Spanish sculptor Isabel Miramontes creates figural bronze sculptures that bring a visual movement to ordinary silhouettes. Her works provide unusual shapes within the body of her subjects, opening up torsos to reveal elongated spirals and horizontal bars that seem to reveal an inner turmoil. Often the faces of her sculptures have blank or passive expressions, unknowing participants to the tangle of bronze that twists below. Miramontes is represented by Canfin Gallery in New York and Lucy B Campbell Gallery in London, where you can see more of her works. More
Michelle Gregor, The Listener, 2018 , Sculpture, ceramic, 22 x 8 x 8 in 56 x 20 x 20 cm at Seager Gray Gallery
Spanish sculptor Isabel Miramontes creates figural bronze sculptures that bring a visual movement to ordinary silhouettes. Her works provide unusual shapes within the body of her subjects, opening up torsos to reveal elongated spirals and horizontal bars that seem to reveal an inner turmoil. Often the faces of her sculptures have blank or passive expressions, unknowing participants to the tangle of bronze that twists below. Miramontes is represented by Canfin Gallery in New York and Lucy B Campbell Gallery in London, where you can see more of her works. More
Explore Martin Le Roy's 2343 photos on Flickr!
1930s Spelter and Marble and Alabaster Figural Lamp by Josef Lorenzl
Artist J Louis American, 1992, Karlsruhe, Germany J Louis --- Website
*** In our previous project, you were introduced to subtractive sculpture. The faces you have been carving out of plaster are relief sculptures-- they are meant to be viewed from the front only. For this project, you will be creating another subtractive sculpture out of plaster. However, this time, you will be making a full round sculpture (also known as a free-standing sculpture). Full round sculptures can be viewed from any angle. The subject matter for this sculpture will be an abstract human figure. Jean Arp 1. Abstract sculpture: sculptures that may be based on actual objects, but where the objects have been simplified, stylized, distorted, or otherwise altered to the point were they may become difficult or impossible to recognize. In this blog post, we will be looking at the work of three modern artists that are known for their abstract sculptures of human figures-- Henry Moore, Jean Arp, and Barbara Hepworth. These sculptures were created over several decades in the 1900s. After you look at the pictures below, there will be a few questions for you to answer-- answer by making a comment down at the bottom of this post. (Sorry-- I don't have titles for these sculptures-- they are numbered for your convenience so that you may refer to individual pieces in your answers to the questions.) Henry Moore 1898-1986 British sculptor Henry Moore is probably the most well-known of the three sculptors we will be looking at. Moore worked in stone, wood, and bronze, and plaster. Note the progression of style in his sculpture, how he moves from figures that are stylized but recognizable to figures that become increasingly abstract. 1. 2. 3. 4. Henry Moore making a plaster maquette 5. 6. 7. Barbara Hepworth 1903-1975 Also from Great Britain, Hepworth and Moore met in college, and remained friends throughout their lives. Together, they played a major role in defining modernism in sculpture. Hepworth carving a block of stone 1. 2. 3. 4. 5. Jean Arp (a.k.a. Hans Arp) 1886-1966 French/German artist Jean Arp came out of the Surrealist movement in the earlier twentieth century, and was a member of the movement known as Dada. Arp was a sculptor, painter, and poet. Arp in his studio, surrounded by plaster sculptures 2. 3. 4. 5. Questions: 1. What kinds of things did Moore do to simplify the human figure and make it more abstract? 2. Look at the series of sketches by Moore (#4). What is he doing with these sketches? Describe in detail; be specific. 3. Look at the picture of Hepworth carving a block of stone. What exactly is she doing, and how is she doing it? 4. Would you say that Hepworth's gender (female) has anything to do with the appearance of her work? If so, what? If not, why not? 5. Compare and contrast-- How is Arp's and Moore's work similar? How is it different? Answer these questions by making a "comment" below. Please give detailed answers-- at least 2 or 3 sentences. Use whole sentences, and think about what you are going to say before you answer. PUT YOUR NAME AT THE BOTTOM OF YOUR COMMENT We will be starting this project next week. Before you begin carving your plaster, you will be required to produce a series of sketches (similar to what Moore has done in picture #4). You will then make a clay model of your sculpture-- this will help you to see where you will need to go with carving your plaster.
Matteo Pugliese was born in Milan in 1969. In 1978 his family moved to Sardinia where Matteo lived for the next 12 years. During this time he developed a strong love for drawing and sculpture and continued his art work without any formal education. After finishing his secondary school studies in classics in Cagliari, he returned to Milan to attend university.
This French art deco illuminated metal statue was sculpted by Pierre Le Faguays (1892 – 1935) and cast by the LeVerre foundry in the 1920’s. The statue, named “Odalisque” depicts a young woman nude to the waist holding an orange craqueleure glass urn which is fitted for electricity. The maiden in green patina with brown highlights stands on a stepped “Portoro” marble base and is signed “Fayral”. LeFaguays signed many of his pieces “Fayral” or “Guerbe” (the family names of his mother and wife). The statue stands 18 ¼” high.
Bellissime immagini di statue, usabili come sfondi telefonino, meme o post su social
Pierre Roche (1855-1922), Art Nouveau Style Patinated Bronze Figural Lamp
from the Walters Art Museum, in Baltimore, Maryland.
A vibrant Expressionist figural oil of a man, shown in three-quarter profile wearing a pilgrim's hat and shown gazing to viewer's left; an energetic, bravura work that employs strong color combinations with bold and intuitive, geometric brushstrokes. Signed center right and lower right, 'Tobin' (American, 20th century) and dated 1990.
blog sur l'art
“Home Haunter,” porcelain, fur, gold luster, china paint by Shary Boyle, 2015 That’s not to say, of course, that if you’re not as dark and demented as yours truly, that you won’t also be drawn to these gorgeous yet strange ceramic sculptures by Canadian artist, Shary Boyle. But it might help. Boyle has worked with a number of musical artists during her career, like the equally out-there Peaches and Feist. While her CV isn’t limited to sculpture (Boyle works in nearly every medium), it is her bizarre, yet enchanting sculptures that caught my eye today. Boyle’s strange ceramics, while compelling to look at, also attempt to convey powerful messages on such topics as social equality, eroticism and the emotional turmoil that we as human beings are subjected to existing in this world together. What I love most about Boyle’s off-kilter ceramics, in addition to their heavy ideas, is that they are at times somewhat amusing (to me anyway). Like her piece “Bless You,” which features a creepy white porcelain hand, with an drastically elongated middle finger pointed straight at the sky. “Home Haunter,” back view “The Dandy Widow,” 2009 “Untitled,” 2005 “Bless You,” 2014 ...
The conception of Cubism A convergence of influences - from Paul Cézanne and Henri Rousseau, to archaic and tribal art encouraged Picasso around 1906 to pursue the Cubist style in which he deconstructed the conventions of perspectival space that had dominated painting since the Renaissance. A defining separation from the restraints of the classical arts with a non imitative method of depicting the visual world was embraced by several artists in Paris. From 1907 to 1914, interaction and collaboration occurred between Picasso and Georges Braque where they explored and developed cubist concepts. They presented a new reality in paintings that depicted radically fragmented
Modern nude figural sculpture titled "Repose" by Michigan artist Ruth Gauthier. Signed underneath along with an exhibition label from the Western Michigan Artist Exhibition, 1953. less
Large, figural urn effigies are unique to Zapotec sculptural traditions of the Late Preclassic and Classic periods. During Classic times, their forms and iconographic programs became institutionalized to such an extent that individual types can be identified and their symbolic meanings discerned. Most portray persons dressed as specific gods, especially the rain deity Cociyo and the maize god Pitao Cozobi. They are found in building caches, usually as single offerings, or more frequently in tombs, often accompanied by a number of smaller "attendant" figural urns. No evidence of smoke or carbon has been found inside the cylindrical containers at the figures' back, belying their interpretation as incense burners. In a few instances, the containers were found to hold obsidian blades, jadeite adornments, and the remains of organic materials, all of which likely represent offerings and ritual items from the moment of internment or perhaps later veneration rites conducted in the tomb. This commanding figure represents an impersonator of the maize god. The large size of the urn suggests that it was a tomb's main figure and, as such, may have symbolized a sacred ancestor of the tomb's occupant. His headdress features the hieroglyph Lape (drop, rain), which is the nineteenth day in the Zapotec calendar. Its iconographic origin is a bundle of maize leaves. The blending of maize god and rain imagery is mirrored in the figure's large, elaborate earflares, which allude to the rain god Cociyo. The trilobed element emerging from the earflares usually is found in the basal panels of other urns along with the image of an alligator. In all instances, the main figure is Cociyo. The ornate pendant covering the impersonator's chest is the maize god's pectoral glyph, which signifies the four-sided maize field. The presence of the maize god's chest ornament and the rain-maize headdress glyph unambiguously identifies the deity impersonated by this figure as the maize god and not Cociyo
Nearby, smaller hombrecitos and mujercitas - some with open mouths that form sensual Os, while other's pursed lips push out delicate breaths of air like soft kisses - gracefully cavort in Javier Marín (2000) Mujer Blanca 1 JAVIER MARÍN 9am-9pm Mon-Thu 9am-5pm Fri & Sat 11am-5pm Sun Through March 16 Parking fee Central Library, 600 Soledad 207-2500 classical poses. Occasional limbs cast in cold, hard bronze surface starkly from the fleshy softness of the resin bodies.
Cristina Coordova figures, represent the struggles in the world of today. The human figure has been described as "a compelling strain of magical realism.
