This document provides an overview of prominent eras, events, and styles in the history of sculpture from prehistoric times through the post-war period. It touches on prehistoric sculpture, Celtic metal sculpture, Roman sculpture emphasizing portraits, Byzantine sculpture focusing on religious scenes, Gothic and Renaissance sculpture becoming more realistic and lifelike, Baroque sculpture using movement and diagonals, Rococo sculpture's curved natural forms, Neoclassical sculpture drawing from Greek and Roman styles, and post-war sculpture in rebuilding after World War II.
This document provides an overview of prominent eras, events, and styles in the history of sculpture from prehistoric times through the post-war period. It touches on prehistoric sculpture, Celtic metal sculpture, Roman sculpture emphasizing portraits, Byzantine sculpture focusing on religious scenes, Gothic and Renaissance sculpture becoming more realistic and lifelike, Baroque sculpture using movement and diagonals, Rococo sculpture's curved natural forms, Neoclassical sculpture drawing from Greek and Roman styles, and post-war sculpture in rebuilding after World War II.
This document provides an overview of prominent eras, events, and styles in the history of sculpture from prehistoric times through the post-war period. It touches on prehistoric sculpture, Celtic metal sculpture, Roman sculpture emphasizing portraits, Byzantine sculpture focusing on religious scenes, Gothic and Renaissance sculpture becoming more realistic and lifelike, Baroque sculpture using movement and diagonals, Rococo sculpture's curved natural forms, Neoclassical sculpture drawing from Greek and Roman styles, and post-war sculpture in rebuilding after World War II.
This document provides an overview of prominent eras, events, and styles in the history of sculpture from prehistoric times through the post-war period. It touches on prehistoric sculpture, Celtic metal sculpture, Roman sculpture emphasizing portraits, Byzantine sculpture focusing on religious scenes, Gothic and Renaissance sculpture becoming more realistic and lifelike, Baroque sculpture using movement and diagonals, Rococo sculpture's curved natural forms, Neoclassical sculpture drawing from Greek and Roman styles, and post-war sculpture in rebuilding after World War II.
what to do? write the highlights from each specific era in sculpture and the prominent events/personalities or techniques that helped shape the foundations of sculpture.
Prehistoric sculpture - Parietal art, like cave paintings and cave petroglyphs, predominates in prehistoric sculpting. Sculpture is less prevalent but no less important in reflecting the intellectual and creative development of the culture or artist in question because it is a portable or mobiliary form of art and as such is more susceptible to ruin or loss. Plastic art is, after all, always more difficult and intricate than two-dimensional arts like painting or drawing. So it should come as no surprise that as Stone Age tools advanced in quality—from crude all-purpose tools to highly specialized tools with a variety of shapes, blades, and weights—so did Stone Age art. Thus, it should come as no surprise that the appearance of anatomically modern man, who succeeded Neanderthal Man during the time (c. 50–20,000 BCE), had a significant impact on both tool culture and sculpture in the Upper Paleolithic era, particularly during the Aurignacian, Gravettian, and Magdalenian periods. classically inspired sculpture (c.1100-100 BCE).
Celtic Metal sculpture - With pieces brought back from the locations they visited, the Celts enhanced their artistic creations. A silk robe made in China covered the grave of one chieftain.
● Bronze "cult wagons" were substantial carts with standing statues within.The piece's center had a shaft with a huge bowl that may have been used to hold religious offerings. ● The warring drinking nature of the Celts can be seen in what they chose to produce, and there are a bevy of large, elaborate drinking vessels and quite a lot of weaponry. ● Early in the third century BC, the Celts began to produce coins, at first adopting Roman and Greek design elements and subsequently developing a more distinctively Celtic style. ● After the Tara Brooch was found in 1850, the current Celtic Revival got started. Brooches gained enormous popularity, and the renaissance quickly spread to the United States, where grave markers and buildings started to feature Celtic patterns. ● Although the Celts made pottery, it was inferior to that of other cultures at the time and was primarily employed for mundane everyday tasks. They saved the metals for their more delicate pieces.
Roman Sculpture - Roman artists favored creating portraits. Romans carved images of deities, heroes, emperors, generals, and politicians. The capitals of columns and the gladiator helmets were both decorated with carved images. Roman sculptures frequently mirrored the forms and way of life that were popular at the time they were created. Archaeologists can even date statues of Roman by their hairdos and clothing choices. For instance, women's hair was divided in the middle with a central role during the Augustan Age. The coiffures of the Flauvians and Antiones were more elaborate coiffures and resembled a honeycomb of curls.
Byzantine Sculpture -
● The life of Christ
● Scenes from the Old Testaments (Daniel and the Lions) ● The sacrifice of Abraham ● Adam and Eve
Early Byzantine sculpture is more an extension of Hellenistic art, which produced
portraits with significant aesthetic and dramatic significance. A few of excellent examples of secular architecture from the time period still exist. Sculpture underwent alterations quite comparable to those in architecture. Remains of an atrium from the Great Palace of Constantinople are one of them. This building was embellished with a stunning mosaic that had sculptures that were worthy examples of the wonders of the Roman Empire.
Despite the fact that sculpture's forms are still primarily representational, the way in which they are handled provides us with an indication as to how the symbolic nature of the art progressively takes precedence over its expression and beauty, responding to the new theology and ecclesiastical power.
In the early stages of the protracted Byzantine period, for example, the three-dimensional representational sculpture styles they acquired from the Hellenistic period gradually diminished until they only vaguely utilised them in later times.
Sculpture during the dark ages - Church interiors were adorned with sculpture throughout the later Middle Ages. Early Middle Ages churches were forbidden from displaying sculpture for concern that it would be mistaken for paganism. In their churches, the Byzantine church never made extensive use of sculpture. Around the eleventh century, the Western Roman Catholic church started using sculpture once more.
The sculpture became more lifelike as the Middle Ages progressed. The Romanesque sculpture lacks proper proportion and appears blocky. With flowing garments and more proportionate figures, the Gothic becomes more realism. We observe a return to Greek and Roman sculptural styles during the Renaissance. Again, the young and fit nude is shown by artists like Michelangelo and Dontello. Dontello also starts producing bronze works, which had been unheard of since the Greek and Roman eras.
Romanesque sculpture - The practice of creating monumental works of stone sculpture
and bronze statues came to an end with the fall of the Roman Empire, much as it had in the Byzantine world due to religious reasons. Some life-size sculptures were created in plaster or stucco, although there aren't many surviving specimens. The life-size wooden crucifix ordered by Archbishop Gero of Cologne in approximately 960–65—apparently the prototype of a popular form—is the best-known surviving sculpture of Proto-Romanesque Europe. These were erected on a beam beneath the chancel arch, called a rood in English, starting in the 12th century, and were flanked by statues of the Virgin Mary and John the Evangelist.
Figurative sculpture was revitalized in the 11th and 12th centuries when building reliefs came to symbolize the late Romanesque era. Small-scale sculptures made of ivory and metal and manuscript illumination were the main influences on figurative sculpture. Another possible inspiration came from the massive friezes sculpted on Armenian and Syriac churches. Although the most impressive sculptures are located in South-Western France, Northern Spain, and Italy, these sources combined to create a distinctive style that is identifiable throughout Europe.
Gothic Sculpture - From around the mid-12th century to the 16th century, Gothic sculpture was a popular sculpture genre in Europe. It developed from Romanesque sculpture and eventually dissolved into Renaissance and Mannerism. Italian Renaissance Sculpture - It's important to keep in mind that Renaissance sculptors had tangible examples of classical Greek sculpture before their eyes, the very work they admired, whereas painters had no examples of ancient paintings to refer to when studying the art of sculpture in Italy during this time. The first significant pre-Renaissance sculptor, Nicola Pisano (c.1206-1278), had foundations ready for him to build on, unlike Giotto, who had to create his own "foundations.
Baroque Sculpture - I believe it's really a coincidence; they were only concerned with representing movements and engaging the audience. Although there are many connections can be made with other aesthetic movements, this one has its own narrative. 2 - From what I can see, he employed diagonals more frequently than triangles. and, of course, they could intersect to form triangles, but that is only possible due to their orientation.
Rococo Sculpture - Early 18th-century sculpture that had its beginnings in Paris but quickly spread throughout France and then to neighboring nations, primarily Germany and Austria. It is distinguished by lightness, grace, and an extravagant use of curved natural forms in ornamentation. The word "Rococo" comes from the French word "rocaille," which described the shell-covered rock work used to adorn man-made grottoes.
Neoclassical Sculpture - In Europe and America in the late 18th and early 19th century, neoclassical art predominated. It covered all forms of plastic art as well as Neoclassical architecture and painting. Neoclassical sculptors eschewed the frivolous prettiness of the Rococo in favor of the order and clarity associated with Greek art and its younger sibling Roman art, both of which were influenced by the archeological findings at Pompeii and Herculaneum as well as by a rebirth of building. From Rome, a significant destination on the Grand Tour, the Neoclassical revival moved north to France, England, Germany, Sweden, Russia, and America.
First, both characters are depicted on a human scale in both 19th-century and 20th-century sculpture. Then, the bodies are so meticulously crafted that the flesh appears flexible and alive. Each anatomical aspect is meticulously rendered by the artist, who even highlights the veins and body hair of the lanky satyr.
The satyr, who can be distinguished from a faun by his cloven hooves, is a rustic deity that represents temptation and desire. Nymphs connected to the religion of Dionysus are called Bacchantes (or Bacchus). They are always shown dancing or singing, wearing a flower crown, being naked or in minimal clothing. Rarely are the two figures portrayed together.
This piece was upsetting for both clear ethical and aesthetically pleasing reasons. Belonging to the neo-classical style, which at the time dominated French painting, Pradier here heralds the entrance of the Romantic movement by portraying a front-on, sensual picture of the male-female interaction without making any concessions or acting falsely modest.
Post-war Sculpture - Following World War II, England started rebuilding its destroyed towns and cities. Since there was an opportunity for creativity to bloom throughout this reconstruction, a large portion of our public art was produced. These sculptures were created to breathe new life into our public areas, humanize and enhance our streets, housing developments, workplaces, retail establishments, universities, and educational institutions. Sadly, artwork from this time period is frequently in danger of being destroyed, stolen, or just ignored. Postmodernist Contemporary Sculpture - A large group of modern art works produced starting around 1970 are referred to as "postmodernist art." The distinguishing feature of "postmodernist art" is its rejection of the aesthetics that "modern art" (1870–1970) was founded on. The notion that "art" is something "special" that should be "elevated from" general taste is one of these principles that has been rejected. Postmodernism has sparked nearly five decades of artistic experimentation with new media and art forms, including "Conceptual art," various kinds of "Performance art" and "Installation art," as well as computer-aided movements like Deconstructivism and Projection art. These developments coincided with a slew of new technological advancements. Postmodernist artists have broadened the definition of art to the point where nearly "anything goes" using these new forms.
