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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Sculpture
The ultimate illustrated guide to the sculpture parks and trails of
England, Scotland, Ireland and Wales. This exciting guide to the
sculpture parks, trails and gardens of England, Ireland, Scotland
and Wales is the perfect book for those who like art and the
outdoors. Divided up into countries and regions, the book is
informative as well as beautifully illustrated with fabulous images
of sculptures by a broad array of international artists. It
provides information on all the major sculpture venues of interest,
featuring the best and most established, while also providing a
wide range of other interesting places to visit and explore. Each
feature provides directions of how to get there, along with an
overview of the park or trail, and lists sculptures of particular
interest and quality, while maps of each area will help you find
places close by to visit. This makes it easy to see which places
are suited to you depending on your preferences, level of interest
and time available. This fully revised 2nd edition provides updated
information and new entries for England, as well as brand new
sections providing thorough coverage of Scotland, Ireland and
Wales. The ideal guide for those with a passion for both nature and
sculptures.
By 1650, the spiritual and political power of the Catholic Church
was shattered. Thanks to the twin blows of the Protestant
Reformation and the Thirty Years War, Rome, celebrated both as the
Eternal City and Caput Mundi (the head of the world) had lost its
pre-eminent place in Europe. Then a new Pope, Alexander VII, fired
with religious zeal, political guile and a mania for building,
determined to restore the prestige of his church by making Rome the
must-visit destination for Europe's intellectual, political and
cultural elite. To help him do so, he enlisted the talents of
Gianlorenzo Bernini, already celebrated as the most important
living artist: no mean feat in the age of Rubens, Rembrandt and
Velazquez. Together, Alexander VII and Bernini made the greatest
artistic double act in history, inventing the concept of soft power
and the bucket list destination. Bernini and Alexander's creation
of Baroque Rome as a city more beautiful and grander than since the
days of the Emperor Augustus continues to delight and attract.
With Barry Flanagan is a vivid account of a friendship that evolved
into a working relationship when Richard McNeff became 'spontaneous
fixer' (Flanagan's description) of the sculptor's show held in June
1992 at the Museum of Contemporary Art on Ibiza, where they were
both living. McNeff was to gain a privileged insight into the
sculptor's singular personality and eccentric working methods,
learning to decipher his memorably surreal turns of phrase and to
parry his fascinating, if at times unsettling, pranksteresque
quirks . In September 1992 Flanagan and McNeff took the show to
Majorca, resulting a lively visit to the celebrated Spanish artist
Miquel Barcelo. The following year McNeff was involved in
Flanagan's print- making venture in Barcelona and in his Madrid
retrospective. Flanagan rescued him from a rough landing in England
in 1994 by commissioning a tour of stone quarries there.
Subsequently McNeff ran into a fourteen- year-old profoundly deaf
girl who turned out to be his unknown daughter. She had a talent
for art and the superbly generous sculptor was instrumental in
helping with her studies. Late in 2008 Barry was diagnosed with
motor neurone disease. By June 2009 he was wheelchair- bound. Two
months later he died, and McNeff read the lesson at his funeral.
Fleshed out with biographical detail, much of it supplied by the
sculptor himself, supplemented by photographs and details of the
work, this touching memoir is the first retrospective of a major
Welsh-born artist. With Barry Flanagan captures the spirit of this
remarkable Merlinesque figure in a moving portrait that reveals a
true original.
Arguably the greatest sculptor of all time, Donatello (c.1386-1466)
was at the vanguard of a revolution in sculptural practice in the
early Renaissance. Combining ideas from classical and medieval
sculpture to create innovative sculptural forms, Donatello had an
unparalleled ability to portray emotions in works intended to
inspire spiritual devotion. Pieces such as the penitent St Mary
Magdalene and the bronze of David remain deeply affecting to
audiences today. Working in marble, bronze, wood, terracotta and
stucco, he contributed to major commissions of church and state;
was an intimate of the Medici family and their circle in Florence,
and highly sought after in other Italian cities. This book,
specially commissioned to accompany the 2023 exhibition at the
V&A, explores Donatello's extraordinary creativity within the
vibrant artistic and cultural context of fifteenth-century Italy,
surveying his early connection with goldsmiths' work and the
collaborative nature of his workshop and processes. It also
reflects on Donatello's legacy, reviewing how his sculpture
inspired subsequent generations in the later Renaissance and
beyond.
The profession of sculpture was transformed during the eighteenth
century as the creation and appreciation of art became increasingly
associated with social interaction. Central to this transformation
was the esteemed yet controversial body, the Academie royale de
peinture et de sculpture. In this richly illustrated book, Tomas
Macsotay focuses on the sculptor's life at the Academie, analysing
the protocols that dictated the production of academic art. Arguing
that these procedures were modelled on the artist's study journey
to Rome, Macsotay discusses the close links between working
practices introduced at the Academie and new notions of academic
community and personal sensibility. He explores the bodily form of
the morceau de reception on which the election of new members
depended, and how this shaped the development of academic ideas and
practices. Macsotay also reconsiders the early revolutionary years,
where outside events exacerbated tensions between personal autonomy
and institutional authority. The Profession of sculpture in the
Paris Academie underscores the moral and aesthetic divide
separating modern interpretations of sculpture based on notions of
the individual artistic persona, and eighteenth-century notions of
sociable production. The result is a book which takes sculpture
outside the national arena, and re-focuses attention on its more
subjective role, a narrative of intimate life in a modern world.
Winner of the Prix Marianne Roland Michel 2009. Contains 90
illustrations.
Isamu Noguchi's Skyviewing Sculpture was created by invitation for
Western Washington University, north of Seattle, in 1969. The
14-foot high sculpture, which sits in the university's central
quad, acts as an observatory, encouraging viewers to enter and turn
their gaze to the sky. 'Skyviewing' was a leitmotif in Noguchi's
art throughout his long career as an artist and landscape
architect, from his early work alongside Constantin Brancusi in
Paris in 1928 to his death in 1988. Some sculptures act as
reflecting telescopes with polished stone that mirror the firmament
while others trace the path of the sun with cast shadows or lead
the eye up towards the sky. The work at Western invites the viewer
in, and guides the eye upwards to observe the sky in all of its
variety. Looking Up explores Noguchi's work on the themes of space,
and our place in the universe; examines the changing artistic
climate during his long career; and places Noguchi in context with
a younger generation of artists, including Robert Smithson, Nancy
Holt, James Turrell, and Charles Ross. The book includes essays by
leading specialists, as well as a plate section and contemporary
photos of the creation, transportation and installation of
Skyviewing Sculpture .
Auguste Rodin (1840-1917) was already an old man when the young
poet Rainer Maria Rilke went to interview him for the first time.
Rilke stayed on to work as Rodin's secretary. Intensely sensitive
to art, and in particular to the irreducible power of objects, and
yet able to express this awareness in prose of great lyricism and
clarity, Rilke was destined to be the critic who would most
naturally dramatise Rodin's work. In 1903 Rilke published this
essay, a sustained and profound meditation on the unique power of
Rodin's sculpture that has never been equalled. Written around a
chronology of Rodin's work, it is also a very approachable
introduction to some of the greatest sculpture of the nineteenth
century.
A fascinating book on the origins of writing. Before Writing gives
a new perspective on the evolution of communication. It points out
that when writing began in Mesopotamia it was not, as previously
thought, a sudden and spontaneous invention. Instead, it was the
outgrowth of many thousands of years' worth of experience at
manipulating symbols. In Volume I: From Counting to Cuneiform,
Denise Schmandt-Besserat describes how in about 8000 B.C.,
coinciding with the rise of agriculture, a system of counters, or
tokens, appeared in the Near East. These tokens-small,
geometrically shaped objects made of clay-represented various units
of goods and were used to count and account for them. The token
system was a breakthrough in data processing and communication that
ultimately led to the invention of writing about 3100 B.C. Through
a study of archaeological and epigraphic evidence,
Schmandt-Besserat traces how the Sumerian cuneiform script, the
first writing system, emerged from a counting device. In Volume II:
A Catalog of Near Eastern Tokens, Schmandt-Besserat presents the
primary data on which she bases her theories. These data consist of
several thousand tokens, catalogued by country, archaeological
site, and token types and subtypes. The information also includes
the chronology, stratigraphy, museum ownership, accession or field
number, references to previous publications, material, and size of
the artifacts. Line drawings and photographs illustrate the various
token types.
Frank Bowling (b.1934, Bartica, Guyana) is attracting ever-growing
international recognition as an abstract painter. This is the first
publication to examine Bowling's art and ideas in relation to
sculpture. Lavishly illustrated, it features an extended essay by
curator Sam Cornish charting Bowling's interactions with sculpture
since the 1960s. The book asks how seeing Bowling's sculpture, and
thinking about sculpture more broadly, may extend our understanding
of his pictorial language. Considering this relationship also
highlights the importance of sculpture to High Modernism, from
within which Bowling's mature art emerged. Also included are an
in-conversation between Allie Biswas and sculptor Thomas J. Price,
and a poem dedicated to Bowling by sculptor and author Barbara
Chase-Riboud.
A practical and in-depth look at modelling faces in clay covering
essential information from choosing your clay and modelling tools
to drying your work and types of natural finishes. This is a
practical and in-depth look at modelling faces in clay, using
step-by-step pictures, which is ideal for anyone who wants to have
a go at working in detail. As the face gives the figure life and
personality, it is an important focus once the body has been
created. This book examines the various aspects that make up the
face in depth, and which need to be considered when modelling, such
as the proportions of the head, bone structure, muscles and
expressions. From the face of a child to that of an adult, and from
sadness to joy, the enormous variety of faces and expressions all
require a different approach and convincing details to complete the
figure or bust. All these things are covered thoroughly using
diagrams, step-by-step images and clear explanations in order to
help you create a face for your work and to improve your modelling.
The book also covers essential information such as how to get
started, choosing your clay and modelling tools, drying your work
and types of natural finishes such as wax.
This book investigates how British contemporary artists who work
with clay have managed, in the space of a single generation, to
take ceramics from niche-interest craft to the pristine territories
of the contemporary art gallery. This development has been
accompanied (and perhaps propelled) by the kind of critical
discussion usually reserved for the 'higher' discipline of
sculpture. Ceramics is now encountering and colliding with
sculpture, both formally and intellectually. Laura Gray examines
what this means for the old hierarchies between art and craft, the
identity of the potter, and the character of a discipline tied to a
specific material but wanting to participate in critical
discussions that extend far beyond clay.
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Revealing Krishna
(Paperback)
Sonya Rhie Mace, Bertrand Porte; Contributions by Choulean Ang, Pierre Baptiste, Socheat Chea, …
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Centered on the early Cambodian masterpiece Krishna Lifting Mount
Govardhan in the Cleveland Museum of Art, seven essays present new
research and discoveries regarding its history, material, and
context. Introducing the Cleveland Krishna as one of eight
monumental sculptures of Hindu deities from the sacred mountain of
Phnom Da, the museum's curator presents evidence for its
establishment in a cave sanctuary and recounts its fascinating
journey from there to Cleveland in multiple pieces--including a
decades-long detour of being buried in a garden in Belgium.
Conservators and scientists elucidate the long-fraught process of
identifying the sculptural fragments that belong to the Cleveland
Krishna and explain the new reconstructions unveiled in the 2021
exhibition Revealing Krishna: Journey to Cambodia's Sacred
Mountain.An international team of specialists in the history of
art, archaeology, and anthropology place the Cleveland Krishna amid
the material traces of a sophisticated population based in the
Mekong River delta at the ancient metropolis known as Angkor Borei.
They reveal the long-lasting influence and prestige of the site,
well into the Angkorian period, more than six hundred years after
the creation of the Cleveland Krishna and the gods of Phnom Da.
This is the fifth in the Cleveland Masterworks Series.
Last published in a nineteenth-century catalogue, the distinguished
Torlonia Collection of more than 600 priceless Greek and Roman
works marbles and bronzes, reliefs and sarcophagi, depictions of
gods, and portraits of emperors is one of the most important
assemblages of classical sculptures still in private hands anywhere
in the world. This eagerly awaited volume presents a selection of
nearly 100 sculptures, which have been chosen for their quality and
historic significance and which will be featured in an
unprecedented exhibition designed by David Chipperfield and held in
the Villa Caffarelli, near the Musei Capitolini in Rome, before
touring globally. The legendary aura surrounding this, Rome s last
princely collection, is due not only to its extraordinary scope and
the high quality of the works, but also to the fact that the
collection has not been available to the public for decades. This
revelatory book features multiple essays by leading experts on the
history of the collection and scholarly entries for the works
detailing important discoveries made through archaeological
research as well as the cleaning and conservation of the
sculptures.
In the past decade, there has been a surge of Anglophone
scholarship regarding Spain in the sixteenth and seventeenth
centuries, which has led to a reframing of the discourses around
Spanish culture of this period. Despite this new interest-in which
painting, in particular, has been singled out for treatment-a
comprehensive study of sculpture collections and the status of
sculpture in Spain has yet to be produced. Sculpture Collections in
Early Modern Spain is the first book to assess the phenomenon of
sculpture collecting and in doing so, it alters the previously held
notion that Spanish society placed little value in this art form.
Di Dio and Coppel reveal that, due to the problems and expense of
their transport from Italy, sculptures were in fact status symbols
in the culture. Thus they were an important component of the
collections formed by the royal family, cultivated noble
collectors, humanists, and artists who had pretensions of high
status. This book is especially useful to specialists for its
discussion of the typologies of collections and objects, and of the
mechanics of state gifts, transport, and collection display in this
period. An appendix presents extensive archival documentation, most
of which has never before been published. The authors have
uncovered hundreds of new documents about sculpture in Spain; and
new documentary evidence allows them to propose several new
identifications and attributions. Firmly grounded in extensive
archival research, Sculpture Collections in Early Modern Spain
redefines the socio-political and art historical importance of
sculpture in early modern Spain. Most importantly, it entirely
transforms our knowledge regarding the presence of sculpture in a
wide range of Spanish collections of the period, which until now
has been erroneously characterized as close to non-existent.
Having met the elusive Maggi Hambling, This book is pure Maggi at
her best.The book details the first ideas for the scallop to its
placing on Aldeburgh beach .The book also tells us how Maggi became
an artist. Anyone from Suffolk will relate to Maggi's work.First
published in hardback 2010.
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