Chapter 13 Lecture Notes 1. Sculptures and Space Look through the chapter to familiarize yourself with the variety of additive and subtractive sculptural methods and techniques. Understand the relationship between sculpture, which is a freestanding object, to the space we ourselves occupy to point out the integral aspect of space to sculpture. 2. Relief Sculpture Differentiate between freestanding sculpture and relief sculpture. Understand the nature of relief as it relates to sculpture using the provided works in the chapter from, Maidens and Stewards (fig. 364), and Yu the Great Taming the Waters (fig. 365). Are you able to see the difference between high relief and low relief? Light played an important role on relief sculptures that were carved on the outsides of ancient buildings like the Parthenon. Compare relief sculpture with sculpture in-the-round using Giovanni de Bologna’s The Rape of the Sabine Women (fig.’s 366 & 367). 3. Carving Carving is part of the subtractive sculptural process in which the material being carved is cut away from the sculptural material. Look at the variety of carved works in the chapter — from Michelangelo’s Atlas’ Slave (fig. 368 ) to Jim Sardonis’s Reverence (figs. 374 & 375) to get an idea of the nature of the carving process. Michelangelo, known for his painting achievements on the Sistine Chapel Ceiling , actually considered himself, first and foremost, a sculptor. He even wrote poetry about sculpture. Michelangelo imagined figures trapped inside blocks of stone and it was his task as a sculptor to free that figure from the imprisoning block of stone. In an unfinished work such as Atlas , point out Michelangelo’s attempt to free Atlas from the encompass ing stone. 4. Modeling Sculptures made from clay, wax, or other pliable materials are part of the additive sculptural process. Robert Arneson modeled clay to form his whimsical works such as Case of Bottles (fig. 376). Sculptures created using clay are referred to as ceramic sculpture. In the long history of ceramic sculpture, the Chinese have been acknowledged as masters of the medium. The amazing archeological discovery in 1974 of Chinese Emperor Shih Huang Ti’s (otherwise known as Emperor Qin) tomb (fig. 377) revealed the expertise with which the Chinese modeled form. Made entirely of ceramic, life-like soldiers, horses, and chariots are distinguished by individual details that exemplify
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