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An Introduction to Abstract Art
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ARTHI 1013: Modern to Contemporary Sculpture
Amanda Douberley
This survey addresses the history of European and American sculpture from the mid-nineteenth century to the present. It charts transitions from the innovations of Auguste Rodin to a variety of sculptural modernisms, the emergence of minimalism and earthworks, and the expansion and diversification of practices as we move toward today. Meetings are informed by readings from the textbook, supplemented with scholarly articles that present a range of critical approaches to the production, reception, and interpretation of sculpture past and present. Class sessions combine a lecture component and discussion in the classroom, in the galleries at the Art Institute of Chicago, and elsewhere in the city.
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"Picasso Sculpture: A Documentary Chronology, 1902-1973" in Picasso Sculpture
Luise Mahler
Tate. We also extend our sincere thanks to the collectors who have graciously parted with works that occupy major places in their homes: Marie-Josée and Henry Kravis, Leonard A. Lauder Cubist Trust, and several individuals who wish to remain anonymous.
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"He Who Broadly Sees, Broadly Thinks": On the Limits of Sculpture and Medardo Rosso's Legacy
Maria Elena Versari
2023
in "Medardo Rosso. Pioneer of Modern sculpture", catalogue of the exhibition (Fundación MAPFRE, Madrid, 22 September 2023- 7January 2024), Fundación MAPFRE, Madrid, 2023. [Bozze testo in inglese]
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The Baltimore Museum of Art. The Cone
Meliza Viquez Salazar
Everything is framed by the forceful horizontal edges of the table. Each apple has a powerful physical presence as it is built up out of slablike brushstrokes, its form also carefully delineated with a distinct line. The folds of the cloth are equally plastic, their illusionistic tactility reinforced by the concrete presence of parallel bricks of paint. But the picture also has a nervous energy and ethereal flatness: The compote refuses to recede in space because its back lip tips forward. The same is true of the dish. Its edges disappear behind the apples and we have difficulty imagining their connection to each other in space. The tabletop is also spatially disorienting, for it tilts forward and up the canvas rather than moving back into space. The chunks of brushstrokes are obviously flat marks, and they cover the surface with a nervous energy. This energy is epitomized by the strange interior life that the folds of the cloth seem to have. Meanwhile, the wallpaper s leaf pattern momentarily does a reversal as it escapes its twodimensional assignment to take on a three-dimensional life, one as concrete as that of the apples or folds of cloth. Cézanne has abandoned faithfully observed reality to create his own pictorial world, one that adheres to a private aesthetic order and CHAP TER 26 P ROGRESS AND ITS DISCON TEN TS: P OST-IM PRESS IONISM , SYMBOL ISM, AND ART NO UV EAU , 1880 1905 907
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'All concrete shapes dissolve in light': Photographing sculpture from Rodin to Brancusi
Geraldine A Johnson
Geraldine A. Johnson, "'All concrete shapes dissolve in light': Photographing sculpture from Rodin to Brancusi," Sculpture Journal, vol. 15 (2006): 199-222, 2006
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The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern
Carol Strickland
1992
EXPRESSIONISM 158 Action painters smash art tradition, create first U.S. movement to influence world art. Gorky, Pollock, de Kooning, Kline, Hofmann, Still, Motherwell FIGURAL EXPRESSIONISM: NOT JUST A PRETTY FACE Artists seek visceral effect by distorting figures. Dubuffet, Outsider Art, Bacon, Kahlo 162 POST-WAR SCULPTURE 164 Nonrepresentational sculptors experiment with varied materials and forms. Moore, Calder, Smith, Bourgeois, Nevelson COLOR FIELD 166 Americans rely on fields of color to convey message of art. Rothko, Newman, Frankenthaler, Louis THE TWENTIETH CENTURY AND BEYOND: CONTEMPORARY ART 168 Experimentation continues as styles, materials, techniques change rapidly. HARD EDGE 1 7 0 Artists use large geometric shapes to show how colors interact Albers, Noland, Kelly, Stella P R E P O P A R T 1 7 2 Recognizable objects return to art. Rauschenberg, Johns P O P A R T 1 7 4 Consumer culture permeates art. Lichtenstein, Warhol, Oldenburg, Segal, Op Art MINIMALISM: THE COOL S...
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Ana Lúcia Filipe
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“Paul Evans and the Legacy of Modern Welded Sculpture: Between Decoration and Expression,” in Paul Evans: Crossing Boundaries and Crafting Modernism
Robert Slifkin
although Paul evans was trained as a metalsmith and spent his most productive years creating handmade furniture and domestic ornaments, his work demonstrates a deep and sustained engagement with the fundamental aspects of modern sculpture and, in particular, its critical reception in postwar american culture. With its characteristic irregular and roughly textured surfaces and its equally bold display of the material properties of welded metal, its frequent invocation of allusively biomorphic forms, and its ability to foreground the vertical plane facing the viewer, evans's artistic output drew heavily on the central stylistic trends and aesthetic theories that guided the way art and sculpture in particular were created in the united states during the second half of the twentieth century. Bringing the lexicon of modern sculpture into the realm of craft and design, evans invested his works with an expressivity rarely encountered in these realms, making many of his pieces lasting testaments to the place of the individual in the modern, industrialized world. a collection of sheet metal to produce a figural sculpture in which the various industrial and domestic objects maintain their original identity even as they suggest a metaphorical significance through their anthropomorphic allusions. in many of these works, Picasso and González balance the innovative and decidedly industrial connotations of welding with an overt nod to antimodern and anti-industrial sources such as classical statuary and african masks. the welding process encouraged these artists to explore distinctly ornamental aspects to their designs, often through the use of repeated shapes and patterns. González, taking the cue from Picasso, expanded his own artistic lexicon, creating works such as "Monsieur" Cactus (Cactus Man I) ( ) in which he blends found metal objects like carpenters' nails with forged and cut metal forms of his own construction-many of which bear a distinctly industrial character-to produce allusively anthropomorphic configurations that perhaps express the changing conception of humanity within a modern industrialized society: at once both mechanically rationalized and shockingly barbaric.
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