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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.

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Avant garde sculpture (ii) (new)

  • 2. 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.
  • 3. 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.
  • 4. 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.
  • 5. 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.
  • 6. 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
  • 7. 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.
  • 8. 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.
  • 9. 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).
  • 10. 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.
  • 11. 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
  • 12. 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.