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Art teachers, students, and ambitious amateurs all will value this copiously illustrated volume. It presents both a general overview of sculpture and a practical guide to working in stone. All important stone-working equipment and tools are shown, from compass and calipers to chisels, mallets, saws, sanders, and drills. Examples of finished pieces are shown from all over the world, and cover many historical eras, including statues and relief carvings from ancient Egypt and the Orient, marble masterpieces from the Italian Renaissance, and abstract figures from the modern era. Different types of stone are shown and described, including alabaster, most often used in small-scale pieces, as well as sandstone, granite, and marble. Practical instruction includes methods of measuring and copying in stone from a clay model. Step-by-step photo essays show several different contemporary works in progress, starting with a rough stone slab and progressing to completion and installation of a finished sculpture. Examples range in scale from small figurines to public monuments. Hundreds of full-color photos show the artist's studio, the processes of stone working, and magnificent examples of world famous artworks in stone. Other informative features include a six-page glossary of stone-working terms and a brief bibliography. Here is a fine reference volume for artists and craftsmen--but also a book for the personal library of every general reader who has an interest in sculpture and the fine arts.
What is a an anthemion? What is giallo antico marble? Who was Praxiteles? This richly illustrated book -- in the popular Looking At series -- presents definitions and descriptions of these and many other terms relating to Greek and Roman sculpture encountered in museum exhibitions and publications on ancient stone sculpture. This is an indispensable guide to anyone looking for greater understanding of ancient sculpture and heightened enjoyment of the objects. Book jacket.
A delightful collection of creatures that adorn New York City buildings. Companion to Faces in Stone, this is a gift-sized and attractively priced book for architecture buffs. It features more than one hundred imaginative sculptural details, from the domestic to the fantastic, with a brief introduction and contextual photos to show the building on which each ornament appears, the addresses, and transportation information.
Here is your guide through the hands-on experience of sculpting in stone. Hundreds of photos of the progressive process and finished works by famous sculptors will inspire your own work. The types of stone and use of basic hand-sculpting tools are presented along with the use of power tools, methods of lamination, repair, and the business side of stone sculpture. Express your creativity in this ageless medium. This expanded edition includes 47 new pictures, updated stone-working techniques, and a gallery of students' work.
This volume provides the first comprehensive analysis and chronology of the earliest known stone sculptures from the north Indian city of Mathura, dating prior to the famous Kushan period. It includes numerous new attributions of objects based primarily on epigraphic and visual analysis. The sculptures attributable to these pre-Kushan periods reveal new evidence for the reasons behind the emergence of the anthropomorphic image of the Buddha at Mathura, the predominance of a heterodox sect of Jainism, and the proliferation of cults of nature divinities. This book provides a wealth of reference material useful for historians of early Indian art, religion, and epigraphy. The book is illustrated with over three hundred photographs, and it includes epigraphic appendices with complete transcriptions and updated translations.
Figural and non-figural supports are a ubiquitous feature of Roman marble sculpture; they appear in sculptures ranging in size from miniature to colossal and of all levels of quality. At odds with modern ideas about beauty, completeness, and visual congruence, these elements, especially non-figural struts, have been dismissed by scholars as mere safeguards for production and transport. However, close examination of these features reveals the tastes and expectations of those who commissioned, bought, and displayed marble sculptures throughout the Mediterranean in the Hellenistic and Roman periods. Drawing on a large body of examples, Greek and Latin literary sources, and modern theories of visual culture, this study constitutes the first comprehensive investigation of non-figural supports in Roman sculpture. The book overturns previous conceptions of Roman visual values and traditions and challenges our understanding of the Roman reception of Greek art.
Taken from the International Medieval Congress held in leeds in 1998 these six papers, plus introduction, take a more theoretical approach to studying, interpreting and explaining Anglo-Saxon carved stone monuments.
In Mother Stone Anne Middleton Wagner looks anew at the carvings of the first generation of British modernists, a group centered around Henry Moore, Barbara Hepworth, and Jacob Epstein. Wagner probes the work of these sculptors, discusses their shared avant-garde materialism, and identifies a common theme that runs through their work and that of other artists of the period: maternity. Why were artists for three turbulent decades after the First World War seemingly preoccupied with representations of pregnant women and the mother and child? Why was this the great new subject, especially for sculpture? Why was the imagery of bodily reproduction at the core of the effort to revitalize what in Britain had become a somnolent art? Wagner finds the answers to these questions at the intersection between the politics of maternity and sculptural innovation. She situates British sculpture fully within the new reality of “bio-power”—the realm of Marie Stopes, Brave New World, and Melanie Klein. And in a series of brilliant studies of key works, she offers a radical rereading of this sculpture’s main concerns and formal language.