-three-dimensional
-takes up space
-meant to be enduring monuments telling story of those in power
-carefully composed scene, compressing as much information as possible
-tell public/shared stories in public/shared space
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| laocoon & his sons early 1st century C.E. |
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| male model (the serf)- matisse 1900 |
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| the serf (sculpture)- matisse 1900-04 |
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| back (I-IV)- matisse sculptural relief only slightly protrudes 1908-1931 |
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| walking man- rodin 1877 combination of fragments legs & torso made at different time "we don't use our arms to walk" |
COMPARED TO:
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| the mediterranean- aristide maillol 1902-05 smooth, pleasing geometries |
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| la marseillaise- francois rude 1833-36 spirit of freedom leading citizens into combat traditional sculpture illusion of movement of bodies |
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| reclining nude I- matisse abstracting of the body |
auguste rodin:
-first modern sculptor
-attention to fakture/materiality
-first modern sculptor
-attention to fakture/materiality
-challenge sculpture's publicness
-commercially trained; not academically trained
-not revolutionary avant-garde artist
-thoroughly modernist; anti-historical & allegorical
-rough & realist sculptures
-turns body into fragments so that they're not a story
-rodin influenced by michelangelo's mannerist work 1520-1555
-rodin influenced by michelangelo's mannerist work 1520-1555
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| the bronze age- rodin 1876 (plaster) & 1906 (bronze) controversial bc lack of attributes & props to identify; anonymity of figure rendered as life-like & convincing that he was accused of casting it from a model relying on expressiveness of figure itself for a meaning |
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| man's torso- rodin, 1877 fragmentation work on one body part at a time & suture them together or leave as parts |
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| the gates of hell- rodin 1880-1917 descent through 9 circles of hell (krauss) "opaque" = can't see through- can't figure out what it's about; privacy, rejection of expectation of sculpture to disclose meaning to us = MODERN no ideal vantage or center point bodies don't make physical sense & impossible poses old figures re-used ex. the thinker lack of balance |
COMPARED TO:
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| gates of paradise- ghiberti 1425 |
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| iris, messenger of the gods- rodin |
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| fugit amor- rodin 1887 |
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| prodigal son- rodin 1889 |
- he reuses figures in different combinations to create different sculptures, as if ready-mades
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| adam-rodin 1880 |
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| three shades- rodin 1886 adam repeated refusing uniqueness undermines identity "unyielding, mute, bluntness... do not form w each other a relationships that seem capable of signification, of creating a sign that is transparent to its meaning" -rosalind krauss |
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| the three graces- antonio canova 1813 repeating figures to show mastery from all angles |
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| flying figure- rodin 1890-91 as if unfinished/in process of being made marks, gauges, etc. = evidence of process of sculpting seams, air pocket holes = evidence of casting shows medium specificity |
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| little dancer- edgar degas 1881 whole composed bodies |
- "what if meaning, instead of preceding experience, occurs within experience?" -rosalind krauss
- traditional sculptures- body holds the soul
- rodin's work is a turn away from enlightenment ideals
- arriving at meaning by viewer = modern
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| monument to balzac- rodin 1897 first major commission but rejected one of originators of modernism in literature- novel impenetrable body- can't see architecture of body lacks internal muscular structure looks different at every angle- gotta encircle the form to understand it |
-romanian, moved to france
-simplified, minimalized & elegant forms
-didn't like rodin's mass production of sculptures
-move towards abstraction
-interest in direct interaction w material
-importance of pedestal, important turn in history of sculpture
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| constantin brancusi- bird in space 1927 |
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| torso of a young man- brancusi 1924 phallus-like form |
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| sleeping muse- brancusi 1909-1910 quasi-mechanistic/abstract forms moves from direct carving & polishing to plated forms body is abstracted, reduced to essential forms becomes otherworldly/ inhuman perfectedly/sleek --> alienated from rough materiality of world |
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| the newborn- brancusi 1915-20 quasi-mechanistic/abstract forms moves from direct carving & polishing to plated forms body is abstracted, reduced to essential forms becomes otherworldly/ inhuman perfectedly/sleek --> alienated from rough materiality of world |
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| princess x- brancusi 1916 polished bronze sexual identities phallus-like form |
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| the beginning of the world- brancusi 1924 round, egg-like, ovoid form uterine or head form? reduction/minimalization/abstract base used to emphasize perfect of sculpture |
- brancusi turning away from the world
-no story being told
-movable, disconnected from environment
-designed bases emphasizes autonomy
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| endless column- brancusi cast iron 98 feet tall 1937-8 pure verticality work of sculpture becomes the base part of it's environment |
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| modern sculptures as autonomous forms that decorate environment after WWII --> site specificity sculpture crucial paradigm shift --> interest in making spaces instead of autonomous objects |
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| isamu noguchi sunken garden at chase manhattan bank plaza cullen sculpture garden MFAH also artist of entire space "sculpture for sculptures" |
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