1000 Scupltures of Genius

Автор книги: Patrick Bade id книги: 736902 Оценка: 0.0 Голосов: 0 Отзывы, комментарии: 0 180,5 руб. (1,96$) Читать книгу Купить и читать книгу Купить бумажную книгу Электронная книга Жанр: Энциклопедии Правообладатель и/или издательство: Parkstone International Publishing Дата добавления в каталог КнигаЛит: 23 июня 2017, 01:17 ISBN: 978-1-78310-933-3, 978-1-78310-407-9 Возрастное ограничение: 12+ Оглавление Отрывок из книги

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From antiquity to the 20th century, this sculpture collection offers a truly original vision of Western art. Here are the most sensual and harmonious masterworks to the most provocative and minimalist sculptures. Sculpture shapes the world and our concept of beauty, leaving everlasting silhouettes and always creating new intriguing ones. These masterworks are the mirror of an era, of an artist and his public and through this sculpture gallery, one visits not only the history of art, but history as a whole. Between the acclaimed ideals of beauty and the most controversial works, 1,000 Sculptures of Genius will give you a true panoramic view of Western sculpture. Along with numerous references, comments on masterworks and biographies, this work enables the reader to rediscover Western world heritage and is the perfect guide for art students and statuary lovers.

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1000 шедевров. Скульптура (Манке Джозеф ).
Закажите книгу «1000 шедевров. Скульптура» от автора Манке Джозеф ISBN: 978-5-389-06566-6, с доставкой и по низкой цене. Более 3 000 000 книг, сувениров и канцтоваров в Буквоеде. Будь в центре культурной жизни твоего города!
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The ancient Greeks, at first an isolated and provincial people among many population groups in the Mediterranean basin, rose to cultural, military, and political prominence, but they stood on the shoulders of giants and learned from the traditions of other ancient Mediterranean and Near Eastern civilisations. In the sphere of the arts, the Egyptians, in particular, had already developed a culture of idealised, well-proportioned human figures, a narrative tradition in painting and relief sculpture, and temple architecture that incorporated the display of a variety of sculptural elements. Yet the Greeks, in altering the static forms of the Egyptians, sought to craft sculptural figures that expressed life, movement, and a more fundamental and humane sense of moral potential. This development is seen in its early phase in the growing naturalism and subtlety of facial expression in sculpture produced in the Archaic period of the seventh and sixth centuries B.C.E. greater freedom of invention appeared during that time in vase painting, but sculptors, restrained by the intractability of stone and by convention, lagged somewhat behind. Reflecting a philosophical search for the ideal, the sculptors aimed at achieving timeless beauty. Just as Greek philosophers considered the nature of the ideal republic, perfect justice, or the ideal Good itself, artists brought forth a host of perfected forms. In their subject matter, sculptors often favoured the naked, youthful male body, a reflection of the Greek penchant for athleticism and military prowess, and an indication of the fluid boundaries of their range of sexual appreciation. A widespread and important form was the kouros, a free-standing male figure often placed at tombs in honour of the deceased. Kore, female equivalents of the kouroi, were clothed, following the convention of the time, but equally focused on youth, charm, and ideal beauty.

During the fifth century B.C.E. a mood of great confidence developed among the Athenian people, spawned by their victory over the Persians in 490–479 B.C.E. and by continued Athenian leadership among the collected Greek city-states. Indeed, the Athenian leader Perikles, in his famous oration (431 B.C.E.) for soldiers fallen in the Peloponnesian War, affirmed the superiority of Athens in cultural affairs, stating that their dedication to citizenship, sacrifice, and intellect formed the moral core of Athenian greatness. This was a moment of revolution in artistic style. Ever more explicitly based on the ideals of the perfect body, sculptured figures expanded in movement and emotion, but always with a moderating balance of weight, proportion, and rhythm. Equally important was the sense of palpable reality; sculpture, rather than being made of unadorned marble or bronze, was often enhanced by details in other media to achieve, in restrained fashion, an extra degree of naturalism. In later eras, a belief in the “purity” of the art of the Greeks led critics to overlook these additions, but the Greeks themselves gave life to their figures by painting on the marble key parts such as lips or eyes; in bronze sculpture, the highest and most enduring form of artistic technique, one found such additions as glass eyes and silver eyelashes. Later Greeks and Greek colonists would make a specialty of coloured terracotta figurines. The realm of ancient Greek sculpture was a lively and at times colourful world.

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86. Anonymous. Apollo Sauroktonos, Hellenistic copy after a Greek original created during the 4th century B.C.E. by Praxiteles. Marble. Museo Pio Clementino, Vatican (Italy). Greek Antiquity.

87. Anonymous. Aphrodite of Knidos, copy after a Greek original created around 350 B.C.E. by Praxiteles. Marble. Museo Pio Clementino, Vatican (Italy). Greek Antiquity.

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