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HUMANITIES 2510

HUMANITIES 2510. Sculpture: Modern. Sculpture: Modern. Impressionism (c. 1875-85) Rodin (1840-1917) first sculptor of genius since Bernini aim: to create “new classics” poses & themes: derived from Greek Hellenism method: building up of forms rather than chiseling away

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HUMANITIES 2510

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  1. HUMANITIES 2510 Sculpture: Modern

  2. Sculpture: Modern • Impressionism (c. 1875-85) • Rodin (1840-1917) • first sculptor of genius since Bernini • aim: to create “new classics” • poses & themes: derived from Greek Hellenism • method: building up of forms rather than chiseling away • surface texture: contrast between unfinished, rough areas vs. polished finish

  3. Sculpture: Modern • Pre-World War I (c. 1905-10) • Brancusi • first successful alternative to Rodin • aim: search for “essence” of nature, rather than literal and objective depiction • technique: “genius of omission” • style: • cubic • formal simplicity

  4. Sculpture: Modern • Italian Futurism (c. 1915) • Boccioni • aim: • to portray speed & dynamism of contemporary life • to make objects live by showing their extensions in space • process: “systematization of the interpenetration of planes” • force-lines • arabesque curves

  5. Sculpture: Modern • Surrealism (c. 1925-45) • Henry Moore (1898-1986) • forms: massive, biomorphic • poses: traditional reclining nude • “negative” space --> hollowed out spaces/openings • compare/contrast: Classical Greek sculpture

  6. Sculpture: Modern • Surrealism (cont.) • Calder (1898-1976) • “mobiles” • delicately balanced constructions of metal wire • hinged together & weighted to move through air • influence of Miró & Surrealism • borrowed biomorphic shapes • similar color scheme (black/white + primaries)

  7. Sculpture: Modern • Post-World War II (c. 1950) • Giacometti (1901-66) • theme: Existential anxiety • idea of extinction • paradoxical power of emaciated human form • figures: • anti-Classical proportions • yet recall rigid, standing figures of ancient Egypt

  8. Exercises • How did Rodin work within the Classical tradition? How did he break with accepted norms of “finish”? • T/F: Brancusi’s sculpture employs a great use of negative space. • What two (2) elements did Boccioni use to create an “interpenetration” of planes? • T/F: Henry Moore’s biomorphic sculptures are characterized by a use of negative space. • What was innovative about Calder’s Surrealist “mobile” sculptures? • T/F: The anti-Classical proportions in Giacometti’s sculpture correspond to the theme of existential anxiety.

  9. IMAGE INDEX • Slide 3: RODIN, Auguste. The Thinker (1879-89), bronze, height 27 1/2”, Metropolitan Museum of Art, New York. • Slide 4: Comparison between RODIN’s The Thinker and (Greek) Hellenistic style Tiber Muse (c. 200 BC). • Slide 5: Comparison between RODIN’s The Thinker and (Greek) Hellenistic style Seated Boxer (c. 50 BC), Bronze, approx. 50” high, Museo Nazionale Romano, Rome.

  10. IMAGE INDEX • Slide 6: RODIN, Auguste. The Old Courtesan (1885), Bronze, 20 1/8 x 9 7/8 x 11 3/4 in., Musee Rodin, Paris. • Slide 7: Comparison between RODIN’s The Old Courtesan and Hellenistic Old Market Woman (c. 2nd century BC), marble, 49 1/2”, Metropolitan Museum of Art, New York. • Slide 8: RODIN, Auguste. The Kiss (1886), Bronze, 87 x 51 x 55 cm., Musee Rodin, Paris.

  11. IMAGE INDEX • Slide 9: Comparison between RODIN’s The Kiss and (Greek) Hellenistic Eros and Psyche (c. 150 BC), marble, 49” high, Museo Capitolino, Rome. • Slide 11: BRANCUSI, Constantin. The Kiss (1907), Stone, 11 in., Muzuel de Arta, Craiova, Romania. • Slide 12: Comparison between BRANCUSI, Constantin. The Kiss (1907) and RODIN’s The Kiss (1886).

  12. IMAGE INDEX • Slide 14: BOCCIONI, Umberto. Unique Form of Continuity in Space (1913), Bronze, 126.4 x 89 x 40.6 cm, Private collection, Rome. • Slide 15: Comparison between BOCCIONI’s Unique Form of Continuity in Space (1913) and (Greek) Hellenistic Nike of Samothrace (c. 200 BC). • Slide 17: MOORE, Henry. Recumbant Figure (1938), stone, length approx. 54”, Tate Gallery, London.

  13. IMAGE INDEX • Slide 18: Comparison between MOORE’s Recumbant Figure (1938) and Classical Greek Three Goddesses (c. 450 BC), from the east pediment of the Parthenon. • Slide 20: CALDER, Alexander. Lobster Trap and Fish Tail (1939), painted steel wire and sheet aluminum, approx. 8’6” x 9’6”, The Museum of Modern Art (MoMA), New York. • Slide 21: Comparison between CALDER’s Lobster Trap and Fish Tail (1939) and MIRO’s Carnival of Harlequin (c. 1925).

  14. IMAGE INDEX • Slide 23: GIACOMETTI, Alberto. Tall Figure (c. 1950), Painted bronze. • Slide 24: Comparison between ancient Egyptian Priest (c. 1800 BC) and GIACOMETTI’s Tall Figure (c. 1950).

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