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    Sculpture 120 illustrations
    Sculpture 120 illustrations
    Sculpture 120 illustrations
    Ebook197 pages1 hour

    Sculpture 120 illustrations

    By Victoria Charles

    3.5/5

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    About this ebook

    Mega Square Sculpture spans over 23,000 years and over 120 examples of the most beautiful sculptures in the world: from prehistoric art and Egyptian statues to the works of Michelangelo, Henry Moore and Niki de Saint-Phalle. It illuminates the wide variety of materials used and the evolution of styles over centuries, as well as the peculiarities of the most important sculptors.
    LanguageEnglish
    PublisherParkstone International
    Release dateNov 14, 2023
    ISBN9781781609477
    Sculpture 120 illustrations

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    Reviews for Sculpture 120 illustrations

    3.5/5

    6 ratings2 reviews

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    • 1/5
      I cant even figure out how to read the book. The scanning process of this book at Scribd is so poor and the paper layout is confusing. Please remove this book because it is unreadable in the current format
    • 1/5
      Nice collection of sculptures, however the text on each page is a complete mismatch with the sculptures being shown. Renaissance sculpture with descriptions of modern art - completely ridiculous and very off putting. (Does not self correct by changing orientation). Text reads more like a boring narration of sculptors lives rather than an overview of the world of sculpture and the important influences and technologies that shaped it.
      Worth a flick but not a serious book.

    Book preview

    Sculpture 120 illustrations - Victoria Charles

    Sculpture, although it preceded painted art, was long considered to be merely the accessory and complement of the eldest of the three arts: architecture. Executed using the same materials as in architecture – wood, stone and marble – sculpture was initially seen as ornament for architecture.

    However, little by little, sculpture soon established itself as an independent and dignified art. After having admired the universe, man started to contemplate himself. He recognised that the human body is among all forms the only one able to fully manifest the spirit and aspirations of man.

    Ruled by proportion and symmetry, superior in beauty, sculptors would work hard to reinvent the perfect body. Likewise, in the slow path of progress that led painting to produce what we call a work of art, it was a long process for sculpture to detach itself from architecture and produce what we call low-relief and sculpture in the round.

    It is in the depths of antique and primitive civilisation in the Nile Basin that one must search for the origins of the arts. Around the same time that the Nile settlers constructed temples and pyramids, they engraved headstones and tombstones and lined the avenues leading up to their temples with sphinxes mounted on pedestals.

    Rivals to the Egyptians, the Assyrians certainly had more influence over the Greek and the Etruscan civilisations. The oldest monuments from Greece and Etruria show evidence that they somewhat imitated ancient Assyrian art. We can witness this from Cyprus to Rhodes, from Crete to Sicily, from Athens to Corinthia.

    Etruria can be proud of an ancient primitive civilisation which was close to our own. Originated with Asian influences, it modified the Greek civilisation, then the Roman, by bringing to them the first rudiments of all arts and industries.

    Greek sculpture

    What Pliny said about painting, de picturae imitis inserta, can also be said about sculpture. One can be certain that Greek art started out by imitating Oriental art. However, contrary to other ancient civilisations, the Greeks only followed lessons as a means to react against their masters.

    If they did not invent art, they did invent beauty. Aphrodite of Melos (The Louvre Museum, 2nd century BC) may be the most magnificent specimen of Greek art. She is marvelously composed — the curves of her torso, the fineness of her skin — and she is the perfect equation between the subject and the style.

    The Aphrodite of Melos, like other Gods and Goddesses, demonstrates the useful influence that mythology had on the arts. In believing that man had been made in the image of Gods and that Gods had all the passions of men, that is, in creating Gods in their image, the Greeks tried to recreate the most perfect forms to represent divinities in a worthy manner: model, prototype, apotheosis of humanity. We should

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