo
made a study of a mammoth project that would wrap one of the city's
most emblematic monuments. 60 years, 25,000 square meters of
recyclable fabric, and 3,000 meters of rope later, the artists'
vision finally came true. Discover their posthumous installation
with this book gathering photography, drawings, and a history of
the project's making. Like most of Christo and Jeanne-Claude's
work, L'Arc de Triomphe, Wrapped is temporary and runs for 16 days
from Saturday, September 18 to Sunday, October 3, 2021. Carried out
in close collaboration with the Centre des Monuments Nationaux, the
historic structure is wrapped in recyclable polypropylene fabric in
silvery blue and recyclable red rope. The project is the posthumous
realisation of a long-held dream for Christo and Jeanne-Claude, who
first drew up plans to wrap the Arc de Triomphe in 1961 while
renting a small room near the monument. Published as a tribute to
the late artists and their lifelong partnership, the book includes
original sketches, technical data, and exclusive photography,
creating a fascinating behind-the-scenes look at the genesis of
this prodigious artwork.
A comprehensive survey of the intriguing misericord carvings,
setting them in their religious context and looking at their
different themes and motifs. Misericord carvings present a
fascinating corpus of medieval art which, in turn, complements our
knowledge of life and belief in the late middle ages. Subjects
range from the sacred to the profane and from the fantastic to the
everyday, seemingly giving equal weight to the scatological and the
spiritual alike. Focusing specifically on England - though with
cognisance of broader European contexts - this volume offers an
analysis of misericords in relation to other cultural artefacts of
the period. Through a series of themed "case studies", the book
places misericords firmly within the doctrinal and devotional
milieu in which they were created and sited, arguing that even the
apparently coarse images to be found beneath choir stalls are
intimately linked to the devotional life of the medieval English
Church. The analysis is complemented by a gazetteer of the most
notable instances. Paul Hardwick isProfessor in English, Leeds
Trinity University College.
This book showcases and puts into historical context a host of
sculpted works created in the 1920s and 1930s in the decorative
vernacular defined loosely today as `Art Deco'. Whether designed as
free-standing statuary for the domestic market or commissioned for
some form of architectural placement, as a frieze on a building's
facade or as a public monument or pool fountain, the works shown
demonstrate a sometimes bewilderingly broad range of styles and
stylistic influences: from the chevrons, sunbursts, maidens,
fountains, floral abstractions and ubiquitous biche (doe) of the
Parisian geometric style to the crisp, angular patterns of the
zig-zag, jazz-age, streamlined aesthetic of the 1930s. Alastair
Duncan organizes his subject into three main categories: the first
features work by avant-garde sculptors (Csaky, Janniot, Pompon,
etc), often as pieces uniques or small editions; the second shows
commercial sculpture, comprising mainly large-edition statuary,
commissioned as decorative works for the burgeoning 1920s domestic
market; while a final, third category covers architectural and
monumental sculpture from West and Eastern Europe, Scandinavia,
North America, Brazil and beyond. With artists' biographies and
details of manufacturers, a full glossary and a thematic index,
this volume is the essential and authoritative guide for all those
interested in the Art Deco style, from the amateur collector of
animalier sculpture to professional historians of the period.
Whittling is more than just a way of busying idle hands - it is a
pastime for those who love the texture of wood and a way of life
for those who feel a special connection between people and trees.
This beautiful and practical guide to the art of whittling offers
the perfect antidote to the stresses of modern life and a means of
getting back to basics and creating unique items from scratch.
Inside you will learn about the ancient art of whittling as one of
the earliest forms of artistic expression; the different types of
wood to use in your work; the simple tools you need to get started;
and the various cutting techniques. The Art of Whittling also
preaches the idea of Danish hygge - translating to coziness and
being with friends and family in a warm atmosphere. Here, author
Niklas Karlsson gives us an insight into why the Danes are
considered the happiest people in the world - and how you can bring
some hygge into your own lives. More than just a manual, this book
offers a contemplative view on a skill that is more popular than
ever.
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