Avant-Garde Sculpture (II)

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Revision on Avant-Garde sculpture, including Gargallo, Julio González, Calder and Giacometti.

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Avant-Garde Sculpture (II)

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

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