Henry Moore was the most celebrated sculptor of his time, and the second part of his career, in particular, demonstrated that Modernist sculpture was, after all, surprisingly adaptable to official needs. In this sense, Moore was the contemporary equivalent of the great Neo Classical sculptors such as Canova and Thorwaldsen.
Moore was born in July 1898 in Castleford, Yorkshire, the seventh child of a mine manager who had worked at the pit face. Both parents were strong and supportive personalities, and Moore's childhood was a happy one. He became a student teacher in 1915, and by 1916 was teaching in the local elementary school which he had attended in his boyhood. At seventeen he joined the army, as the youngest member of his regiment, the Civil Service Rifles. For him the First World War was not the traumatic experience it was for so many others: he remembers the army as being 'just like a bigger family' and says that 'for me the war passed in a romantic haze of trying to be a hero.' He was gassed at Cambrai but made a swift recovery, and finished the war as a physical training instructor.
In September 1919, after a brief return to elementary-school teaching, he went to Leeds School of Art on an ex-serviceman's grant. He was soon recognized as a star pupil, and in 1921 won a scholarship to the Royal College of Art in London:
I was in a dream of excitement. When I rode on the open top of a bus I felt that I was travelling in Heaven almost. And that the bus was floating on the air.
Moore made the most of the opportunities London offered, regularly visiting the museums, where he acquired a great interest in primitive art: he was particularly struck by pre-Columbian sculpture. In his first year at the Royal College of Art he went to Paris with his fellow student Raymond Coxon, who had been with him at Leeds; these visits were to be many times repeated. In 1925 he visited Italy on a travelling scholarship - something which caused a certain creative blockage as he tried to work his way through what he had seen and experienced.
Even before he went to Italy Moore had been fortunate enough to be offered a part time post as Assistant in the Sculpture Department at the Royal College of Art. In 1926 he held his first one man show, which attracted some distinguished purchasers including Augustus John, Henry Lamb and Jacob Epstein. He was also commissioned to prov...
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...nd for the resulting insensitivity of surface in many of his larger works. The best of his late work is to be found in his drawings. While those of his active maturity nearly always seem to have been made with sculpture in mind (almost the sole exception to this being the celebrated series of Shelter Draivings made during the Second World War), the very late drawings are often pictorial rather than sculptural. Moore's studies of trees, made in old age, can be compared to similar sheets by Rubens and Van Dyck.
In the post war years Moore was loaded with official honours - it is difficult to think of any which he might have coveted which were not offered to him. He was made a Companion of Honour in 1955, and a member of the Order of Merit in 1963. These marks of distinction showed the extent to which Modernist art had now been absorbed and accepted by the traditionally conservative British cultural establishment. They also demonstrated the extent to which Moore himself now identified with this establishment. Though his work remained in demand to the end of his life, and continues to fetch high prices at auction, it now seems very far from the mainstream of sculptural development.
Charles attended Brentwood School in Essex which is father was headmaster of but in 1894 Charles changed schools to Clifton College before winning a scholarship to Hertford College in Oxford in 1898.
By the late 1950s, Voulkos had established an international reputation for his muscular fired-clay sculptures, which melded Zen attitudes toward chance with the emotional fervor of Abstract Expressionist painting. Some 20 works -- including five "Stacks" (4-foot-tall sculptures) as well as giant slashed-and-gouged plates and works on paper -- recently went on view at the Frank Lloyd Gallery. This non single show is his first at a Los Angeles gallery in 13 years, although a survey of his work was seen at the Newport Harbor Art Museum (presently carries a different...
Before the modern era sculpture was monumental; it had an unspoken meaning. Sculptures of this time were commissioned to commemorate a person or an event. They were eternal, designed to last and make people remember a legacy. When the modern era arrived there came a shift, the concept of sculpture became broader. They were still permanent but no longer site specific or placed of a pedestal; they became nomadic. Flash forward to the postmodern era and sculpture is the space it inhabits, as the site changes so does the meaning. They convey the human experience and become something broader than just a monument as Krauss puts it the realm of sculpture has become “infinitely malleable ”.
... shapes but could not understand the point it was trying to convey. Now that I have read and learned about Meadmore, I can distinguish the three goals that Meadmore intended for. I see the flexibility of simple geometry and how it can express dynamic movement through this sculpture. Overall, it is interesting how Meadmore’s life and ideas relate to his artistic design, “Always.”
In 1908, He began attending the Chase School of Fine Art. At the age of fifteen he quit high school to enroll in classes at the National Academy of Design. He left the Academy a year after finding out that it was geared towards training of the fine artist rather than the illustrator. He then enrolled in the Art Students League studying inder George Bridgman and Thomas Fogarty. In addition to excelling in his skills in drawing and painting, Rockwell was introduced to the illustration of Howard Pyle.
Eck, Susan. "The Sculpture Plan by Karl Bitter, Director of Sculpture." Pan American Exposition: Buffalo 1901. (http://panam1901.bfn.org/documents/sculptureplan.html).
1. Hunter, Sam and Jacobs, John. Modern Art, 3rd Edition. The Vendome Press, New York, 1992.
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: H.N. Abrams, 1990. 152. Print.
“Introduction to Modern Art.” metmuseum.org. The Metropolitan Museum of Art. 18 June 2009. Web. 25 Sep. 2009.
Art Nouveau (literally ‘new art’ in French) was a popular international style of art, developed in the late 19th and early 20th centuries and reaching its peak between 1890 and 1910. The primary aim of this movement was to break free from the previous constraints that had been placed upon artists traditionally and to completely revolutionise design – an aim that, without a doubt, came to be achieved. The evidence of this can be seen in the work of several prominent designers at the time – such as artist Alphonse Mucha and architect Antoni Gaudi – and even within other movements – the Arts and Crafts movement being a prime example. The way in which these figures and this movement have been influenced by Art Nouveau in particular will be explored in this essay.
Arsham's work has been demonstrated at Ps1 in New York, The Museum of Contemporary Art in Miami, The Athens Bienniale in Athens, Greece, The New Museum In New York, Mills College Art Museum in Oakland, California and Carré d'art de Nîmes, France among others. A first monograph of Arsham's work was distributed by the French Center National des expressions plastiques and a second one was distributed by Galerie Perrotin in 2012.
19th Century Art. New York, Abrams, 1984. Sculpture, 1760-1840. " Eighteenth-Century Studies Vol. 34 (2000): 135 Hutton, J. "Neoclassicism."
To be able to appraise the originality of eighteenth century English art, one must recognize its importance in history. A great painter to research is Thomas Gainsborough. His artwork was an important aspect of the art community of the middle seventeen hundreds. His paintings seem to bring brightness and color to a period in art that needed his creative boost. His combination of portrait paintings along with beautiful landscapes was not recognized in his time, but would be recognized as remarkable later in history.
...to pinpoint the causing factor to my ex-boyfriend having sat in the same seat on the bus as I had the afternoon before I had the dream. Due to this cause, I began to look at how my daily life was affected during the next few days after the dream. By looking back, I was able to see that the effects ranged from guilt to confusion to relief. My daily life turned into a constant battle of reality versus imagination as I tried to hide the emotions I was feeling from those around me and deny any importance to the message the dream sent.