Hasil untuk "Sculpture"

Sheila Dillon

Female portrait statuary forms a large and important category of evidence for understanding the historical phenomenon of the visual representation and commemoration of women in the public spaces of the Greek city. With its rich body of both epigraphical and sculptural remains, the city of Athens is a particularly fruitful site to undertake such a study. While portraits of women begin to be set up in Athens in the early fourth century B.C., the chronological focus here is the Roman Imperial period, when inscribed bases for statues of women and marble sculpture representing female portrait subjects are the most abundant. I consider epigraphical evidence in the form of inscribed statue bases. The main sculptural evidence comes from the American excavations in the Athenian Agora. While a great deal of important research has focused on the epigraphic evidence, particularly from the Acropolis, this article analyzes and puts into conversation both strands of this extensive corpus of material.

Monika Mańczyk-Krygiel

This article analyzes the mutual interpenetrations of different types of cultural memory in literary texts, in particular landscape memory, myth memory, and memory of gender stereotypes. Symbolic drama by Elsa Bernstein (pseudonym Ernst Rosmer, 1866–1949) Mutter Maria Totengedicht in fünf Wandlungen (1900) deals with the subject of the supplanting of old folk beliefs by the Christian religion, as well as the violent clash of the male and female worlds, symbolized here by the figures of alpine mythology as literary topoi (hunter and mountain goddess). The end of the drama—a combination of a mythical being after death with a sculpture of the Madonna carved in rock—is usually interpreted as the apotheosis of Christianity and the triumph of a new religion (and thus a new world order) over the pagan world. However, its subversive aspect should be emphasized because, in the cult of the Mother of God, one can find strong reminiscences of the cult of the Great Goddess and other ancient fertility deities. Therefore, old beliefs are not lost forever; they remain part of the cultural heritage and are waiting to be rediscovered. An original reinterpretation of the stereotyped mountain landscape is proposed by Maria Waser (1878–1939) in her novel Die Geschichte der Anna Waser (1913). Here, the name of the mountain peak Jungfrau becomes a symbol of independence from the expectations of the environment and offers the possibility of identification. For the main character, the most important thing is the desire for self-realization as an artist (painter), which often encounters the reluctance of the environment, especially men jealous of her talent. This rather unusual way of perceiving Jungfrau in the context of building identity is intimate and personal, and at the same time explicitly feminine.

Safaa Samir Darwish

مجموعة غير منشورة للنقوش البارزة (لوحات جنائزية وشواهد قبور) بمخزن الأشمونين المتحفى بالمنيا [AR] تتناول هذه الدراسة خمسة نماذج لشواهد قبور ولوحات جنائزية لم تنشر من قبل، ومحفوظة في مخزن الأشمونين المتحفى بالمنيا، وغير معلوم مصدرها، اثنان منهم على هيئة تماثيل بداخل ناووس أو مشكاة، وثلاثة عبارة عن تماثيل جنائزية مستقلة. يهدف هذا البحث إلى تقديم دارسة وصفية لهذه الشواهد واللوحات الجنائزية، تتبع بدراسة تحليلية مقارنة تتناول فيها مادة النحت، وتقديم رؤية واضحة للسمات الفنية لمعالجة تصوير هذه المجموعة، والأسلوب الفني المتبع في تنفيذ تماثيل المتوفين، والمتمثل في ملامح الوجه والزى والوقفة أضف إلى ذلك الكشف عن ماهية ومكانة أصحاب التماثيل، والرموز التي صورت معهم، والغرض منها. كما يعكس موضوع الدراسة صورة واضحة عن المدرسة الفنية التي أنتجت هذه المجموعة، لذا تأتى أهمية هذه الدراسة لتحديد مكان العثور عليها، ووضع تأريخ لها استنادا على كل هذه العناصر السابقة. يتضح من خلال الدراسة أن شواهد القبور، واللوحات الجنائزية مُنفذة من مواد محلية، ومصورة على الطراز الروماني، ومتأثرة بالروح والأساليب الهلّنستية، كما أنها تنتمي إلى طبقة النخبة في المجتمع المصري خلال العصر الروماني، واتضح أيضا أنها منحوتة بجودة عالية، وخلص إلى أن شواهد القبور الجنائزية موضوع الدراسة تعود إلى العصر الروماني، خاصة في الفترة الممتدة من القرن الثاني إلى بداية القرن الرابع الميلادي. أيضاً تعكس الرموز المصاحبة للتماثيل الجنائزية مدى ارتباطهم بالطقوس الجنائزية، واعتقادهم في الخلود والحماية والحياة الأبدية. [EN] This study deals with five models of funeral tombstones and statues that have not been published before and are kept in the Ashmounin storehouse in Minya. Their origins are unknown. Two of them are statues inside a niche, and three of them are individual funerary statues. And provides a descriptive study of these funerary grave sculptures and statues, followed by a comparative analytical study dealing with sculpture. One goal is to provide a clear vision of artistic features. Another goal is to address the depiction of this group and its artistic style seen in its facial features, costume, and posture. Additionally, this study hopes to find the identity and status of the owners of the figurines, the symbols depicted with them, and their purpose. The subject of the study reflects a clear picture of the art school that produced the statues. The importance of this study is to determine where the statue group was found and to date it. The tombstones and funerary statues are made of local material, and depicted in the Roman style, which was influenced by the Hellenistic spirit and styles. The high quality of the carving makes it evident that the statues belonged to the elite class in Roman Egypt. The iconography included in the funerary statues reflects their connection with funeral rituals, and their belief in immortality, protection, and eternal life.

Corvi, Alberto

Three interesting drawings by the sculptor Pompeo Marchesi (1783‑1858), which are kept at the Castello Sforzesco in Milan, have been recently discovered within the framework of a comprehensive investigation of the artist’s graphic production. In these sheets the sculptor sketched out the first ideas for the colossal monument to Cesare Beccaria located on the grand staircase of the Brera Palace in 1837. The discovery of these sketches made it possible to retrace the development of the statue’s design pointing out Marchesi’s allusions to and influences on ancient statuary as well as the art of Canova and Thorvaldsen.

Chin Tiong Cheng, Gabriel Hoh Teck Ling, Hon-Choong Chin et al.

Street art is promoted in most countries to intensify the cultural elements of the cityscape. Although street art provides cultural and social values, its impact on the prices of prewar historic property is still unknown. Therefore, an empirical study that examines the relationship between prewar shophouse prices and street art is needed to improve real estate professionals’ understanding of the historic preservation market. Using pre- and post-models for the years 2009 to 2019, this study systematically determined the actual location of 119 street art objects (in the form of sculptures and murals) and the 852 prewar shophouses sold in George Town, Penang. The price change of prewar shophouses correlates with the number of street art objects within 100 m, 500 m, and 1000 m of the properties. Due to the heterogeneous characteristics of the properties, six primary hedonic models were developed to extract the price premium of street art. This study has shown the impact of street art on a prewar commercial building, where an additional unit of sculpture could increase its price by 8.32%, 1.62%, and 0.74%, based on radii of 100 m, 500 m, and 1000 m, respectively, in the post-model (after 2012–2019). However, a mural painting has no significant effect on the price change of prewar shophouses. In addition, the position of street art (representing visibility) in the model was tested. The result shows that, unlike sculptures that were located at the back of prewar houses, such street art effects contributed positively to the price premium when they were located at the front of the buildings, with each additional unit of sculpture increasing the price premium of prewar houses by 1.13%. Sculptures as street art thus created a positive externality for the city, particularly with respect to the price premium for prewar shophouses.

Honorato Justicia Muñoz, Mª Paz Sáez-Pérez, Jorge Durán-Suárez et al.

El Colegio Máximo de Cartuja en Granada fue construido por los jesuitas en el siglo XIX. El estudio arqueométrico de sus materiales: ladrillos, azulejos, vidrieras y morteros, define el concepto vernáculo de esta construcción, referenciada en el marco geológico de la “formación Alhambra”, junto a la identificación de materias primas y técnicas utilizadas por los nazaríes desde el siglo XIII. Los resultados de XRD, XRF y DTA confirman el uso de arcillas locales para fabricación de ladrillos y losetas que se hornearon a temperaturas de ≤750 ºC. Las arcillas debieron contener aditivos de NaCl que beneficiaron la sinterización cerámica, y se comprobó el uso de colores de tradición nazarí (Cu, Fe, Sn) en los esmaltes y vidrieras. Las materias primas locales también se usaron para producir aglomerantes aéreos. Estos resultados se han combinado para crear una guía de buenas prácticas para la restauración sostenible de los edificios del patrimonio cultural.

Cristina Moraru

We live in post-political times (Rancière 2004), when the fetishization of urbanity and technocracy creates the context of replacing the usual terms of describing the city with regard to neo-liberal thinking as competitiveness, creativity, sustainability, globality – terms that have been finding their applicability simultaneously, in a material and discursive manner. Thus, the city is being approached in terms of the competitive city, the creative city, the sustainable city, the global city, considering different perspectives over masses and class distinctions, which presuppose a special relation between singularity and universality: a singularity of its proper name – as the post-political city (Swyngedouw, 2010) – and an absolute universality of the action of the masses.

Babić Valentina

The paper proposes a new dating for the early medieval Dubrovnik cathedral church of St. Peter the Great. Certain analogies have been found with the relief sculpture of the North Apulian cathedrals from the second quarter of the eleventh century. Thanks to them, and taking into account the history and organization of the Latin Church under the political rule of Byzantium in Apulia and in the Diocese of Dubrovnik in the tenth and at the beginning of the eleventh century, above all the political situation in the Byzantine Empire of that time - the construction of the Dubrovnik cathedral is placed in the same historical framework as the construction of North Apulian cathedrals - the first half of the eleventh century.

Doaa Elsaid, Manal Hela, Mayssa Elfar

The current developments that have emerged in the arena recently influenced strongly the creative thought of the sculptor disigner, made him able to create works of art able to keep pace with this development, Today Virtual reality is one of the most important and most important design techniques, and has become an integral part of everyday life, from this point came the idea of research to identify the problem of the relationship between virtual reality and the art of sculpture and its suitability to develop applied frameworks, and This study deals with shed light on the effectiveness of reality And the methods of integration in the field of sculpture in the framework of this thought on the scene of art recently. It also includes an analytical study of a group of works of some virtual sculptors, and how each artist handled his work according to this new medium and how it organizes the elements of the work of art. The research recommends that the sculptor should make the most of modern digital technology and integrate it into artistic production in line with modern times and express the new spirit that represents the civilizational elements of the present era. The problem of research is to show the philosophical dimension of virtual reality technology and its impact on the intellectual and creative visions of the sculptor in the face of the age of technology. The research aims to:- To recognize the effect of virtual reality on the acquisition of imagination and creativity. - Identify the realities and concepts of virtual reality technology. The research in solving the problem was based on the evolution of the idea of virtual reality and its effectiveness in the creative visions of contemporary sculptor through the presentation of some works of virtual sculpture. The research in solving the problem was based on the following axes:.1. Historical development of the idea of virtual reality.2. Classification of Virtual Reality systems.3. From reality to virtuality (Some concepts associated with virtual reality)4. Effectiveness of virtual reality in sculpture .5. Virtual Sculpture Tools .6. Conclusions and recommendations .Keywords: virtual reality , modern sculpture , augmented reality , mixed reality.

Adrián Contreras-Guerrero

Las principales técnicas de policromía empleadas en la escultura neogranadina son el dorado al agua, el estofado, el esgrafiado, los toques a punta de pincel y la corladura. Para el desarrollo de todos estos procedimientos se emplearon pigmentos tanto importados como de producción local. El texto pretende profundizar en el conocimiento de estos materiales artísticos haciendo uso de fuentes documentales de la época y de los análisis científicos llevados a cabo por profesionales de la restauración. The main techniques of polychromy used in Neogranadine sculpture are water gilding, estofado, sgraffito, brush-tip touches and corladura. Pigments, both imported and locally produced, were used in the development of all these procedures. The text seeks to further our knowledge of these artistic materials in light of documentary sources of the time and scientific analyses carried out by professionals in the field of restoration. As principais técnicas de policromia utilizadas na escultura neogranadina são a douração de água, o folheado a ouro, o sgraffito, a prata dourada e toques do pincel. Para o desenvolvimento de todos estos processos, foram utilizados pigmentos importados mesmo que locais. O artigo aprofunda no conhecimento de estos materiais artísticos através de fontes documentais da época e de analises científicos feitos por profissionais da restauração.

Stephen Snyder

This essay discusses the mounted image of St. George slaying an emperor within the broader context of how and why early Christian images were transformed and adapted to the early Byzantine religious style. The representational framework of Arthur Danto’s philosophical system is used to tie together the threads of this research. By drawing parallels between changes in contemporary art and culture – often referred to as the modern/postmodern shift – and the transition of the Hellenistic to the Byzantine era, structures common to artistic creation and reception are brought to the fore. The case study presents the history of the depiction of St. George slaying Diocletian, how it emerged in the Caucasus region, and the manner in which it reflects the stylistic changes that took place in the late antique eastern Roman world. The social, cultural and philosophical ramifications of the shift of high classical art to the early Byzantine style are laid out in terms of art, modes of inquiry, and action-orientation. A theory is presented on what role the image of St. George killing Diocletian may have played in transforming the late antique and early medieval worldview. The final section sketches a philosophical framework that supports the conclusions of this research.

Mansour Kolahkaj, Mahsa Tahanpour

Although art teaching at schools in Iran, focusing mainly on visual arts like drawing, painting and sculpture, has a long history, it seems that it has not been taken seriously for different reasons. Often is it the case that students follow their interests in art outside the formal academic schools. In this regard, the present study aimed to answer three key questions: Why do not students rely on art teaching at formal academic schools? Why do they prefer to learn art at privately-organized art teaching centers? What is the main motivation for the students to follow art at privately-organized art teaching centers? The respondents included students at several privately-organized art teaching centers in Ahvaz, Iran. It was hypothesized that students are motivated to learn art at such art teaching centers to follow an art expertise in future professionally. This research intended to identify the motivation of the students to learn art at above-mentioned centers. The researchers surveyed the students’ responses to the mentioned questions posed using Likert Scale. The results indicated that students prefer to follow art at such centers, beside their formal teachings or as an independent alternative, mainly because they want to become a professional artist in a specific branch.

Maria Portmann

Dès la Renaissance, en France, les artistes s’intéressent de près à l’anatomie afin de représenter le corps humain le plus justement possible. Influencé par ses pairs, l’Eva Prima Pandora et le Livre de Pourtraicture de Jean Cousin font largement référence aux proportions de Vitruve par l’intermédiaire d’Albrecht Dürer et à l’anatomie pour justifier la primauté de la peinture sur la sculpture en prenant comme point de départ les commentaires de Benedetto Varchi. Dans ces deux œuvres, Jean Cousin insère un double débat dans lequel il démontre que l’autorité d’André Vésale sert justement à justifier la primauté de la peinture sur la sculpture. Ce débat est repris un siècle plus tard par André Félibien au sujet des œuvres de Poussin dans lesquelles l’artiste, connu pour avoir aussi pratiqué l’anatomie, continue à faire référence à André Vésale. En un siècle, on peut constater combien les artistes doivent à la Fabrica de Vésale dont le propos et les planches servent à nourrir les débats qui entourent les arts de la peinture et de la sculpture.

Julie Martin

Il y a un peu plus de dix ans, Rosalind Krauss notait dans Voyage on the North Sea : Art in the Age of the Post-Medium (2005) que la démarche d’hybridation, en oeuvre particulièrement dans l’installation, entraînait une dissolution de l’art dans la logique capitaliste. Ces dernières années, l’émergence et la généralisation de nouveaux outils de production, employés autant par la sphère marchande que la sphère artistique, actualisent ce constat et amène à le réexaminer. En s’appuyant sur l’oeuvre de Mohamed Bourouissa, L’Utopie d’August Sander (2011-2012), qui repose sur des impressions en trois dimensions, il s’agit d’examiner dans cette recherche comment une nouvelle technique en alternant les propriétés et donc les portées de plusieurs médiums traditionnels entraîne ici une oscillation de la perception du spectateur, susceptible alors d’échapper aux règles globalisantes et neutralisante du monde contemporain.

Bernard Derrieu

The sculptor Paul Dardé (1888-1863) was born in a village of the Hérault department, not far from the town of Lodève. He began life as a peasant, before attending evening classes at the school of fine arts at Montpellier. His early sculptures gained him some recognition, and he was able to visit Italy, thanks to a public grant for ‘the most deserving student’. In Paris he was welcomed by Armand Dayot, director of the review entitled L’art et les artistes. Celebrity came in 1920 when he was awarded a national prize for art. But Dardé left the capital, determined to enjoy the freedom of pursuing his work near where he was born. It was here that he came to design several war memorials, works that were paid no attention by the national salons, but which express the artist’s contradictory temperament in unexpected ways.

Politsinski Zanna

June 28, 2013 Botanic Garden of the University of Tartu has celebrated its 210th anniversary. To mark the occasion four significant events were presented: the first electric car trip, opening of the sculpture in honor of the gardeners of Estonia, the opening of "Moss garden" and a concert at the summer stage in the rock, which was held on June 29.

Francesc Ruestes

Born in Barcelona 1959. Trained in the Salvador Dalí studio and that of the Catalan sculptor Josep Granyer, he also established a close relationship with the poet Joan Brossa. He has participated in International art fairs and had important solo exhibitions in contemporary galleries in Spain and France. He has won several sculpture prizes such as the Vilacasas Foundation in Barcelona. His sculpture has been acquired by public and private collections such as the La Caixa Foundation

Maria Helena Ochi Flexor

Este trabalho é o resultado do início de um estudo sobre o escultor Pedro Ferreira. Embora seja autor de obras importantes, passa quase desapercebido na historiografia da arte baiana. Trata-se de artista que pertence ao tempo em que o neoclassicismo se impunha à cultura Ocidental, porém, ainda restavam, na Bahia, as práticas do período barroco, em especial a cópia dos grandes mestres renascentistas. Pedro Ferreira foi um desses artistas e teve como principal inspirador Murillo, da escola espanhola.<br>This work is the result of a beginning study about a sculptor Pedro Ferreira. Although he was author of important workmanships, he passes almost unknown in the bahian history of art. He was an artist who lives belongs a time when the neoclassicismo was imposed to the Occidental culture, but, still remained in Bahia, the practical ones of the baroque period, in special the copy of the great Renaissance masters. Pedro Ferreira was one of these artists and has inspired, as main artist, Murillo, of the Spanish school.

William Christenberry

In this abridged version of an illustrated lecture given at Emory University on February 26, 2007, artist William Christenberry introduces major themes in his work and presents examples from more than forty years of photography, drawing, painting, and sculpture centered upon his home state of Alabama.

Andreas Hartmann-Virnich