Three dimensional art is defined as media which “occupies space, defined through the dimensions of height, width and depth” (SAYLOR). These art works can be geometric or organic in nature (NORTON). Three dimensional art forms include sculptures, crafts and architecture. Three dimensional art form is fascinating to me because of the amount of realism and beauty it embodies, as well as for its functional and aesthetic value. For this assignment, I chose two beautiful pieces that illustrated the characteristic of three dimensional art and the processes it took to produce them. The first art work I want to analyze is a sculpture done by an Iraqi artist from Kalhu (modern day Nimrud) entitled, “Assurnasirpal II Killing Lions” (Sayre, 420). …show more content…
This work of art is subtractive because it involves skimming or subtracting from the material’s original mass or volume (Sayre, 295). Carving is a process where materials were being chiseled, cut into or hammered to achieve the desired form/s (Sayre, 299). The most common material carvers used to produce sculptures are wood or stone (Sayre, 299). In this art work, the artist used a material, in this case alabaster, and carved the material into shape using sharp tools, such as chisel or gouger. The carving for “Assurnasirpal II Killing Lions” is low relief, meaning its depths are shallow and the forms are not as elevated from the base as in high relief carving. Additionally, this sculpture is a type of frontal art which was meant to only be viewed from the front and not from the back (Sayre, 295). This type of art form is often used to embellish architectural structures such as residences, buildings and even palaces (Sayre, 295). In fact, this specific piece is found as a decoration in Assurnapiral II’s palace complex as one of the many relief arts found in his residence. This specific relief art depicted the powerful leadership of Assurnapiral II, the country’s strong military units, and the thriving capital of Kalhu which was established after the fall of Babylon in 1595 B.C. (Sayre,
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
Abstract geometric shapes are easily seen in “Always.” The subject of geometry is apparent from any angle. This sculpture has a unitary form of a long and large rectangular shape that bends several times in different directions and angles before springing into space. Mass controls the composition of this sculpture; it is a large sculpture with lots of volume. The mass creates a line of movement into space. There is a dynamic action of the geometric shapes extending into space. The sculpture appears unstable and off-balanced as if it is going to tip over.
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
The men who made the daggers found in the shaft graves were very skilled craftsmen. They showed contrast of color and of relief with the decoration of their work. On both sides of the daggers was a slotted silver or gold plate which would be decorated before being put on. They would decorate the plates with gold, silver, copper, alloys, and another technique known as niello. Niello is a black metallic alloy of sulphur, copper, silver, and usually lead, used as an inlay on engraved metal. It is considered painting in metal. The metal surface is brushed with a borax solution as a flux to help distribute the heat evenly, dusted with powdered niello, then heated. After cooling, the surface is scraped and shows a black pattern in the incised lines. The Egyptians are credited with originating niello decoration, which was practiced in classical times, spread throughout Europe during the middle ages, and came into high repute in the 15th century(Encyclopedia Britannica). Even though Egypt came up with the idea, you must note that it is native work, and not merely an imported article. (Web page, 7) The attitude of the figures and of the lions, and the form of the cat, are such as no Egyptian would have executed.(Web page, 7) After the plates were decorated, they used rivets rather than a soldering technique to put the parts together. They also used the technique of inlaying on the daggers when adding the gold portions. They would cut a narrow strip of gold from a thin sheet. Then they would make undercuts and dovetails wherever the gold would be going. After that they would then put the strip of gold over the undercuts, and use a hammer and a small wedge to bang the gold in.
...ars after Khafre’s reign, the fourth dynasty was just the beginning. Monumental Egypt, although it existed in burial tombs before Khafre’s reign, truly became a traditional pattern in the fourth dynasty. Khafre’s seated ka statues were numerous and perhaps the beginning of the formulaic sculpting of Egyptian ka statues. The King Khafre Seated that is at the Metropolitan Museum of Art now is not only the best ka statue of Khafre in existence, but perhaps one of the best examples of classic Egyptian sculpture from the Old Kingdom.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The 1994 film The Lion King is a children’s movie by Disney directed by Roger Allers and Rob Minkoff with the plot almost parallel to Shakespeare’s tragedy Hamlet. The 2009 modern film Hamlet directed by Gregory Doran is a modernization of Shakespeare’s tragedy Hamlet. The 2009 film follows the play’s plot very close except for a reorder in some scenes while The Lion King has its characters based on characters in Hamlet. In The Lion King Mufasa is the king of the pride lands and similar to King Hamlet who is killed before the play starts. Both are killed by their brothers. Their ghosts play a role in inspiring Hamlet and Simba to take action and that the person who should be on the throne is them. The
Assyrian Art The reliefs from the palace of King Assurnasirpal II at Nimrud play an important role in portraying the power and importance of the Assyrian king. These reliefs are similar to other Assyrian reliefs in terms of their purpose; however, there is a contrast in the methods used to glorify the king. By examining such factors as style, iconography and historical significance, we find many similarities and differences between the "ceremonial" reliefs and the more common reliefs depicting war and hunting. The reliefs belonging to the sacred or "ceremonial" category consist of panels depicting a sacred tree, a human headed genius fertilizing a sacred tree, a griffin fertilizing a sacred tree, and a scene of King Assurnasirpal (whose name comes from the god "Assur") followed by a winged genius.
Requadt, Water E. “Modern Sculpture: Art or Incompetence?” What Is Art? 2006. 29 Sept. 2006
The pieces of sculpture are both carved using the subtractive method of sculpting from stone. However, the types of stone used were very different. The sculpture of Mycerinus and Kha-merer-nebty II was carved from a stone called greywacke, a dark colored, very hard stone the Egyptians prized for sculpture despite the fact t...
An interesting fact about LeWitt is that he never referred to his 3D work as sculptures but as structures instead. As a result, he designed the Circle with Towers with the mindset that it was a structure relating to architecture rather than traditional sculptures. Moreover, LeWitt’s artwork is seen as radical because of the idea behind it. For example, he claimed that a concept could generate a work of art and stated that “the idea becomes the machine that makes the art”
In Ondaatje’s In the Skin of a Lion, the author reveals the complexities of being a worker constructing monuments of an emerging urban society. The lives and experiences of the working class of the early 20th century were many times invisible, unseen, and unacknowledged. Ondaatje demonstrates the suffering and burden of hard work, but also shows that work can also prove meaningful and become a rewarding experience for the individual. Knowing that one’s hard work is reflected in a physical structure, forever a part of society, the individual finds a sense of belonging. He not only gains empowerment within himself, but he finds comfort and a profound sense of connection to a land that was once foreign to him.
While the medium of calligraphy has commonly been ink on paper, contemporary artists continuously stretch and challenge the boundaries this traditional art. Two artists in particular represent such efforts to provide new shape and life to calligraphy: Hassan Massoudy and Mattar bin Lahej. Transforming calligraphy from a static art, Iraqi artist Hassan Massoudy introduces theatrically-inspired form and movement to his letters, while Emirati artist Mattar bin Lahej transitions calligraphy to the third dimension by his sculptures. Despite the visual differences between these two artists’ works, both reflect to re-explore the expressive capacities of the word.
In the article “The Wild Life Of Christian The Lion” Written by Tod Olson and the poem “Wild Home” Written by Rebecca Kai Dotlich the theme or the big message in both of them is anything will find it’s home eventually. The reason for that is because in the article when John and Ace buy Christian they get him a home but they knew that it wouldn't be Christian’s forever home because sooner or later animal instincts kick in. So when they left Christian in the wild of Kenya the first time they felt very depressed but deep down they knew that it was the right thing. Then when they come back they see that Christian is happy, there still sad but they know that Christian is happy and that he's in his home so that's all that matters for them.
I chose to view the movie Lion, a movie based on the book A Long Way Home by Saroo Brierley. This movie is about a five-year-old boy, Saroo, living in a poor, rural area in India. Saroo convinces his older brother Guddu, to let him tag along and find work in a nearby city. Saroo ends up trapped and alone in a decommissioned passenger train that takes him to Calcutta, over 1,000 miles away from his home.