Tag: sculpture

Claus Sluter

Claus Sluter, “Well of Moses”, 1395-1404, Cloister of the Chartreuse de Champmol, Dijon, France

Claus Sluter was an influential master of early Netherlandish sculpture, who moved beyond the dominant French taste of the time and into highly individual monumental, naturalistic forms. The works of Claus Sluter infuse realism with spirituality and monumental grandeur.Sluter’s influence was extensive among both painters and sculptors of 15th-century northern Europe.

The six-sided “Well of Moses”, now lacking its crowning Calvary group, which made the whole a symbol of the “fountain of life,” presents six life-sized prophets holding books, scrolls, or both. The figures, beginning with Moses, proceed counterclockwise to David, Jeremiah, Zechariah, Daniel, and Isaiah. Moses was placed directly below the face of Christ, and the location of Zechariah, father of John the Baptist, was at Jesus’ back, as befits a precursor.

Zechariah looks down sadly as Daniel vigorously points to his prophecy. On the other side of Daniel, and serving to balance Daniel’s passionate temperament, is the calm reflective Isaiah. This juxtaposition reveals Sluter’s use of alternating naturalistic balances. The head and torso fragment of Christ from the Calvary reveal a power and intensity of restrained expression that conveys overwhelming grandeur. Suffering and resignation are mingled, a result of the way the brow is knitted, though the lower part of the face, narrow and emaciated, is calm and without muscular stress.

The “Well of Moses” was originally painted in several colours by Jean Malouel, painter to the duke, and gilded by Hermann of Cologne. The figures of the composition dominate the architectural framework but also reinforce the feeling of support that the structure provides through their largeness of movement.

Imperatore Constantino

Artist Unknown, Imperatore Constantino, Musei Capitolini, Rome, italy

The colossal statue of Constantine I,  sculpted in marble, was one of the most important works of late-ancient Roman sculpture The remaining segments are at the Palazzo dei Conservatori in Rome and were dated between 313 and 324. A hand and the right arm, the two feet, the knee and the right femur, the left calf and the head are the only remaining parts of the statue. The origin statue judging from the remains was a seated form that reached approximately 12 meters in height.

The head, which was originally decorated with a metallic crown, is grandiose and solemn, presenting the characteristics of Roman art of that era, with the stylization and simplification tendencies of the lines.  The face is squared, with hair and eyebrows rendered with very refined and “calligraphic” marble engravings, but still completely unnatural looking. The eyes are big, almost huge, with the well-marked pupil looking upwards; they are the focal point of the whole portrait.

The Emperor’s gaze seems to scrutinize the surrounding environment and gives the portrait an appearance of extraterrestrial austerity. The hair is treated as a single swollen mass deeply furrowed by the streaks that separate some locks. The face posesses an aquiling nose, long, thin lips and a prominent chin. This is an idelaized face, despite the classical importation, which seeks to show an aura of holiness.

Carl Milles

Carl Milles, Orpheus Fountain Figures, Cranbrook Academy of Art and Design, Bronze

Carl Milles was a Swedish sculptor who studied in Paris, working in Auguste Rodin’s studio and slowly gaining recognition as a sculptor. In 1906 he and his wife, artist Olga Milles, bought porperty on the island Lidingo, near Stockholm. There they built a residence and a workspace for both of them. It was turned into a foundation and donated to the Swedish people in 1936, after Milles went to the Cranbrook Academy of Art in the United States.

Tribute Bearer

Tribute Bearer, Bas Relief, 710-705 BC, Assyrian Empire

This sculptured head of a man comes from a bas relief of tribute bearers in a procession. The turban on his head and style of his hair and beard identify him as being fron the western part of the Assyrian Empire, probably the Syrian Coast or Turkey. The relief was on a wall in the Palace of Sargon II, located in Khorsabad, Iraq.

Sargon II, a son of Tigiath-Pileser III, came to power late in his life, by ursurping the throne of his brother in a coup. Sargon II suppressed rebellions, conquered the Kingdom of Israel, and in 710 BC conquered the Kingdom of Babylon. He reunited Assyria with its southern rival, Babylonia, which had been seperated for the last thousand years.

In 705 BC, five years after taking Babylon, Sargon II was killed while leading a campaign to Tabal, which had rebelled against Assyrian rule seven years prior. His body was never recovered; his son Sennacherib became the new king.

Ibis Coffin

Ibis Coffin, 305-33 BCE, Wood, Silver, Gold Leaf, Gesso, Rock Crystal, Animal Remains, Linen, Pigment, 19 x 8 x 22 Inches, Brooklyn Museum, New York

This Ptolemaic Period ibis coffin was probably from the Tuna el-Gebel area of Egypt.  The coffin is in the from of a standing figure of an ibis serving as container for mummified ibis; the wooden body of the coffin is entirely surface gilded. There is a resin covering the gilt in places which may be the remains of a varnish. The figure has a onventionalized tail indicated by black paint over the gilt and the top of its body is cut for a cover which runs entire length of body.

The figure’s head and feet is cast in silver; the eyes are of crystal outlined in gold. The head has an incised necklace at base of neck. The figure is mounted on an oblong wooden base, apparently original, of rough work. The mummified ibis lies within the figure’s body, in an intact condition.

Animal mummies were routinely placed in some type of container once the animal had been wrapped in linen. The more ordinary containers were specially designed or reused pottery jars. Such objects have been found by the tens of thousands in so-called animal cemeteries at a number of sites in Egypt.

At times elaborate coffins were crafted to hold the animal mummies. Just as human coffins were anthropoid, so animal coffins took the form of the animal contained. The ibis mummy held by this coffin was placed within through the detachable lid on the back. The gilding of the body and the exquisite detailing of the head, legs, and feet make this example one of the finest of its kind.

The Duck Vase

Vase in the Shape of a Duck, 300-200 BC, Faience with Polychrome Glaze,    8.5 x 18 x 7.9 Centimeters, Walters Art Museum, Baltimore

Egyptian faience is a composite material composed of ground quartz and natron (sodium carbonate and sodium bicarbonate). Most faience is glazed in a vivid blue or green color; the polychrome faience seen here is much more complicated to produce.

The duck was mold-made together with the remains of its ring handle on the bird’s left side. The surface of the body displays a raised dot pattern, while the end of the wings have a feather pattern. The form may have been inspired by the red-figure duck vases of Etruria and south Italy. The duck is depicted with such detailed naturalism that the underside even has delicately modeled webbed feet.

Pontiac Chieftiain

Classic Hood Ornament of the 1952 Pontiac Chieftain

The Pontiac Chieftain is an automobile, manufactured from 1949 to 1958, porduced by Pontiac, a division of the General Motors Company. The 1949 Chieftain, along with the Streamliner models, were the first new car designs from Pontiac since World War II.

The Chieftain was introduced initially with four model designs; the Business Coupe, the Sedan, the Sedan Coupe and the Delux Convertible Coupe, each model having a choice of four engines. For the  1952 model year, the Chieftain was the only model car available when Pontiac discontinued the Streamliner line.

The hood ornament was made of amber plastic that lit up when the headlights were turned on.

Jacopo Sansovno

Jacopo Sansovno, “Mars”, Doges Palace, Venice, Italy

In 1485, the Great Council in Venice decided that a ceremonial staircase should be built within the courtyard of the Doges Palace. The design envisaged a straight axis with the rounded Foscari Arch, with alternate bands of Istrian stone and red Verona marble, linking the staircase to the Porta della Carta, and thus producing one single monumental approach from the Piazza into the heart of the building. Since 1567, the Giants’ Staircase is guarded by Jacopo Sansovno’s two colossal statues of “Mars” and “Neptune”,  which represents Venice’s power by land and by sea, and therefore the reason for its name.

Seated Male Figure

Seated Male Figure, Date Unknown, Mexico, Walters Art Museum

This exceptional exploration of the human form has a number of characteristics that underscore the fact that ancient artistic styles throughout West Mexico do not conform to modern political boundaries despite our use of Mexican states to name the region’s ancient cultures. The facial features and figural abstraction attest to connections between the San Sebastiian Red style of Jalisco and the Lagunillas pottery sculptures of adjacent Nayarit.

The male figure’s serene countenance and seated position on a bench-throne suggest a person of high status, his composed visage intimating that he is above the triviality of daily routine. On the other hand, his formal demeanor -arms held away from the body and hands resting securely on the knees- evokes a ritual pose like those of shamanic practices. The lack of any articulation of dress-other than the earrings, composed of a cluster of rounded forms-and the figure’s self-possessed expression point to the interpretation of the work as an idealized portrayal of a shaman in trance.

Nicolas Pain

Nicolas Pain, “Octopus III”, 2016, Bronze, 1 x 1 x 1 Foot

After graduating in 1990 with a  B.A. in Graphic Design, English sculptor Nicolas Pain pursued a career as a graphic designer though his interest and ability in three dimensional work drew him into the to the video game industry in the late nineties. This allowed him to support his life long interest in both SCUBA diving and marine wildlife that proved to be the trigger for his sculptural work which he began in 2005.