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.

Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of "style as a concept of expression," an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.

Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. * Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations * Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies * Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context * Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing * Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

Johann Gottfried Schadow's Princess group has gone down in the annals of art history. As the first statue of two female historical personalities it testifies to the innovation, enormous artistry and productivity of sculpture workshops in the 19th century - a symbol of the important sculpture of German Classicism. In around 1800 Johann Gottfried Schadow (1764-1850) was the most famous artist in Prussia. More than most others he knew how to combine the outstanding position as court sculptor with entrepreneurial success and a steady bourgeois existence, and thereby to cultivate an international network. The artist himself modelled, drew, wrote art-theoretical treatises and was the head of the Berlin Academy, one of the most important art schools of the time. The monograph opens new perspectives onto the brilliant creativity of the great sculptor and his workshop.

The Waldfrieden Sculpture Park is honouring the great painter and sculptor Heinz Mack on his 90th birthday with an exhibition devoted exclusively to his sculptural work. In its three exhibition halls and in the open grounds, the sculpture park presents 50 sculptures by Heinz Mack, including numerous works that have never been shown publicly before. Accompanying the exhibition is this comprehensive catalogue in German and English with numerous illustrations from the exhibition, a foreword by Anthony Cragg, a preface by Dr. Thomas A. Lange, two statements by Heinz Mack and essays by Heinz-Norbert Jocks, Norman Rosenthal, Corinna Thierolf and Jon Wood. The essays - analogous to the illustration section, which shows photographs from all three exhibition pavilions and from the outdoor area - are devoted to the artist's wealth of forms and diversity of materials on the basis of the exhibited stone works, steles made of wood and metal, metal reliefs and screens.

The groundbreaking sculptor's most comprehensive monograph to date

Jean-Michel Othoniel is an artist who creates sculptures that explore themes of fragility, transformation, and ephemerality. Using the repetition of such modular elements as bricks or beads, his work deploys various strategies that hint at loss and despair – cracks in his objects' perfect surfaces, negative spaces and, early in his career, transient materials such as sulfur. The most authoritative study of the artist's work to date, it includes intimate gallery pieces as well as monumental public commissions around the world.

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.

The celebrated Spanish sculptor Juan Munoz (1953-2001) died at the height of his powers, when he was considered "one of the most complex and individual artists working today" (Guardian). His challenging, enigmatic works almost inexorably draw in viewers. "The spectator," Munoz said about his installations, "becomes very much like the object to be looked at, and perhaps the viewer has become the one who is on view." This handsome book, distinguished by more than 30 stunning photographs, documents a group of Munoz installations at the Sterling and Francine Clark Art Institute. Representing the full range of Munoz's sculptures-from First Banister (1987), which reflects the artist's early use of architectural language, to Conversation Piece (2001), a work that shows his later interest in the human figure-the book demonstrates how Munoz invented a mode of storytelling through objects that spoke to space, memory, and displacement. David Breslin contributes a reflection on notions of interiority and exteriority, and of perception and absorption, as expressed in Munoz's work. Distributed for the Sterling and Francine Clark Art Institute

The Parthenon sculptures in the British Museum are unrivalled examples of classical Greek art that have inspired sculptors, artists, poets and writers since their creation in the fifth century BC. This book serves as a superb visual introduction to these magnificent sculptures. The book showcases a series of specially taken photographs of the different sculptural elements: the pediments, metopes and Ionic frieze. It captures the vitality of the sculptures in a group, an individual sculpture or an exquisite eye-catching detail, such as the mane of a horse, a human foot, the swish of drapery or a youthful head bowed in thought.

Public Sculpture of Lancashire and Cumbria is a fascinating book that provides much needed attention to the best public sculpture and monuments in these north-west counties. With an invaluable introduction and notes, the author highlights in particular works of art that are in need of restoration or protection by local authorities and other owners.The art works included are mostly in urban areas however some are tucked away on moors and hilltops, and can be reached by a modest walk, and are thus less familiar. Many entries are accompanied by original photographs, often showing details of the craftsmanship. This book highlights the brilliant work of local sculptors, including several women, who have been neglected over the years and were suppressed by the usual dominance of craftsmen from London and the south east. Their biographies appear at the end of the book.Locations of the public sculpture are given and each dedicated entry provides a description and the measurements of the sculpture; records its inscriptions and its condition; the reason for its commemoration; the chief advocate and process of the commission; its sources of funding and cost; the choice of artist and source of the materials; the relationship between the artist and the architect; the name of the bronze founder or builder; the historical and political context; and the date and details of the unveiling ceremony.

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.

When European explorers began their initial forays into southeastern North America in the 16th and 17th centuries they encountered what they called temples and shrines of native peoples, often decorated with idols in human form made of wood, pottery, or stone. The idols were fascinating to write about, but having no value to explorers searching for gold or land, there are no records of these idols being transported to the Old World, and mention of them seems to cease about the 1700s. However, with the settling of the fledgling United States in the 1800s, farming colonists began to unearth stone images in human form from land formerly inhabited by the native peoples. With little access to the records of the 16th and 17th centuries, debate and speculation abounded by the public and scholars alike concerning their origin and meaning.During the last twenty years the authors have researched over 88 possible examples of southeastern Mississippian stone statuary, dating as far back as 1,000 years ago, and discovered along the river valleys of the interior Southeast. Independently and in conjunction, they have measured, analyzed, photographed, and traced the known history of the 42 that appear in this volume. Compiling the data from both early documents and public and private collections, the authors remind us that the statuary should not be viewed in isolation, but rather as regional expressions of a much broader body of art, ritual, and belief.

Woodturning is as popular as ever -- a constantly growing segement in the woodworking world and one of the most wide-reaching woodcrafts among artists and hands-on crafters. It s appeal is based on the short learning curve, the minimal equipment, and the sheer joy of learning to make something out of wood with one s own hands. But, unlike a lot of crafts that rely on individuality and creative thinking, the initial techniques of woodturning must be mastered. While at first liberating, these same techniques can eventually be confining because in mastering them, one must follow the lead of others. At a certain point, woodturners can feel that mastering the techniques has become the end in itself as they lose sight of their true pursuit: to create one s own original style. In fact, some woodturners, who believe they aren t creative enough, will simply continue to master techniques while imitiating the style of others. Terry Martin, the author of The Creative Woodturner and a woodturning artist, instructor, and photographer for over thirty-years, believes this goes against the fundamental nature of creating and being an artist. There is no right or wrong and the pursuit of originality should be the goal of every woodturner. Best of all, creativity can be learned and the ability to think and see in one s own artistic style can be achieved. The Creative Woodturner is not your usual how-to woodturning book. It won t tell you what a chuck is, how to sharpen a scraper, or how to turn a goblet. Instead, this book is a how-to for unlocking curiosity, how to break the rules, and for following one s own artistic path with confidence. Designed to give readers a wide-persepective on creativity, The Creative Woodturner begins first with insightful commentary, quotes, and examples from the woodturning and art community that will both inspire and inform. In addition, the author shares his Idea Tools: questions to ask during the planning and creative process that are as important to the creation of the woodturning project as any equipment in the shop. Finally, 16 one-of-a-kind projects from boxes and vessles to bowls and one-of-a-kind scultpures are featured that will spark the creative mindset of any woodturner. Each project is documented with instructions and crisp photography highlighting the key steps, techniques, and tasks necessary for completion. In taking the reader through each project, the author pulls back the curtain on his woodturning magic and shares his vision and how the Idea Tools and creative thinking emerges in each project. An inspiring and enjoyable read not only for woodturners, but for any artist, The Creative Woodturner will anyone to think and see differently so time is spent at the lathe or whatever creative pursuit it is -- creating the original ideas instead of imitating someone else."

Chinese Buddhist wooden sculptures of Water-moon Guanyin, a Bodhisattva sitting in a leisurely reclining pose on a rocky throne, are housed in Western collections and are thus removed from their original context(s). Not only are most of them of unknown origin, but also do lack a precise date. Tracing their sources is moreover difficult because of the scant information provided by art dealers in previous periods. Thus, only preliminary investigations into their stylistic development and technical features have been made so far. Moreover, until recently none of the Chinese temples that provided their original context, i.e. their precise/exact/specific position within those temple compounds and their respective place in the Buddhist pantheon, have been examined at all. In her study, Petra H Roesch investigates these very aspects, including questions about the religious position and function of the sculptures of this special Bodhisattva. She also looks at the technical construction, the collecting of Chinese Buddhist sculptures in general and those sculptures made of wood in particular. She uses a combination of stylistic, iconographical, buddhological, as well as technical methodologies in her investigation of the Water-moon Guanyin images and sheds light on the Buddhist temples in Shanxi Province, the works of art they once housed, and the religious practices of the eleventh to thirteenth centuries connected with them.

This book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

Charles C. Eldredge Prize for Distinguished Scholarship in American Art from the Smithsonian American Art Museum In Race ExpertsLinda Kim examines the complicated and ambivalent role played by sculptor Malvina Hoffman in the Races of Mankind series created for the Chicago Field Museum in 1930. Although Hoffman had training in fine arts and was a protege of Auguste Rodin and Ivan Mestrovic, she had no background in anthropology or museum exhibits. Nonetheless, the Field Museum commissioned her to make a series of life-size sculptures for the museum's new racial exhibition, which became the largest exhibit on race ever installed in a museum and one of the largest sculptural commissions ever undertaken by a single artist. Hoffman's Races of Mankind exhibit was realized as a series of 104 bronzes of racial types from around the world, a unique visual mediation between anthropological expertise and lay ideas about race in interwar America. Kim explores how the exhibition compelled the artist to incorporate into her artistic model of race not only racial science but also popular ideas that ordinary Americans brought to the museum. Kim situates the Races of Mankind exhibit at the juncture of these different forms of expertise and examines how the sculptures represented the messy resolutions between them. Race Experts is a compelling story of ideological contradiction and accommodation within the racial practices of American museums, artists, and audiences.

This book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

Netsuke - classic belt decorations for men - are rooted in a historical, mythological and artistic tradition in Japanese culture. Woodcarvers and their pupils, even counterfeiters, continued the work of their role models, in copies or variants of what came before them, and even created major works of art with the smallest of dimensions. Since the opening up of Japan in 1853, the miniature works have gained appreciation, and enthusiasts are found all over the world. Today netsuke are still being created in a great variety of motifs. Netsuke in Comparison presents one hundred netsuke from a private collection. For the very first time, it endeavours to juxtapose them with comparative images from collections and literature in order to locate them within this genre and to convey something of their diversity and expressiveness. Text in English and German.

An in-depth exploration of how the iconic artist created his works over the course of his full career Among the most celebrated figures of modern art, Amedeo Modigliani (1884-1920) has been the subject of many exhibitions and publications, but none until now has examined in depth how the artist created his paintings and sculptures. Drawing on research using the latest scientific techniques, the authors explore the artist's reuse of materials in his early years; his pivot from artistic trends such as Cubism to engage with a stylized form of figuration; the timeline of his evocative sculptures; and the evolution of his approach from heavily worked canvases to more ethereal paintings. The richly illustrated book also looks at the role of Albert C. Barnes, an early collector of Modigliani's work, in shaping the Italian artist's critical reception in the United States. The Barnes Foundation today owns one of the most important groups of Modigliani works in the world. These, together with some forty other paintings and sculptures from public and private collections worldwide, are interpreted through the lens of new studies carried out by leading international museums. Distributed for the Barnes Foundation Exhibition Schedule: The Barnes Foundation, Philadelphia (October 16, 2022-January 29, 2023)