This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Bulletin ... Societe pour la conservation des monuments historiques d'Alsace Berger-Levrault., 1879 History; Europe; France; Alsace (France); History / Europe / France; Travel / Europe / France; Travel / Museums, Tours, Points of Interest

LAND ART IN THE U.S.A.

A study of land art in America, featuring all of the well-known land artists from the 'golden age' of land art - the 1960s - to the present day.

This book explores all of the major American land, environmental and earthwork artists of the past 40 years, as well as European land artists working in North America. The book includes chapters on James Turrell and his vast volcano site Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Robert Morris's environments and observatories Walter de Maria's Romantic Lightning Field and Earth Room Dennis Oppenheim's concentric snow circles Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre. And Europeans such as: Hans Haacke's Conceptual art Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures and Christo's wrapped buildings and islands.

Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 9781861714053. 328 pages.

www.crmoon.com

EXTRACT FROM THE CHAPTER ON ROBERT SMITHSON

Robert Smithson is the key land artist, the premier artist in the world of land art. And he's been a big favourite with art critics since the early Seventies. Smithson was the chief mouthpiece of American earth/ site aesthetics, and is probably the most important artist among all land artists.

For Robert Smithson, Carl Andre, Walter de Maria, Michael Heizer, Dennis Oppenheim and Tony Smith were 'the more compelling artists today, concerned with 'Place' or 'Site''. Smithson was impressed by Tony Smith's vision of the mysterious aspects of a dark unfinished road and called Smith 'the agent of endlessness'. Smith's aesthetic became part of Smithson's view of art as a complete 'site', not simply an aesthetic of sculptural objects. Smithson was not inspired by ancient religious sculpture, by burial mounds, for example, so much as by decayed industrial sites. He visited some in the mid-1960s that were 'in some way disrupted or pulverized'. He said he was looking for a 'denaturalization rather than built up scenic beauty'.

Robert Smithson said he was concerned, like many land (and contemporary artists with the thing in itself, not its image, its effect, its critical significance: 'I am for an art that takes into account the direct effect of the elements as they exist from day to day apart from representation'. Smithson's theory of the 'non-site' was based on 'absence, a very ponderous, weighty absence'. Smithson proposed a theory of a dialectic between absence and presence, in which the 'non-site' and 'site' are both interacting. In the 'non-site' work, presence and absence are there simultaneously. '

Modernism in the visual arts has been defined as a liberation from the classical inheritance. The excitement of modern art is often seen to lie in its radical break with the past. But according to one standard narrative, the modern discipline of art history began only with a study of ancient art and sculpture. Johann Joachim Winckelmann's History of the Art of Antiquity, first published in 1764, set the precedent for the historical study of the visual arts, and is still the dominant method in art history today. The modern study of art and the making of modern art thus appear to be founded on incompatible principles: the one on the centrality of ancient art; the other on its utter repudiation. Elizabeth Prettejohn's important and revisionist new book starts from an opposite premise: that the modern study of ancient art and the making of modern art are inextricably intertwined. Subjecting Winckelmann's ideas to astute yet sympathetic critique, the author uses exciting theories of reception to construct a new theory of the relationship between ancient and modern art. Relating seminal ancient artifacts (such as Laocoon, the Parthenon Marbles and Venus de Milo) to modern interpretations by the likes of Alma-Tadema, Leighton, Rodin and Picasso, The Modernity of Ancient Sculpture will have strong appeal to students of art history and classics alike.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Bulletin ... Societe pour la conservation des monuments historiques d'Alsace Berger-Levrault., 1908 History; Europe; France; Alsace (France); History / Europe / France; Travel / Europe / France; Travel / Museums, Tours, Points of Interest

Ce guide richement illustre se propose de vous initier pas a pas a l'art de la fonte du bronze. Les instructions fournies permettront au novice de realiser en 5 jours une petite sculpture en bronze. Une fonte artisanale mais d'un haut niveau de qualite. La methode decrite est celle de la cire perdue et de la carapace de ceramique comme l'utilise la plupart des fonderies commerciales. La methode a simplement ete adaptee pour la rendre possible a peu de frais pour un usage domestique. Aucune connaissance prealable en metallurgie ou autres technique de sculpture n'est requise et le projet est facilement realisable par n'importe qui disposant d'un peu de temps et d'un petit espace ou travailler. La realisation de ce projet ne necessite aucun investissement lourd en materiel ou equipement specialise et ne demande pas non plus l'acquisition ou la construction d'un four complique pour fondre le metal. Pour rendre la tache encore plus facile, le manuel indique exactement quels outils et materiaux se procurer, en quelles quantites se les procurer et ou ils pourront etre achetes partout en France et de part le monde. Une fois ce projet termine, vous voudrez certainement continuer a explorer la technique plus avant. La seconde partie du livre aborde donc plus en details les aspects les plus avances de la fonte d'art et donne egalement de nombreux conseils pour continuer la pratique et installer votre fonderie personnelle. Les mesures sont exprimees en systeme metrique ainsi qu'en systeme Imperial. Les prix sont indiques en Euros. A qui s'adresse ce livre? Artistes et sculpteurs amateurs ou professionnels, artisans et bricoleurs bien sur mais aussi les restaurateurs de meubles anciens, les fabriquants de modeles reduits et les restaurateurs de voiliers classique qui pourront ainsi s'equiper a peu de frais et faire leur propre accastillage. Par exemple, pieds de baignoire ancienne, boucles de ceintures, cloches, poignees de porte et de tiroir, medaillons, plaques et bas-reliefs, poignees de couteaux, pommeaux de cannes, croix et crucifix sont autant d'objets d'art facilement realisables en bronze en utilisant les techniques decrites dans le manuel.

Studienarbeit aus dem Jahr 2004 im Fachbereich Kunst - Bildhauerei, Skulptur, Plastik, Note: 1+, Ruhr-Universitat Bochum (Institut fur Kunstgeschichte), Veranstaltung: Die Parler und die Spatgotik, 22 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: Da beim Stadtbrand von 1349 der Chor der Koliner Bartholomauskirche vollstandig zerstort wurde, beauftragte Karl IV. seinen Dombaumeiser Peter Parler, den Chor der Pfarrkirche neu zu errichten. Die Zuschreibung des 1360 begonnenen und 1378 noch unvollendet eingeweihten Chores als ein Werk Parlers ist eindeutig gesichert. Diese Frage muss also hier nicht mehr geklart werden. Vielmehr soll sich diese Arbeit auf die architektonische Aussage des Chores konzentrieren. Nach einer zeitlichen Eingliederung der Eckdaten des Chorneubaus und nach Wiedergabe der Baugeschichte wird anhand der Baubeschreibung deutlich, dass Peter Parler am Chor der Bartholomauskirche aussergewohnliche und seltsame Bauelemente verwirklichte. So ist die Wand in der klassischen Hochgotik abgesehen von den grossen Fenstern in Gitter- und Strebewerk aufgelost, Peter Parler zeigt aber einmal mehr am Koliner Chor, dass er es bevorzugt, die Wand als Flache zu sehen und sie als solche sogar zu betonen. Hier stellt sich die Frage, in wie weit Parler bezuglich dieser Bauweise richtungsweisend war. Anhand mehrerer Vergleiche zu anderen Sakralbauten soll sich auch klaren, wie es mit der achsialen Pfeilerstellung im ausseren Chorpolygon verhalt. Da dieser Pfeiler keine tragende Funktion hat, muss seine Bedeutung auf anderer Ebene gesucht werden. Des Weiteren wird neben diesen eher schlichten Bauelementen auf Parlers Masswerkgestaltung eingegangen. Hier lasst er seiner Kreativitat freien Lauf und stellt somit einen Kontrast zum restlichen Bauprogramm her. In der Literatur hat sich keiner so ausfuhrlich mit dem Chor der Bartholomauskirche auseinandergesetzt, wie Marc Carel Schurr. Allerdings ergeben sich in seinen Vergleichen mit anderen Kirchenbauten oft