Guardian Figure
Upon first sight of this sculpture, one is introduced to its overwhelming expression and brilliant size. This untitled statue stands approximately life size at a mere six to six and a half feet tall and is about two or three feet wide. He is standing upright on a gray rectangular structure approximately three feet off the grounding making him about nine and half feet total. This is a monstrous sculpture when looked upon firsthand. It seemingly is a man, possibly a warrior of some kind.
This statue is made from two different types of wood. The first of which is chestnut, which seems to encompass the lower portion of his body and in his clothing. Its color is a faded type of tan flesh tone. The second type of wood is cypress, found mainly in his face and upper body. It, too, is the same in color, but appears to have some kind of paint or varnish of some nature found throughout the surface. The wood seems to be pieced together because the joints are quite noticeable to the eye. The carving marks are also apparent, making the overall expression of this mammoth sculpture much more intense. There are deeper markings found throughout the face, expressing his highly sloped eyebrows and extreme facial expression.
Structurally, this figure is quite eye catching to say the least. Its broad, heavy shoulders are at an angle tilted upwards away from its hips. Its back is arched forward as if he were bending forward, possibly conveying a message. His right arm is hanging at his side, bent inward towards his rib cage. His left arm is displayed in a manner as if he were in the motion of punching or delivering a blow of some kind. His facial features show great anger and fury through intense carvings in the brow an...
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...l. The shadowy are brings out the fierce look and attitude in the face and eyes of this figure. It helps to define the muscle tone by creating a certain type of smoothness and takes away from that rough material used in the creation of this sculpture.
This particular statue can definitely be characterized as opened formed, due to its bodily placement and its highly developed facial features. It interacts well with the space around it. Its mere suggestive attitude that is created by the chosen position of the arms and in its head, show how this particular statue is opened formed.
All these visual characteristics add up to something in particular. The power texture of the surface bearing rough markings and strong facial features suggest that in a way. This man is a guardian figure of some kind, warning or attempting to keep someone out of something or another.
The marble Statuette of Youthful Dionysos stands about 30 inches tall. The arms, legs, nose, and
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.
The inside of the mask shows a man sitting with his legs bent in front of him while his arms are open and stretched to his sides. His facial features consist of sharp cheekbones, a wide triangular nose, a goat-t, a thin mustache, and thick dark eyebrows. The subject's facial hair is made up of black pigment. His eyes are peering up and his thick red lips are in a whistling position with a little tube in its mouth with three strings attached to it- one on both sides and one on the bottom. The strings on his left and right attach from his mouth to his arms. The bottom string attaches to the middle of his legs, just below the knees. It looks as though there is a harness or support cushion of some sort around the figure's neck but this is not clear. Perhaps it functions as a filler so there is not a lot of empty space (www.freespiritgallery.ca).
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 female statue has exaggerated stomach, breasts, and bottoms. It also shows a very sharp, detailed private. The artist could have made the breast large to represent nurturing, and the belly to represent being
In the sculpture Seated Bench Figure, a figurine sitting with a small, childlike figure situated on its lap is presented. Created during the Formative Period in the Olmec culture, the statue stands at just under five inches tall and three inches wide, eliciting intimacy between the viewer and figurine. More so, Seated Bench Figure allows the viewer to consider that both figures are important in Olmec culture because of both figures’ relaxed stances and the utilization of a precious green stone. The stone that Seated Bench Figure is made out of, serpentine was regarded as a precious, divine media within Olmec culture. Additionally, resting stances in figurative Olmec aesthetic tradition indicate respected, elite, and potentially godly individuals. The seated stance of the larger figure on a bench, supporting the infant-like form, indicates both...
This piece reminds me of the “Terracotta Warriors” in the Shaanxi province of China. c. 210–209 B.C.E. The Terracotta Army was sculptures depicting the armies of Qin Shi Huang, the first Emperor of China. This too was a form of funerary art buried with the emperor and whose purpose was to protect the emperor in his afterlife.
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
This sculpture seems to epitomize the ideal male human form. All of the body parts seem perfectly proportioned and the muscles are beautifully defined as if the image were of an athlete. The image is youthful with a calm demeanor. The right missing forearm looks as if it used to be resting at his side, while the left elbow was probably at a 90 degree angle, with the hand holding something. The slight bend in the left leg gives the impression of movement, as if the image was frozen while walking. The counterpoised stance adds an air of nobility to the "man".
The trip to the metropolitan museum was a great trip to learn and to study art. What is art you may ask, well art is an expression you use to show a visual picture. It can be through painting or through sculptures. Some other example of art is music, literature and dancing. For today 's paper we will be talking about art as a sculpture. The two sculptures in this photo are King Sahure and a Nome God and Marble Statue of Dionysos leaning on archaistic female figure (Hope Dionysos). You can find these statues in the Metropolitan Museum of Art. King Sahure and a Nome God is an Egyptian art that was made in 2458-2446 BCE. The artist is unknown. It was during the 5th dynasty and it also belong to the old kingdom. The Marble statue of Dionysos Leaning in the archaistic female figure is a Greco-Roman art. Belonging to the Roman imperial period of the late first century A.D. Augustan or Julio-Claudian period 27 B.C., to 68 AD. It is classified as a stone sculpture and it is made out of marble. The height of the statues is 82 ¾ inches. There is no evidence who was the original artist.
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
The Statue of a kouros represents a Greek male. With one foot forward, the statue at the same time, represents movement and is able to stand on it own. This also gives the over life size figure, visible weight. In this early figure, geometric forms seem to predominate, and anatomical details, such as the chest muscles and pelvic arch, are presented with somewhat of exaggerated lines. Although the exaggerated lines show where these muscles belong, the detail is still missing. Looking up and down this nude body, at this miss proportioned and lacking of detail body, the hair is what grabs my attention. The hair is carved with detail not noticeable in the rest of the body. As well, although the fists are clinched and still bonded to the body, the legs and elbows are separated. The ability to move around and inspect the statue makes a big difference than if it was up against a wall, or just looking at its picture. The legs, which support the weight of the statue, have a visible strength which is seen in the knees. The head is what carried the most detail, the ears although to far back, are intricately designed. It is the ability to walk around the entire statue that allows me to see the different aspects and places where attention to detail was placed. However, he does not expand into three dimensional space; he has a closed-off, column-like appearance
And just like the Greek the statue are both big and almost human size. A great example of this is the “Augustus of Primaporta, 1st century C.E. (Vatican Museums).” It truly shows the evolution of art sculpting. It is a full size very detailed sculpture of Augustus. It very detailed from his hair showing every curl and split to the small details in his armor that also depicts a story as well is shows the god of the sky looking down on him and the goddess of the earth looking up towards him as they watch the Parthians surrender to him and returning the standards shows the great power that Augustus has, and not just that but also the sculpture itself is a symbol for how Augustus wanted everyone to see him as, as god like. And it even has a little small cupid on the side which is also detailed which shows that Augusts is decedent from a
With wrinkled with sagging jowls, the face of a Roman aristocrat stares out at us with a serious expression. Deep facial wrinkles, furrowed brow, hollow cheeks, thinning hair and even wrinkle lines around the neck lend authtencity to the sculpture and make it very lifelike to me. You can bet that his personality was determined. The name of the individual is unknown. The veristic style of Republican portraiture conveyed
The legs of the statue are described as "vast" (2), while the ruins are a