View allAll Photos Tagged scuplture
Imageneria de Ultramar
Opening Exhibition
Museo Arocena
Coahuila, Mexico
March 14, 2014
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Overseas Imagery: Ivory Scupltures in the Arocena Museum Collection
Ivory is one of the most appreciated material in both East and West. In Europe , carving ivory carvings prospered from the Hellenistic era ( third century BC ) . Likewise, flourished throughout the Roman Empire ( 100 BC - 476 AD) when the sculptors he had an excellent supply of raw material. Although in the Middle Ages this material was scarce in Western Europe, the tradition continued in cities like Paris , Rome and especially in the Arab kingdoms of the Iberian peninsula ..
From the late fifteenth century voyages of exploration and conquest of the European powers took their American and Asian sailors to land . In the east of the globe, the Spaniards penetrated into the Philippines via New Spain , while the Portuguese established contact with India through the ports of Goa and Kochin as strategic centers , in addition to the island of Ceylon and some ports China and Macao, apart from important places on the African coast .
Both Spain and Portugal took advantage of the skills of local craftsmen to boost the development of indigenous manufacturing for overseas trade , as in the case of carved ivory and export to American and European cities viceroys . Oriental ivories for export should be relevant to Western taste in models and sculptural iconography is concerned, although being made by native artisans , interpretation of motifs and forms had very distinctive features.
In the Philippines, Chinese - Hispanic ivories were carved by sangleys, ie Chinese residents in the islands. In India and Ceylon the carvings were made by the local population , which is known as works of Indo- Portuguese origin. Although among the sculptures of either origin there are subtle differences , such as length of hair , eyes, hands and facial expressions , both prevalent in European artistic styles such as the late Gothic , Renaissance and Baroque.
The Arocena Collection preserves an important collection of ivory carvings for personal worship dating from the fifteenth to eighteenth centuries : unsurpassed vestige of ancient transoceanic trade routes together under the same manufacturing all continents of the globe.
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San Juan Bautista / St. John the Baptist
18th Century
GUATEMALA (Guatemalteca)
Silver repoussé body with face, neck,chest and hands of ivory. I cannot see the feet so I am unable to determine if the feet are also made of ivory. The body is made of silver from Guatemala but the ivory part were made from ivory pieces carved and imported from the Philippines. The bushy eyebrows, the beard teminating in twin-snail points called caracoles and the orange-red tinge to the lips are telltale Philippine artistic conventions.
2018 collection
multiversatile wearable
wall hanging
vest top tunic
wrap scarf
scupltured freeform
nonsense miniature
circling around 1 skein
of Magdalena Neuner art yarn
by lana grossa
As promised to Si-MOCs I would upload one a day. :)
Here is a Apple I made. I wanted to test my sculpting potential without using plates and I think I did a fair job.
BTW This is my first successful Edited photo using GIMP!!!! YAY It isn't perfect, but hey. 1st time is not always the best..
Thanks pasukaru76 for the tutorial and Thanks Si-MOCs for showing it to me. :)
Last week I decided to teach myself how to build spheres and contoured shapes (the football, Mork, and plenty of unphotographed tablescrap). Around 6:30 last night, I thought it would be cool to apply my new knowledge and build R2-D2. I thought it would be even cooler if I could take the model to my LUG meeting today. So, using a voice command R2-D2 as a reference, I sat down around just before 7PM and started building and didn’t stop until just after midnight when I had a 12.5” astro-mech droid sitting on my desk.
It’s not movie accurate, but its close enough for me this time around. Bear in mind that this is my VERY FIRST attempt at building anything like this. Given my self-imposed time constraints, available brick and lack of experience, I think it turned out pretty good. I may certainly revisit this project later on and take my time to get a much cooler little droid.
This scuplture is a collosal male image, the best ever since the Greeks and Romans.
Others say:
Michelangelo took three years to finish his David. This great work would confirm him as even more than just Florence's greatest sculptor. What the Florentines saw that day in 1504, was a masterpiece with no equal. A giant almost four and a half meters high and the only large nude sculpted after ancient times, as no-one had previously dared to challenge the Greek and Roman masterpieces. But though it does remind us of ancient models, the David sculpture is daringly anti-classical. Its position, though expressing perfect balance, alludes at movement, with its left heal raised off the ground. The attitude is strong, arrogant and, above all, filled with inner life like no other similar classical statue. Behind the apparent equilibrium, his David represses strong energy and tension.
Chronicles tell us of the immense surprise and marvel that the Florentines showed as it was uncovered. 'It took the voice away from statues both ancient and modern', wrote Vasari, author of a famous biography of the artist. Such a superb work had never been seen before either in Florence or elsewhere, with its manifest expression of awareness of power.
Another detail from the solid marble sculpture on the north side of Vauxhall Bridge in London facing MI6. The sculpture - a solid block of marble with no representative shape - is lovely in itself but the stories hidden in the fine detail of the marble bowl me over.
I was originally going to call this Gateway to Hades but that was a distraction. It is clearly a Nativity scene with the participants kneeling on the right.
A companion piece, a marble seascape, is at
via Instagram ift.tt/1j1jemQ
I had to check out "Wonderland" in Calgary by sculptor Jaume Plensa who's also known for works such as the Crown Fountain in Chicago. His vision for this piece is to inspire everyone who experiences the sculpture. "I believe the architecture of our bodies is the palace for our dreams".
I shot this with my camera on a garbage can near the sculpture. There was no one or a tripod to assist me.
Please follow my travel adventures on Instagram: bit.ly/rtwgirlinsta or my blog: bit.ly/rtwgirlblog
The Yorkshire Sculpture Park was the UK's first sculpture park based on the temporary open air exhibitions organised in London parks from the 1940s to 1970s by the Arts Council and London County Council (and later Greater London Council). The 'gallery without walls' has a changing exhibition programme, rather than permanent display as seen in other UK sculpture parks such as Grizedale Forest. The park is situated in the grounds of Bretton Hall, an 18th-century estate which was a family home until mid 20th century when it became Bretton Hall College.[3] Follies, landscape features and architectural structures from the 18th century can be seen around the park including the deer park and deer shelter (recently converted by American sculptor James Turrell into an installation), an ice house, and a camellia house. Artists working at YSP, such as Andy Goldsworthy in 2007, take their inspiration from its architectural, historical or natural environment.[1]
A fragment of Yinka Shonibare MBE sculpture and YSP landscape
Since the 1990s, Yorkshire Sculpture Park (YSP) has made use of indoor exhibition spaces, initially a Bothy Gallery (in the curved Bothy Wall) and a temporary tent-like structure called the Pavilion Gallery. After an extensive refurbishment and expansion, YSP has added an underground gallery space in the Bothy garden, and exhibition spaces at Longside (the hillside facing the original park). Its programme consists of contemporary and modern sculpture (from Rodin and Bourdelle through to living artists). British sculpture is well represented in the past exhibition programme and semi-permanent installations. Many British sculptors famous the 1950s and 1960s, but since forgotten, have been the subject of solo exhibitions at YSP including Lynn Chadwick,[4] Austin Wright, Phillip King, Eduardo Paolozzi, Hans Josephsohn, and Kenneth Armitage. Exhibitions tend to be monographic - rather than group or thematic.
A scuplture I created for my final project in Art Class 126 "Three Dimensional Design and Construction"
The assignment was to create a sculpture that was 3-D, wearable, and reflective of some aspects of ourselves.
We had to wear our sculptures for the last day of class, two and a half hours.
Mine is about my arms, and how much they do for me. It seems that everything I do well requires the use of my arms to a very large extent.
1. Sign Language Interpreting, my most steady form of employment.
2. Dancing, my most ecstatic medium, the one that brings me gnosis
3. Writing requires the use of my hands on the keyboard and so again, one of my most significant activities requires my arms and hands.
The list actually goes on and on. I use my arms so much, so I decided to make casts of them in pieces and the rebuild a couple of extra sets that I put on when I needed to.
;)
I designed and sewed the white base garment, which has built in loops all over it for strapping the plaster arms on.
The arms are connected by an intricate series of elastic bands.
It's quite heavy, but I was able to wear for the duration of the class period.
standing wooden being.
painted using acrylic.
recycled plywood.
SOLD
from my current show at Craft Victoria, Melbourne, Australia
sandraeterovic.blogspot.com
The extra-ordinary sculpture park at Churt, near Thursley in Surrey, Jan 2016.
The park is set in 10 acres of woodland with ponds and wet areas, with over 600 exhibits (many available for purchase) displayed outside, with many more in its indoor gallery.
The variety of subjects, materials and textures is simply mind-blowing, as is the originality and creativeness of many of the pieces.
I actually had to stop myself about a third of the way round, and promise myself a return visit, because I really was starting to get a feeling of "sensory overload"! (These images, therefore, make up just a fraction of all that is to be seen.)
I visited on a day that looked like it would have 'sunnier spells later' but in the event stayed pretty dull and overcast. I can only think it would look even more impressive on a brighter day.
I'd say to allow at least 3 hours to explore the whole park properly, preferably more. The park is at Churt, opposite a pleasant pub called the Bell and Dragon, and can be accessed via the Thursley junction from the A3.
Small high-fired ceramic piece. Jade glaze. From around 1999. Image of a blob-like shoggoth with multiple yes.
A scuplture I created for my final project in Art Class 126 "Three Dimensional Design and Construction"
The assignment was to create a sculpture that was 3-D, wearable, and reflective of some aspects of ourselves.
We had to wear our sculptures for the last day of class, two and a half hours.
Mine is about my arms, and how much they do for me. It seems that everything I do well requires the use of my arms to a very large extent.
1. Sign Language Interpreting, my most steady form of employment.
2. Dancing, my most ecstatic medium, the one that brings me gnosis
3. Writing requires the use of my hands on the keyboard and so again, one of my most significant activities requires my arms and hands.
The list actually goes on and on. I use my arms so much, so I decided to make casts of them in pieces and the rebuild a couple of extra sets that I put on when I needed to.
;)
I designed and sewed the white base garment, which has built in loops all over it for strapping the plaster arms on.
The arms are connected by an intricate series of elastic bands.
It's quite heavy, but I was able to wear for the duration of the class period.
A scuplture from a previous trail. I also spotted a couple of gorillas while driving through Bristol. They clearly do have a life after the trails are finished
This scuplture by Alan Sly has a sense of humour about it lost on me when I rushed off to the next part of London. Off to the left is a large glass fronted building and the window cleaner is obviously non-plussed about how is going to tackle the job with the tools at his disposal!
This sculpture work, outside of the downtown public library depicts names and faces of people that influenced the growth and development of California.
städtisches museum abteiberg, mönchengladbach, 1982, architect: hans hollein;
skulpturengarten, scuplture ‚anello’, artist: mauro staccioli
„In the historic center—of the city of Mönchengladbach, adjacent to the cathedral and a baroque abbey—a museum of contemporary art was built into the face of a prominent hillside. Areas for a permanent collection, for temporary exhibitions and for didactic uses had to be provided. Contextual integration into the neighborhood and topography were prime concerns. The complex is a “walk–on”–building, its surface is for public use (and for open air sculptures). Outside a complex architectural ensemble, it is inside a succession of a variety of white, neutral, yet characteristic spaces in different configurations and light situations. Rather than following a forced linear arrangement it is a 3-dimensional matrix, making a walk through the museum a dialectic and spatial experience. Landscaping was an integral part of the design.
The museum was awarded with the Reynolds Memorial Award, USA, 1984.”
The Yorkshire Sculpture Park was the UK's first sculpture park based on the temporary open air exhibitions organised in London parks from the 1940s to 1970s by the Arts Council and London County Council (and later Greater London Council). The 'gallery without walls' has a changing exhibition programme, rather than permanent display as seen in other UK sculpture parks such as Grizedale Forest. The park is situated in the grounds of Bretton Hall, an 18th-century estate which was a family home until mid 20th century when it became Bretton Hall College.[3] Follies, landscape features and architectural structures from the 18th century can be seen around the park including the deer park and deer shelter (recently converted by American sculptor James Turrell into an installation), an ice house, and a camellia house. Artists working at YSP, such as Andy Goldsworthy in 2007, take their inspiration from its architectural, historical or natural environment.[1]
A fragment of Yinka Shonibare MBE sculpture and YSP landscape
Since the 1990s, Yorkshire Sculpture Park (YSP) has made use of indoor exhibition spaces, initially a Bothy Gallery (in the curved Bothy Wall) and a temporary tent-like structure called the Pavilion Gallery. After an extensive refurbishment and expansion, YSP has added an underground gallery space in the Bothy garden, and exhibition spaces at Longside (the hillside facing the original park). Its programme consists of contemporary and modern sculpture (from Rodin and Bourdelle through to living artists). British sculpture is well represented in the past exhibition programme and semi-permanent installations. Many British sculptors famous the 1950s and 1960s, but since forgotten, have been the subject of solo exhibitions at YSP including Lynn Chadwick,[4] Austin Wright, Phillip King, Eduardo Paolozzi, Hans Josephsohn, and Kenneth Armitage. Exhibitions tend to be monographic - rather than group or thematic.
Life Cycle was commissioned in 1970 by the state department Public Works for the new Civitas building in Pretoria, which was destined to house the Department of Internal Affairs. The nudity of the sculpture group caused a public outcry by churches and Die Vrouefederasie. It resulted in a big controversy, raging in the media for a period of four years. The media storm placed the sculpture on the agenda of forums such as cabinet meetings and the Publications Control Board. Although already completed in 1971, the sculpture was only erected in 1974 – on the podium level of the Civitas building where it was completely hidden from the public eye. It remained there for 25 years. The sculpture can now be seen at the entrance of the Orient Boutique Hotel in Elandsfontein, Pretoria. From "http://tieniepritchard.co.za/?portfolio=life-cycle"