Sculpture (Article)

Which sculptures should we consider as modern? Ironically, modern in the world of art, can refer to artists, artworks, and styles that have been popular during the past decade or even century. Much of today's wall art resembles contemporary styles. People may one day consider the works of these artists as classics, in the same sense that Medieval, Baroque, and Renaissance sculptors are today. Here are some of the most renowned modern sculptors:

1. Constantin Brancusi (1876-1957)
Brancusi was a Romanian sculptor who made France his home. In the 1900s, Brancusi refined sculpture as an art form. While he showed the basic beauty of sculpture, he also attached an aura of mystery to it. Brancusi attended various art schools before creating Ecorche(1902), which Bucharest's medical school still uses as a model. The works of Auguste Rodin greatly influenced Brancusi, teaching him that a force within a sculpture creates its surface. Within time, Brancusi would use a somewhat minimalist approach, attempting to represent sculptures in their most basic form.

2. Naum Gabo (1890-1977)
Born in Russia, Gabo later became an American. During World War I, Gabo lived in Norway and began developing his stereometric method of sculpting. This approach would ultimately influence some of today's wall sculpture art. Gabo's first sculptures were Cubist, and utilized the materials of celluloid and sheet metal. He would continue to use interesting materials, including plastic, wire, and glass. The goal was to create an impression of movement.

3. Ivan Mestrovic (1883-1962)
Mestrovic was a Croatian-American sculptor who once worked as a shepherd. Classic Greek Auguste Rodin sculptures greatly influenced Mestrovic's typically huge and serious works. Mestrovic often used materials such as bronze, marble, and wood. Common subjects that Mestrovic used included:
- Yugoslav history
- Yugoslav folklore
- churches
- Biblical scenes

4. Pablo Picasso (1881-1973)
Picasso began to demonstrate his artistic skills as a young painter. Very quickly, he became renowned worldwide for his original and abundant painting. Although Picasso mainly used the medium of painting, he also used other media, such as sculptures. Other sculptures also influenced Picasso's paintings. For instance, Iberian (far southwestern Europe) sculpture contributed to the style Picasso used in his painting Portrait of Gertrude Stein (1906). African sculpture also influenced Picasso's use of Cubism.

5. Auguste Rodin (1840-1917)
Rodin's works were quite visionary and have certainly inspired some of today's wall sculpture art. The Frenchman perceived the materials of his sculptures as objects that required shaping, in order to create different effects on the surface. Rodin also perceived his sculptures as pieces of material that existed in space. He made an important trip to Italy, during 1875. There, the works of masters such as Michelangelo and Donatello amazed Rodin. Rodin's first major sculpture, The Age of Bronze was so realistic that experts wrongly believed that Rodin had used a mold of a living human!

Some of today's most lovely metal wall sculptures are based on modern sculptors. While modern is relative, the beauty that they reveal is very concrete.

Alyssa Davis is a head author at Metal-Wall-Art.com, where you can find wall sculpture art and more metal wall sculptures products.

How To Recognize Original, Hand-Made Wood Sculpture

2009-12-26T04:48:00.002-08:00

Imagine this: you are in a quaint little shop somewhere in the mountains or at the beach, on vacation. You have been admiring a group of nice-looking wood figures on the shelf there, thinking about how nice one of them might look in your home. You know, right there in the living room near the fireplace, maybe even on the mantle!

Yes indeed, this could be the right wood carving for your home. It looks good, it’s of a figure that interests you, and it sure seems like a bargain. Is it an original woodcarving? Well, it MUST be, as this is the kind of art store that seems to sell neat-looking originals, right? Let’s look a bit closer, and learn about this woodcarving and the millions just like it all over the world.

Original vs. Reproduction Wood Carvings: The Age-Old Argument.

So this might be a reproduction, so what? Well, that is really a good point….if you don’t much care about the issue, then it probably will not be a big deal to you. However, if you DO care about the issue of Original vs. Reproductions, then to YOU it is essential to have an original piece of woodcarving whenever you have the ‘choice’.

After all, original wood carving, signed by the artist, is a joy and privilege to own. You know that it is a true one-of-a-kind. This is true even though the artist may have made other pieces in the same theme or style. You know that you will never see another one just like yours. You also know that, as an original, this piece was hand-made from start to finish. The artist took the time (often too much time) to add every detail, make every stroke personally, and perform each step in the creation process. There is not, and never will be an exact copy of your woodcarving.

On the other hand, we all know the limitations of reproductions. If you buy one for a special place in your home, you will never look at it the same way as you could an original woodcarving. You know there are hundreds elsewhere. You know that it was stamped out of a mill somewhere on a big machine. You also know that it is one in a million, not one of a kind.

A Bit Caustic?

Now all this rhetoric may seem a bit harsh to some, but it really is how I feel about art; wood carving in particular. I have seen lots of artists attempt to make the copies as ‘original’ as possible, by using tricks of the trade. Sometimes they will have originals copied, and then the artist will dab on touches of paint, thereby justifying the high prices he demands.

I’ve seen this in wood carving also. There is a process by which an original woodcarving is created over a long time; very ornate. A bronze cast of it is made, and then used to act as a template for creating hundreds of others, in wood, and then painted. Frankly they can be fabulous wood carvings!

Some sculpture is reproduced using a resin casting method. A cast is made from the original, and then hundreds are cast by pouring a wood-resin into the mold. It is a neat way to reproduced sculpture.

But, whenever I hold one of these reproductions, I know in my heart they are not original woodcarvings, they will always be copies. They do not hold the spirit of the artist, only the intention of the millwright that stamped them out.

That may be all right for many people. In fact, it has shown to be just fine for the mass populace of the planet. But for me, and maybe you, the original wood carving makes us feel the connection with the artist, and with what he was trying to convey at that moment.

Knowing The Difference

So, if you agree with me that an original, at a fair price is really worth having, I will tell you how to spot the differences between the two. Not only can this save you the embarrassment of having made a huge mistake in judgement, but also it can save you a lot of money!

Let’s go back to that shop in the mountains, or at the beach, for a moment to look at those wood carvings again. As you look at the pieces, let me whisper in your ear what to look for……..

Here are several nice woodcarving s on a variety of themes. A shelf full of them! Your eye dances over the line-up; there is an old man’s face; carved as a bust. Next to that is a small statue of a woman in a long robe. Then, there is carving of a Native American Indian. Finally, a very nice sculpture of a wolf and his prey. Each one of these wood carvings is painted in different ways, made of different woods, and even different sizes. Let’s begin with the first carving; the old mans face.

Now, a lot of this information is just plain common sense. Even as I write this, I wonder who is going to believe that ANYONE will not be able to tell the lowest level differences between original and reproduction….. but really there are lots and lots of folk that cannot tell the difference even on the most simple sculptures. Add to that the fact that factories make it their business to make copies as accurately as possible, and you can see that it isn’t shameful to be fooled anymore!

There now, having made my disclaimer, let’s discuss that first wood sculpture. In fact, let’s just talk about the ‘word’ sculpture as opposed to carving. What is the difference here? It can be as simple as price.

You know the old joke about the pronunciation of ‘vase’, right? If it is cheap, it’s a ‘vase’ if it expensive, it becomes a ‘vahhse’. That has always made me laugh. Well, it can be the same with wood sculpture. If it is cheap, it might be called a wood carving, if it is expensive, then it might be referred to as a wood sculpture. Sadly, there is a deal of truth to that. After all, art is strictly a perceptive thing. It’s all in how you like it.

Let’s look at the items in the shop today, and start placing judgement on them, making a list, to determine if they are originals or reproductions.

1. Feel It

Pick the wood carving up. How does it feel? Is it cool to the touch, or does it seem to have a warm quality? Is it heavy, or light? Does it feel smooth, or does it have jagged edges? Do you feel a ‘spray-paint’ finish, or is it smooth and slippery to the touch?

2. Look At It Closely

Think about what you are looking at. Wood grain should be visible somewhere on any original woodcarving, even if there is paint on the subject. Do you see evidence of a carving tool having been there? Do you see the tell-tale sign of a mold-seal along the sides of the item? If you see grain that is not painted, can you see ‘into’ the grain? This is almost a 3-D effect that real wood exhibits when viewed in a strong light. They haven’t figured out how to reproduce that yet!

3. Signature, And More…..

Does the piece bear a signature or mark of the artist? Some reproductions are so poor as to have neglected the all-important connection with the artist that created the piece. Does it have a “Made in China” sticker? Don’t laugh, some people don’t even look, and think they have an original. Is there a script that tells you the production number? Such as 30/1000. This means that this piece is the 30th piece that was created out of a production of 1000 pieces: not an original !

4. Check The Attached Information Tag

Look at the tag that is usually attached to an original sculpture. You should always examine these tags, and ask yourself, ”What is this tag trying to avoid saying to me?" Does the tag actually state that THIS piece is an original? Does the tag kind of waltz around that statement? Many dealers do not want to say a wood carving is a reproduction, as it will dramatically affect the price. People expect to pay less than 10% for a machine copy of a wood carving.

5. Ask the Shop Owner

Yes, ask the owner of the shop. A reputable shopkeeper will rarely lie about this, as it can surely come back to haunt him later. Keep in mind, if you are at a Flea Market, or a garage sale, your chances of getting the truth might be somewhat less!

6. Internet Purchases?

The Internet is a great source for finding wood carvings that you would never discover in your travels. When you shop online, use common shopping safety practices concerning credit cards info, and personal data. It’s not dangerous, just don’t do anything you would not normally do when buying something online other than a wood carving. Dealers of art and wood carvings are unlikely to attempt to take advantage of you online, as this is their livelihood also. Most will certainly offer you a return policy in writing. Paying with a credit card or even PayPal offers another layer of protection for you, in the event you do not like the woodcarving, you can easily return it.
Once you get the wood carving to your home, you can then use all these tips to properly examine the piece.

7. Do Your Research

Above all, do your research! If you plan to spend $1,000.00 on anything, I am sure you will look into the subject deep enough to satisfy your curiosity. Conversely, most people can spend less than $50.00 on an obvious reproduction of a wood carving without having to spend days in research. There are too many resources available for you to say at the end of the day that you could not find any information on the topic. If you are like me, the Internet is the greatest resource of all, but even there, you must use your common sense!

So, there you are! Now that you have examined the pieces on the shelf, and you are satisfied that these are originals, only question that remains is, “Which one am I taking home?”

Chuck Hall is a wood carver / sculptor living in Fernandina Beach, Florida located on Amelia Island. He is the owner of Shady Oak Studio, and offers his wood carvings and wood sculptures via his website http://www.ShadyOakStudio.com, as well as art shows, and through select shops and galleries.

Sculpture As An Art Form

2009-12-26T04:48:00.001-08:00

In many ways, sculptures are the art of the people. More so than paintings. More than literature.

Sculptures of great military figures in the parks of many cities are meant to inspire pride and patriotism in ones country. Sculptures of great religious figures found in churches are meant to create a sense of spiritual awe. Sculptures of great political leaders are meant to inspire people to achieve greatness. The sculptures of a society, because they often reside in accessible public places are seen by millions of people every day. They reflect society like no other type of art.

Sculpture like most forms of art is created with the idea of expressing a view. That view can be personal, political, religious, or other in nature. Invariably the view is meant to also meant to trigger an emotion in the heart and head of the viewer.

Determining the quality of a sculpture is very difficult and is subjective as best. Artists as well as artist styles go in and out of vogue. But generally, any sculpture which can cause an emotion whether it is bringing tears to your eyes or joy to your heart can safely be considered art by most people.

A sculpture, even if not particularly distinctive in and of itself, can also be considered art if has influenced other major artist or art pieces. Paintings and sculptures also seem to attain "art" status as they survive the passage of time. That is why prehistoric drawings that you see in museums are treated as art even though they would not pass muster if an art student painted them today.

Sculpture is a unique form of art - related to but separate from painting, music, poetry, and writing. Unlike the others, a sculpture is a three dimensional work of art. From its very beginnings, a sculpture was meant to last. Sculpture pieces were created using materials that themselves had passed the test of time - stone and marble, hard metals such as gold and silver, and wood.

One reason art is so hard to define is that artists, especially the creative ones, are often attempting to break the mold, to create something new. They want to create something unlike anything else around. And many times when that happens, the people of that time aren't willing to accept the work as art. It's just too far ahead of its time. Then later, if it lasts, people gradually begin to see the layers of complexity in it. They begin to understand and appreciate its meanings and nuances.

Early and even some later Pablo Picasso sculptures are a perfect example of this. I remember when Picasso's 50 foot high untitled sculpture was first placed in Chicago's Civic Center Plaza. Many considered it a monstrosity. Some newspapers panned it. And now, what was once so controversial, has become an undisputed landmark for the city of Chicago.

Sculpture is truly the art of the common man.

Wendy Hermann is a writer and blogger for Iniut Art and Native Art at NativeArtTraders.com, a site specializing in Inuit sculptures and paintings.

The World's Largest Balloon Sculpture - A Metaphor For Relationships

2009-12-26T04:47:00.001-08:00

In a world of ever-increasing change, the rules of relationship are constantly being re-examined. The more fluid the forms of relationship, the more likely it is that we will discover what works. The World's Largest Balloon Sculpture© is an event that illustrates some of the key principles of what works in relationship.

Here's the vision:

The first pink fingers of dawn stretch into Tom Lee Park by the side of the Mississippi River. A quietly joking group of dedicated artists begin the monumental task of inflating and twisting together 50,000 long skinny balloons into the WORLD'S LARGEST BALLOON SCULPTURE. Hundreds of volunteers, artists, friends, adults and children of all religious and ethnic groups join in creating this magnificent non-competitive community art experience.

Rules for the World's Largest Balloon Sculpture:

I. Everyone is right. You can't do a balloon sculpture wrong. Adults and children can participate in this peak art experience feeling safe and comfortable as well as challenged.

Safety is the most critical requirement of relationship. Only in the context of a sheltering relationship can the participants find the courage to melt the barriers to each other and, more importantly, the barriers to the awareness of their own feelings. Relationship is the doorway to discovering ourselves. Without the security of knowing that our partner is willing to honor and respect us, we hide behind our defenses and inevitably blame them or ourselves for the misery we feel. Safety comes when we agree to, and maintain, certain rules of the game:

1. When we speak, we are listened to. We are not judged, criticized, evaluated or analyzed. We recognize that we will always be in the process of growing and that mistakes are learning devices that allow us to readjust our thinking and our behavior.

2. We can count on honesty in our communication and are willing to speak the truth even though we are afraid. This is a foundation for the trust that allows us to break through to deeper levels of intimacy and spirituality. Some people believe that growing old is a physical process of ongoing breakdown of the body. Actually, growing older is the opportunity for acquiring wisdom. It provides us with a broader knowledge of life and its many forms. It brings acceptance, forgiveness and gratitude. Speaking our truth is a discipline necessary for growing in wisdom.

The safety of knowing that we cannot do the Balloon Sculpture wrong allows us to play together with the full enthusiasm that makes life worth living. This is the kind of non-judgmental acceptance that makes relationship enriching.

II. If your balloon breaks, you get an automatic hug (optional). Balloons are always a little risky. When they pop suddenly, our nervous system can use the hug to relax it. Hugs reward us for risking.

Life, and especially relationships, require risk. Without risk there is no growth. The Book of Runes refers to it as 'leaping empty handed into the void.' When we make mistakes, and we will, we are often hurt and disappointed. The warmth and support of hugs give us the relief our bodies and minds need to recover our energy and stability.

For most of us, hugging heals. For most of us, hugs surround us in safety and comfort and allow us to experience whatever we are feeling without having to edit and control. Often, relationships become so immersed in what is being accomplished, that the ability to comfort, encourage and nourish is completely obscured. Hugging can be a request for connection, an offer of support, a way of saying "you are important to me." It bridges the walls and spaces we imagine as separating us from our loved ones.

Hugs are optional, because some people are either overwhelmed or uncomfortable with touching. For those deeply wounded physically, hugs may be frightening. Sometimes people have cultural issues with the intimacy they associate with hugging. In relationships, the phrase 'give me some space' has become a common phrase between people to reduce the tension that comes from too much closeness. We honor that in the World's Largest Balloon Sculpture.

III. The Balloon Sculpture ends with a bang, not a whimper. Nothing looks worse than an old, limp, abandoned balloon sculpture. At the height of its creation, it will be lowered to the ground and smashed with joyful gusto. For each participant, this should release at least a week's worth of stored-up aggression and frustration.

Ancient wisdom tells us that in order to create something new, often something old is destroyed. As we grow in relationship, old ways of relating, learned in dysfunctional homes or from superficial television images, must be dropped like old skin or old wardrobe. The essence of a peak experience like the World's Largest Balloon Sculpture is that it has a beginning and an end. Many of the unworkable patterns we bring into a relationship need to run their course before we recognize that they need to come to an end in order for us to move on. The forms of relationship can change radically in order to maintain the quality level of a connection.

As totally absorbed as we become in the excitement of the Balloon Sculpture, we know that it will end and we will joyously stomp it. Every sign of it will disappear. But the essence of the experience will stay with us. So it is with the old models of relationship we are discarding. We are always in the process of recreating life.

IV. Some mechanical air inflation or bottled air must be used to avoid hernias and hyperventilation. For this purpose, I have invented the inflation station. Bottled air cylinders are hooked to sixty spigots that allow adults and children to fill balloons and take them to be twisted into the sculpture.

In relationship, we sometimes must look outside for support and education. That may take the form of individual or group therapy, 12-step groups, communication classes or Internal Family Systems work.

In a sense, as we learn what a healthy relationship looks like, we also learn what goes on inside us that prevents us from being able to offer what we have learned. At that point, it is not the relationship that needs to be worked on. It is our individual responsibility to get the help we need to release our own inner bondage. We must be willing to face the fear, anger, grief and shame we have been carrying with us. Help is all around us when we finally are willing to ask for it.

About Dr. Weiss:
Experience: For over thirty years, Dr. Weiss has consulted with business, government, medical and educational institutions and has conducted over 500 workshops and seminars on executive development, self-image, sales training, personal and professional goal setting, communications approaches and stress management. He is the creator of unique executive self-development processes, including the breakthrough InnerView Executive Video Program
1976- Present Private practice in executive development and marriage and family therapy
Affiliate staff psychotherapist, Mid South Hospital, Memphis Organizational and sales consulting with Coca Cola, Savin Corporation, Cotton States Insurance, Promus Companies, Holiday Inns, Hampton Inns, Peabody Hotel Group, Health Group Hospital Management
1972-1973 Assistant professor of Rehabilitation, Emory University Clinical Director, Renewal House Drug Rehabilitation Center Educational Consultant, Georgia State Department of Education
1969-1972 Associate Professor of Psychology, Allen University Research and training specialist, South Carolina Department of Vocational Rehabilitation Evaluator of training, Columbia University, New York, N. Y. Communications Specialist, Oregon State Prison
1967-1969 Psychiatric researcher, Sepulveda, California Veterans Hospital

Education: Ph. D. Counseling Psychology, University of South Carolina

M. Sc. Human Development, University of Oregon

B. A. Social Psychology, California State University
Professional: Clinical member, American Association of Marriage and Family Therapy Clinical Training: Eye Movement Desensitization and Reprocessing, Level 1 & 2, Emotional Freedom Technique, Precision Experience Modification Technique, Prepare for Surgery - Heal Faster, Internal Family Systems

Art Basics - How to Commission a Sculpture

2009-12-26T04:46:00.000-08:00

A. Before Seeing the Sculptor:

• Find a primary location and one or two backup locations that need sculpture. One location might not be just right and it is good to have another location that would serve just as well.

• Take pictures of where the sculpture is to go: both the primary and backup locations. What is the sculpture to do?
1. Evoke an emotion, mood, or feeling?
2. Symbolize a significant moment for you?
3. Be in the same style as other sculptures that you have seen?

• Check several different sculptors websites or art galleries to see the kind of work they do.
1. After surveying several sculpture websites:
a. Make sure that the sculptor you choose has done several sculptures in the material that you are interested in - stone, welded steel, cast bronze, etc.
b. Regardless if you are interested in a sculpture based on a human or an abstract, make sure they have done more than one or two sculptures in a style that you like.
c. Pick out several sculptures off the sculptors' website that you are particularly drawn to so that you can have a visual way to communicate with the artist. Bring along copies of these sculptures, to the sculptor/client meeting - see below, so that you can point to the sculptures that particularly speaks to you.

• Based on the artist's price of other sculpture, determine the budget you want to spend on the sculpture.

B. Sculptor/Client Meeting

• Show sculptor pictures of possible locations for sculpture, discuss total budget, optimal delivery time for you, and show sculptor examples of sculpture or mention which of his pieces that appeals to you. This can be done in-person or by email.

C. After initial Sculptor/Client Meeting

• If required, Sculptor makes basic scale models and/or computer mockups of proposed sculpture(s) and estimates costs/charges and sends them to you.

D. Client Approval & Agreement

• After your approval, sculptor and client will sign an agreement stating goals, budget, payment schedule and delivery time.

• Sculptor receives deposit.

• If required by agreement and included in price, Sculptor makes a full-sized model in foam for placement at your location for approval.

E. After Contract Approval

• Order Stone and begin sculpture. Send periodic photos if necessary to show progress and keep client involved.

• Half-way preview (if appropriate/provided for in agreement)

• Completion

• Final Payment

• Delivery

This may sound a little involved but it is not truely that complex. In real life a lot of steps are combined and/or eliminated depending on the client/sculptor working relationship.

Carl Wright is a full time abstract stone sculptor who lives and works in the DC metropolitan area. He carves sculptures from table top size up to corporate lobby size. His work can be seen at: http://www.wsggallery.com He is represented by 4 galleries and also has in-stock sculpture as well as taking custom orders.

The Evolution of Greek Sculpture From 600 BCE - 150 BCE

2009-12-26T04:44:00.000-08:00

Greek sculpture "evolved" throughout, and paralleled the historical significances of this ancient civilization through three (3) major historical periods. We see how for the Greeks, art and the events of the day were significantly entwined.

Each of the three main periods of Greek sculpture presented its own unique contributions in the art of sculpting the human form. Ancient Greeks were skilled craftsmen and incorporated the human appearance into every aspect of their art from the earliest period the Archaic, through the middle Classical period, into the Hellenistic period. Although today we view sculpting as an art form, in early ancient times the Greeks viewed it as a learned trade or skill.

Due to the Greek's unique appreciation for sculpture, this art form was nurtured by the city of Athens, then the sculptural hub of Greece, as it grew through various periods. This 'financial support' is why the Ancient Greeks created vast amounts of sculpture. Art was not so prolific in areas of the world where it wasn't profitable.
During the Archaic period, from 650 B.C. to 480 B.C., dictators ruled the most powerful Greek cities. Despite tyrannical rule and political and social unrest, the arts flourished. The Greek's victory at Persia's attempt to conquer them in Asia Minor, ushered in a celebration in Greek Art, "symbolizing the triumph of civilized peoples over the forces of barbarism". "The origins of democracy can be traced to Athens in the years following the fall of the tyrannical Peisistratids (560-510 BC)".(Penn Museum)

The earliest full size stone Greek sculptures were one dimensional nude males and females (kouroi and draped korai). As beautiful as every sculpture was, they were being created as grave markers, cult images, and as dedications for sanctuaries rather than works of art. Obvious differences in the male and female sculptures of this period are that males stand nude, forward facing, one leg forward and arms to the side with clenched fists, where the females stand with feet together, always fully clothed with nothing more than their feet and arms bare. "The difference between the sexes is striking" (Baron 11). Many human sculptures displayed 'the Archaic smile', which was not created to display emotion, but rather as a simple, easy solution for the artist creating the "face".

Heavy Egyptian influence is evidenced by the similarities found in many sculptures during this period. Some art historians believe Egyptian artists used a grid system, with spacing between each line to define their proportions. "Using this same grid system, artists of the Greek Archaic period produced the simple and limiting style that led to the creation of the rigid sculptural forms of that period." (Oracle - Classical Greek Sculpture Webpage).

Although bronze casting to create sculptures was discovered in the middle of this period, it wasn't commonly used until the 5^th century. It's important to note that each stone sculpture of the Archaic period was richly painted, enhancing features such as the lips and eyes. Today most consider them quite beautiful works of art.
Marked by the end of the Persian wars, the second period in Greek art, the Classical period, spanned from 480 B.C. to 323 B.C. and brought about great changes in Greek sculpting. This period saw the full development of the Greek democratic system of government, however by the late 5^th century wars raged between Athens and Sparta, and the Carthaginians and the Greeks of Sicily and Italy. Again in the 4^th century, Athens, Sparta and Thebes were warring over control of Greece. Under Spartan rule, Greece divided and the Macedonian state rose under Phillip II and his son, Alexander the Great.

The wars occurring during this period influenced the more life-like, realistic anatomical appearances taken on by sculptures. Statues with slender athletic torsos were often posed with war-like stances or grimaced faces. "Characteristic examples of this trend are two slightly later works by Praxiteles, the Hermes and the Conidian Aphrodite. They were considered of unparalleled beauty by the ancient authors and were copied repeatedly in later periods." (Oracle)

This classical style is also reflected in two of the earliest bronze sculptures Tyrannicides Harmodius and Aristogiton. "Early Classical statues tend to be dramatic, and to carry with them the impression that they represent one distinct stage in a series of events" (Pollitt 15). "In the period from 430 - 400 B.C. sculptors in particular devoted a great part of their attention to exploiting the decorative potentialities of the 'wind-blown' style of rendering drapery which had been developed by the sculptors of the Partheonon pediments" (Pollitt 115).

By the 4^th century, nude female sculptures began to emerge. The Greek female nude sculpture of Aphrodite, the embodiment of perfect beauty, set the standard for other nude female sculptures. Later we see "Athena, the daughter of Zeus, patroness of the arts, promoter of wisdom, goddess of war, and guardian of cities, always clothed and sometimes even armed." (Penn Museum)

The two most commonly used materials in sculpting during this period were bronze and marble. "But a number of ostentatious works, largely cult statues, were ordered in a technique known as chryselephantine: upon a wooden frame the flesh was overlaid with ivory, the drapery with gold" (Barron 83). It was during this period that artists became recognized for their works.

The death of Alexander the Great in 323 B.C. ushered in the Hellenistic period (323 B.C to 31 B.C.). Due to their changing cultural environments, the influx of peoples of varying societies and ethnicities, and the changing and merging of ruling nations, artists began to examine the world in a whole new way, which was reflected in their work.

Portrait statuary became a popular form of art and there were many wonderful works created in this genre. One of the most famous was Polyeuctus' figure of Demosthenes (a copy can be found in Copenhagen and Oxford). Hellenistic sculptors delved deep into the expression of human emotions in their sculptures. "The fullest dramatic use is made of swirling drapery, but the main force is lent by the vigorous carving of muscles and the writhing, tense bodies. If this alone were not enough to convey the horror of the struggle the faces too were carved with expressions of extreme anguish: (Boardman 213). "Hellenistic sculptors had other standards. In work of traditional character they kept the old impassivity, but where the aim was naturalistic or dramatic they enjoyed their virtuosity. Pain, fear, pleasure amusement, drunkenness, lassitude, sleep and death were within their range by the second century so too were all the graduations of age and, when they wanted they could produce plausibly differentiated racial types" (Cook 145).

Viewing the figurine of Aphrodite Anadyomene created of clay, it's "clear that the erotic dimension of Aphrodite was only enhanced in art in the Hellenistic period, when her nude statues flourish and the word 'Aphrodisia' becomes synonymous with sexual intercourse. This fact is possibly associated with the improved social position of women and their liberation from the conservatism of the male-dominated cities of the Classical period. It certainly demonstrates a departure from the aesthetic of Classical art, which was based on adulation of the male body." (Goulandris Foundation Museum)

Nude sculptures of males remained prominent in the Hellenistic period, and became much more anatomically correct than those of previous periods. Unlike the more rigid "Classical" poses, women were sculpted in a variety of poses such as bending or laying. Two of the most famous female sculptures of the time are The Nike of Samothrace and the Venus di Milo.

Another new form emerged in the Hellenistic period, the sculpting of groups. "We have so far dealt mainly with single-figure studies but far more characteristic of the age are the groups - narrative groups we might almost call them - which tell a story and study the emotions of the protagonists" (Boardman 222).
Warring adversaries destroyed the majority of the Greek statues from these periods, however the Romans greatly valued Greek art, and created copies of many of their statues. We would know little about the ancient Greeks and their rich world of art if not for these Roman admirers.

We see a profound evolution in Greek sculpture throughout the three major periods discussed here, and we acknowledge particularly the influence of Greek art in the development of Western art through the centuries. The magnificence of ancient Greek sculpture remains an influence in today's world of art and sculpture, and their weight can be seen in many modern works.

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Personalized Art Sculpture

2009-12-26T04:30:00.000-08:00

In every home, you would notice something nice. It does not matter whether it is a painting, sculpture or décor. Homeowners, especially those with children, want to make their house a special one because this is where the kids will grow up. Putting some wall art sculpture is one thing most people consider nowadays. At least they can maximize the space on top of the walls that they could not reach.

People just love to have something different in their house. They would even go great lengths just for them to acquire or have that one thing that they like especially if it is personalized. The nice thing about custom-made items is that you have the assurance that you are the only one who has it. You can put your face or picture in these things for others to see that this is really yours. There are times wherein you have to shed out quite a fortune because of the customization. It seems that people do not care about the money involved. What they are more concerned about is the time they will be able to get their personalized item.

For people who love sculpture and love to personalize the things inside their home, they can always ask someone to help them out in the wall art sculpture that they want. They can have their face in the sculpture or their body. They can even have their picture imposed here. Even a family portrait with a little twist is one thing that you can do. Anything related to your family or what you want can become a sculpture.

Not everyone can afford to have his or her own art sculpture. They could always improvise and try to make their own art sculpture. They can do this by making a paper mosaic or similar art pieces. In making these things, there is no right and wrong move. Everyone is entitled to his preference on what he wants to do with his materials. He can even combine one or more art technique to come up with a unique masterpiece that he can be proud. It is not every people get to enjoy this one of a kind experience that they can cherish for the rest of their lives.

Wall art sculpture is one of the many things that you can do to have a more personalized home. Even though the sculpture is quite expensive, you know that every cent is worth it because this is what you want. In addition, you know that you are the only one who has such sculpture, which makes it priceless. The important thing here is that you got what you want. For a few minutes, just try to enjoy the beauty that is before you. Do not try to think about the effort and money spent in order for you to have this one. You know that everything is all worth it because you see that others admire the sculpture too and plan to have their own version of it. Be happy and contented with these things while it lasts.

This article was written by Alyssa Davis and provided by Metal-Wall-Art.com, a site featuring unique wall art sculpture and wall plaque.

Sculpture Can Bring Life to Your Garden

2009-12-26T04:22:00.000-08:00

I should know: I’ve been a sculptor most of my life, and I have plenty of years behind me of experience. Most of my sculptures reside in the gardens and landscaped outdoors of residences. My work is also in public places such as parks and downtown areas. But in this article, I want to focus on residences.

I’m going to suggest what kind of sculpture to look for. Let me begin by saying that your garden and landscaped outdoors is a sacred place. But of course you know that, otherwise you wouldn’t be reading this article. The outdoors of your residence, being a sacred place, deserves art that is exceptional. So you have to spend a little more for it. Listen, you get what you pay for. Further, you get the experience you pay for. The nice thing about original art is that, even though you pay more for it, you get more. The life of a work of sculpture should be indefinite. It should be able to remain outdoors without withering away. So, the initial investment is more. But you get more, a lot more. I would go so far as to say that original art for the garden is the best outdoor art investment, if, of course, you can find work that is truly art and not junk disguised as art.

Probably, you will want to include, in your outdoor sanctuary, human-crafted items that are not art: cement casts, gravel, building materials, and so on. Here, you want to integrate these items with the landscape. It is fine if the cement casting of Saint Francis has moss growing on it. Ivy trickling over a retaining wall is desirable. But when you put the art in this setting, you want to show it off. If you don’t want to show it off, don’t buy it. The sculpture should be the capstone, what brings everything together. The sculpture should enhance and amplify the life of your outdoor landscape. The sculpture should provide a doorway into the majesty of the garden and landscape. All you need do is look at the sculpture and you feel a connection to nature. You can be looking at the sculpture from a window inside your home, or you can be outside. Either way, the sculpture connects you to nature.

I don’t, then, advise you buy works of craft to deposit here and there in your outdoor landscape. Don’t do that unless the work of craft has sentimental value or is in some other way exceptional to you. Craft is cheaper than art: cheap in price and cheap in QUALITY. Instead, buy less and get more. If you can only afford one original work of sculpture, do that rather than buy many craft pieces. Your outdoor landscape is not going anywhere and neither is the art, especially if you secure it, which you should, and which it is possible to do without making such securing permanent.

Before you become worried that you will have to pay dearly for original art, let me reassure you: You can find original art at a moderate and affordable price. You can find it on the Net and you can probably find it locally as well, especially if you live near a city. Many garden shops sell sculptures on consignment. That’s one good place to look. But there are many. I don’t suggest galleries because the work will be too expensive. If expense is not so much a concern, then go to the galleries. Go to the galleries anyway because here there is a weeding out process and you are more likely to find exceptional art and thereby have more awareness of what’s good.

For deals, you might find one at the gift shop of a botanical gardens. I have my work in the Atlanta Botanical Gardens gift shop. There, my work is moderately priced and exceptional. But what you can also do is look around a botanical garden and see if you can find original sculpture that appeals. You can then inquire at the gift shop or at the front counter or call the gardens. Because botanical gardens and similar places of beauty are set up primarily as non-profit, they are not going to want a large commission for referring an artist. As you know, galleries are infamous for insisting on taking a large portion of the sale for themselves, as much as 60 percent. I suggest going to the expensive places to get a feel for good art (though not all of it is good, I have to tell you). Then shop around. The only danger here is that you may find, in the galleries, a sculptor you like so much you just have to own his work. Well, that’s the danger. If price is an issue, I don’t think this will be too much of a problem.

How does one spot inexpensive-but-exceptional original sculpture? This is what you look for: Sculptures made with materials and techniques available to craftspeople and folk artists. The difference between craft and art should be evident. Art is of higher quality. You will also know when someone produces higher caliber work because that work sells for more than craft, but not so much more than you cannot afford it. A sculptor may have work that goes outside of your budget. Many who inquire about my large frog sculptures decide quickly that the price is too high for them. Even so, my frog sculptures are incredibly affordable considering that I am a highly skilled artisan as well as a professional sculptor with over 16 years of professional experience. Further, the large sculptures I produce are comparable to bronzes, at a fraction of the cost. But I also produce smaller work that is quite affordable. I do so because I want people to gain interest in possibly buying a larger work later.

Don’t buy craft. A craftsperson makes the same thing over and over again. That’s not art. It may seem that I produce the same thing over and over again. After all, I am making large human-size copper frogs. How different can each one be? Very. Each piece is incredibly unique. I learn something from each piece I build. An artist can focus on one theme and never repeat himself, even though his designs may seem or actually be similar.

A craftsperson who wants to make a living will often find he has to hire others to help him crank out his pieces. This is not art. This is moving in the direction of factory-made shlock. Even so, something made by hand does offer warmth and life that a factory-made item cannot. But wouldn’t you rather have original art? Nature itself is so beautiful that it deserves only the best from us.

Very few materials can stand the test of time outside. Original art for outdoors will have to be made of metal, clay, cement, stone, glass, or a combination. Wood will not stand the test of time outdoors. Neither will synthetic resins. One sculptor friend of mine recycles old farm equipment and the like. He works primarily in stainless steel, and his work is exceptional. This is a method: Working with recycled metals. Not every artist is capable of achieving art through any given medium, this one included. I have seen plenty of sculpture that is unexceptional.

What makes a sculpture, or any other piece of art, for that matter, exceptional? Art has life. The sculpture lives, it breathes, it has substance and depth. You cannot help but to feel that it is a part of your landscape, a force just as much alive as the plants and the creatures that inhabit your outdoor landscape.

So plan for original art to live in your outdoor landscape. Look around. You can find a deal and get original art that’s good. It is worth the effort. Once you have the art, you enjoy it for as long as you decide to keep it, which may be for the rest of your life. Such a purchase, then, is worth taking time over. Happy hunting.

Beau Smith is a professional sculptor with 16 years professional experience sculpting large, human-sized copper frogs. He also writes about art. He has written and published one book on his sculptures, and written, designed, and published his web site, beautifulfrog.com.

Sculpture Galleries

2009-12-26T04:21:00.001-08:00

Sculpture Galleries may either display sculpture in general or they may function in specific areas and display only certain type of sculptures such as bronze, stone, metal or wood. Sculpture galleries may also limit themselves to certain art styles such as traditional sculpture, abstract or impressionist work, or contemporary sculpture. Sculpture galleries may also focus on specific locations from where they will display art. For example there are galleries that specialize in Native American art, Midwestern sculpture or works from regions or cultures across the globe.

Most sculpture galleries are open to the public in that there are no restrictions on who may enter. While some may charge an entry free, in others the entrance is free of charge. Public sculpture galleries have been instrumental in promoting the work of young talented sculptors. While the usual practice is to take a commission on each sculpture sold, many galleries, when they spot a sculptor of exceptional talent, go to the extent of offering him immediate financial support by buying his works up front and then later organizing exhibitions to sell them.

Private sculpture galleries are usually only open to members. One type is made up of reputed and established sculptors who have formed a group to exhibit their art. They usually have an established following and client base and exhibitions held in these galleries are open only to invited guess and art critics. If a member of this group spots a new talent, he may sponsor the new artist's exhibition in the gallery. Such sponsorships, although rare, are an immense boost to the career of young artists in as much as it demonstrates that his work has found approval from a well known sculptor.

Cooperative sculpture galleries are like private galleries in that they are owned by groups of young and aspiring artists. Any member of the cooperative may display his work in the gallery and pay only the actual costs of the exhibitions which are open to all. The gallery does not make any profit on its use by members. The proceeds form the sale of sculptures goes to the artist, although some cooperatives take a small percentage of the amount for use towards the maintenance and upkeep of the facilities. Non members may also display their work at these galleries but are charged more than members. These are good locations for finding the work of good but yet to become established artists. Instances of people who have visited these sculpture galleries and bought works from unknown artists for small amount and have seen their value increase dramatically when the artist became well known are common.

Sculpture galleries are managed by curators who have a detailed knowledge of sculpture and can select and group complementary works of art to produce exhibitions with a focus or theme, be it the work of one sculptor or of many. Since sculptors, like many other artists often have inflated ideas of the value of their work, the curators are also instrumental in setting the prices for the art works and ensuring that the prices are those at which the sculptures are most likely to be sold.

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Ice Sculpture For Wedding Reception

2009-12-26T04:19:00.000-08:00

If you are intent on having an ice sculpture at your wedding reception there are a few things you will need to keep in mind. One of those things is what type of ice sculpture would you like? Is your wedding a formal affair where you will want a sophisticated design, or do you want a more fun ice sculpture for a more informal event?

Another thing to consider is where you would like the ice sculpture to be placed. There are those couples who like to have their ice sculpture on the table where guests will put the gifts; others prefer the ice sculpture at the bride and groom's table. You may want your ice sculpture to be in the foyer of the reception hall where guests will see it when they first enter, or you might want to put it next to the cake. Where you place the ice sculpture will also depend on the layout and the size of the room.

An ice sculpture may weigh anywhere from 150 to 200 lbs. so a table is important to support the weight. Finding the right artist to create your sculpture is your next order of business. You can start by asking friends and family for their recommendations. You can also search The National Ice Carving Association website for ice sculptors that are in your area.

It is advised that as soon as you make the decision to have an ice sculpture, that you call your order in. You will more than likely be asked for a deposit to secure your place on their calendar. You can order a sculpture that is carved by hand and is made of clear ice or you can choose a sculpture that has been molded and colored to complement the room or the wedding theme.

You will be presented with a wide array of choices when it comes to prices and styles. You may want to order an ice sculpture that has been custom designed especially for you or you may choose one of the offerings they advertise. Your ice sculpture should come with a guarantee for a timely delivery as well as setting up the sculpture along with a drip tray.

You can expect an ice sculpture that will be displayed indoors to last at least 5-8 hours. The larger pieces will last longer. The drip tray will catch the melting ice, so you don't have to worry about guests injuring themselves on a wet floor. The self-contained drip tray will typically be hidden by sprays of greens and baby's breath so that they guests will not see it. You may be offered table swans, balloons, candles or flower arrangements to make your display complete.

If you need some wedding favors such as beach wedding favors, silver wedding favors, coaster favors and more we got you covered.

Also we have a wide variety of bottle stoppers that will be great for your cocktail hour.

Don't forget the ladies either purchase them some nice bridesmaid gifts they'll love.

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