The craftsmanship in glass making is one of the most demanding. Working with an extremely fragile medium presents unique challenges. Challenges aside, the delicate nature of glass gives it exceptional visual presence. A blown glass urn dated to first century Rome is an example. The fact that it has survived the ages intact is testament to its ultimate strength and beauty.
Louis Comfort Tiffany introduced many styles of decorative glass between the late 19th and first part of the 20th centuries. The artist Dale Chihuly has redefined the traditional craft of glass making over the last forty years, moving it towards the mainstream of fine art with single objects and large scale installations involving hundreds of individual pieces. The products and devices we use everyday continue to serve the same functions but change in styles. This constant realignment in basic form reflects modern aesthetic considerations and, on a larger scale, become artifacts of the popular culture of a given time period.
The two examples below illustrate this idea. Like Tiffany glass, the chair designed by Henry van de Velde in reflects the Art Nouveau style in its wood construction with organic, stylized lines and curvilinear form.
The human figure has been the most often reproduced in art. Even modern art with its abstracted forms used the human form most often as its material. There are a few conventions over time that you should be aware of in the depiction of human beings which have varied widely from period to period and from country to country. Earlier civilizations like the Egyptians developed a schematic representation of the human form. It never varied for thousands of years with one exception we will examine in our study of the period and this was because it was considered to be the most appropriate and necessary form.
The figures were rigid and idealized — note the kneecap on Menkaure — but the single foot forward is thought to have been meant to represent life. In an excavation on the Greek Acropolis unearthed a sculpture that would be profoundly influential in the history of art. Found in pieces and reassembled, this sculpture exhibits the stance of an actual human being which has come to be called contr a pposto , or counterbalance. A contrapposto stance is characterized by a standing figure with the weight on one leg, one hip elevated, and the other bent.
More exaggerated contrapposto can involve straight and bent arms and a counterbalance of hips and shoulders. There are many objects that fit into the category of sculpture, and others — although not strictly sculpture — that are three-dimensional and valued as aesthetic objects. Sometimes it is useful to think about the objects that surround us and look for similar aesthetic qualities in them.
We will see how the same impulses to create can be seen in most of the things humans make and even humble objects can be satisfying if the elements and principles are taken into consideration in their making.
Skip to content Drawing and painting both fall into the category of two-dimensional art; sculpture is three-dimensional in that it has height, width, and depth. Methods Carving Carving uses the subtractive process to cut away areas from a larger mass, and is the oldest method used for three-dimensional work. Nicola Pisano, The Nativity and Annunciation to the Shepherds, , Pulpit in the Baptistery, marble joanbanjo High relief sculpture is characterized by figures or elements that are significantly raised off the surface from which they are carved, but still remain attached.
The shadows are not pronounced Casting The additive method of casting has been in use for over five thousand years. Photo from Chris Gildow More contemporary bronze cast sculptures reflect their subjects through different cultural perspectives. Broadway and Pine, Seattle. Photo from Chris Gildow Modeling Modeling is a method that can be both additive and subtractive.
This file is made available under the Creative Commons CC0 1. Riot , steel sculpture by Deborah Butterfield. Photo taken at the Delaware Art Museum in February CC Attribution 2. There is a video of the work here: Modern Variations of Three-Dimensional Media Dan Flavin is one of the first artists to explore the possibilities of light as a sculptural medium.
Installation Art Installation art utilizes multiple objects, often from various mediums, and takes up entire spaces. Photo from WikiArt, last edit Feb. Decorative Arts Craft Craft requires the specific skilled use of tools in creating works or art. Photo by Jack E. Boucher, April , National Parks Service. Sioux Quilled Pipe Bag ca.
Photo by Pierre Fabre. Cinerary Urn, Roman. National Archaeological Museum, Spain. Photo Luis Garcia Zaqarbal. Dragonfly shade, designed probably by Clara Driscoll for Tiffany Studios pre, 22 in.
Egon Neustadt, N Taken by Adrian Pingstone in June and released to the public domain. The piece is 13 feet 4 metres high and made from separate glass objects. The sculptor is Dale Chihuly. Chair, Henry van de Velde, , wood, woven fiber. Contrapposto Earlier civilizations like the Egyptians developed a schematic representation of the human form. King Menkaure and Queen, Egypt, reign of Menkaure, BCE In an excavation on the Greek Acropolis unearthed a sculpture that would be profoundly influential in the history of art.
Kritios Boy, c. Polykleitos, Doryphoros Spear Bearer , bronze original c. Accessed August 15, Cai Guo-Qiang was born in in Quanzhou, China and he is one of the pioneers in the field of contemporary art.
He also gained widespread attention as the Director of Visual and Special Effects for the opening and closing ceremonies of the Summer Olympics in Beijing. Save my name, email, and website in this browser for the next time I comment. This site uses Akismet to reduce spam. Learn how your comment data is processed. DB: why has it been important for you to create work that is accessible to the general public, and that can reach audiences outside of gallery settings?
JP: I think that art in the public space has the extraordinary function of introducing beauty into the daily life of the community, creating spaces of intimacy and silence. DB: how do you intend your work to engage with the cities in which they reside?
JP: each public space asks for a different answer. DB: what are you currently fascinated by, and how is it feeding into your artistic practice?
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