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Avant garde sculpture (ii) (new)
 

Avant garde sculpture (ii) (new)

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New materials with images.

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    Avant garde sculpture (ii) (new) Avant garde sculpture (ii) (new) Presentation Transcript

    • Avant-Garde Sculpture (II) Revision
    • Evolution • The decisive step towards modern sculpture consisted of the addition of combination and construction to previous methods of sculpting and modelling. • The use of sheet iron and wires was connected with it.
    • Gargallo • Pablo Gargallo was already cutting figures and masks out of sheet copper. • Interested in tribal art, he may have linked the Spanish tradition with observation of hammered and chased African metalwork. • He made of it his own speciality.
    • Gargallo • He used the assemblage technique to create his images. • The emptiness of some areas doted his work of great drama. • He avoided the use of symmetry and some of his images are full of strength such as The Prophet.
    • Julio Gonzalez • Julio Gonzalez was an expert blacksmith • Gonzalez’s works established the new art form of iron sculpture. • Owing to the material and the technique, the volume of a figure was reproduced by rods reaching into and surrounding space, by surfaces and rounded walls.
    • Julio Gonzalez • His work involved an inner penetration of figure and space that Gonzalez made the principle of his sculpture. • The representations became, if not exactly abstract, at least figurative spatial diagrams
    • Calder • He was the artist who produced the most delicate wire sculpture. • This mechanical engineer invented the toy like party mobile wire figures more suited to him.
    • Calder • He put into practice the futuristic programme of sculpture made mobile with the help of hand- or motor-driven apparatuses. • His forms are combined with primary colours or are just a collection of wires. • He also produced big format sculptures.
    • Giacometti • During his formation he knew Rodin’s work, and when he went to Paris he entered in contact with all the previous avant-garde sculpture attempts. • He knew from ethnic works to those of the most important artists of the moment (Matisse, Picasso, Brancusi).
    • Giacometti • He entered in contact with the surrealist and due to this his sculptures live because of their significant plastic formulation and the endless possible ways of interpreting them. • His work in the thirties acquired the disturbing dimension which characterizes the Surrealism.
    • Giacometti • From 1935 to 1945 he sought to reproduce the outward appearance of figures and heads as we see them in reality: – in the distance, – in space, – as a part of a much larger field of vision. • He strove to introduce perspective into sculpture, making use of the methods employed by painters, such as – a decrease in size and – vaguer definition as the distance increases, large
    • Giacometti • He discovered that making distant figures smaller was an unsatisfactory way of recreating reality. • He found that the more accurate way of depicting people was their extreme elongation and slimness. • His images are armatures of iron rods and plaster. • His work sometimes remembers the finish used by Rodin in Caen’s Bourgeoisies.