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is a place to share and follow research. For Argan, the crisis in contemporary Italian sculpture derived from .. Argan, G. C. “Arte Moderna in Inghilterra: Henry Moore” (Modern Art in. Argan, Giulio Carlo, L’Arte Moderno , Sansoni, Firenze. Argan, G. C., Arte e Crítica de Arte, ed. portuguesa Estampa, Lisboa.

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In Modern Sculpture Reader.

FBAUP – Teoria e Crítica da Arte I

Henry MooreLetteratura 8, no. Francisco De Silva Editore, Letteratura 2 March—April In Warrior with Shieldthe implicit visual allusions to antiquity, from the Belvedere Torso to the linear patterns on the sculpture from the Apollo Sanctuary in Bassai c. This essay will examine various aspects of the crucial impact it made on Italian sculpture, at a time when this had fallen badly behind the international field. Comuta visibilidade da coluna esquerda. However, all things considered, the Italian sculpture presented in these international exhibitions, which were the most important postwar events of their kind, was shown still to be anchored in a stylistic repertoire and choice of themes, such as nudes, portraits, and mythological subjects that were heavily indebted to the sculpture of the previous decade and had not moved with the times.

Students individually followed through Serao Exhibition About Matter occupying part of the class pace and are designed que In Class setbut que They open space to Intervention Critical of each and Every hum Along the seminars.

Along make half Performs If hum Shorter order to evaluate the acquired competence. It is considered that students will be reasonably prepared when and if they are competent in developing a critical text informed and respectful of knowledge application in the program, applied to a work of artfilm or photographyarticulating it some of the concepts used throughout school.

Other articles in this section Chapter 0 Chapter 1 Chapter 2 Chapter 3. At the Biennale, Henry Moore also exhibited some abstract sculptures, which recalled his participation in Unit One and his experimentation with combinations of interpenetrating structures and pure volumes and organic forms. Aa, Art sinceThames and Hudson, Londres.

Contemporary Vision

Minguzzi worked pictorial effects into the surfaces of his bronze heads, by drawing attention to all the bumps, perforations, and contrasting volumes, as a way of imbuing elements taken from antiquity with the tortured qualities of the informel. By using this website you agree to our Cookie policy.

Marcello Mascherini, Guerriero Warrior, bronze, x x cm, Trieste. These young artists changed the subjects and materials argab sculpture, as well as of the figure of the sculptor himself, and his way of making sculpture.

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FBAUP – Contemporary Vision

After studying Modern Literature at the University of G.c.arfe Italyshe followed a post-degree Diploma in history of art at the same university. Argan, Henry Moore Turin: AfterMoore consolidated his reputation as one of the leading figures in the revival of monumental sculpture, both in theory and in practice, and in giving myth a new lease of life via the innumerable articles devoted to him mdoerna Italian magazines.

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This led to the representations of the proud, but lacerated human form, sustained only by an atavistic inner force, protecting its integrity of spirit from the brutal modetna to which its body has been subjected. Italian sculptors learned two valuable lessons from the works that Moore exhibited in Venice: Bernardo Alberto Frey Pinto de Almeida.

Moore and the Validity of Figurative Sculpture DOI Inthe critic Giulio Carlo Argan asserted that Henry Moore was the most important sculptor in Europe, above all for his exquisitely English arvan for not shutting himself away within the confines of his own artistic tradition, but remaining open to innovations from the Continent, as a means of nurturing his own autonomous development. Recommend this page Top. Weighted average of the elements described above.

Teaching – Hours Argah and practical: Students will be prepared when able to show competence in producing informed critical writing applying acquired knowledge to a specific work of art, film or photograph. The sculptors of the s gave further accretions of meaning to the existing repertoire of myths and archaic and primitive forms, which could serve as metaphors for the condition of mankind, afflicted by the ravages of the Second World War.

At the very least, Cappello learned from Moore the principles of direct carving and truth to materials and began to handle his materials with due respect for their physical properties, such as their elasticity, strength, veining, cracks, and irregularities—at the same time, opting for a broad g.v.arte of different materials, such as a variety of alabasters, stones, marbles, and woods.

He did not abandon figuration, but he achieved a g.c.arts departure from the Italian sculptural tradition. His Warrior took from Moore, not only the theme of the wounded and suffering male nude, proudly brandishing a huge shield, but his monumentality.

Emanuela Pezzetta PhD is an independent historian and researcher of contemporary art, and a curator of contemporary art exhibitions. British sculpture gained an international reputation thanks to the exposure it was given at the Venice Biennale from toand proved capable of influencing sculptural developments throughout the s. Reg Butler and Lynn Chadwick. The space itself, which flowed freely within the work, did not get caught up or absorbed by it, but set the interior and exterior of the sculpture in a relation of continual movement and flux.

From that moment untilthe sculptors Lynn Chadwick, Reg Butler, and Kenneth Armitage were closely followed at every stage by their Italian peers, who considered that they held the new keys that would once again enable them to gain access to a climate of modernity. For a number of Italian figurative sculptors, the works that Butler exhibited at the Biennale his reconstruction of the prize-winning model for the Unknown Political Prisoner Competition and Study for Two Watchersofwith their depersonalized, heroic, even hieratic representations of the human figure, exercised a strong appeal.

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At the same timethrough concrete and incisive examplesshow them the essential relationship and founder throughout the twentieth century between criticism and artistic productionoften through the artists texts. Myth, archaism, and primitivism were endowed with new attributes in s sculpture.

The theme of the warrior enjoyed particular success with Italian sculptors. DOI The sculptors of the s modernaa further accretions of meaning to the existing repertoire of myths f.c.arte archaic and primitive forms, which could serve as metaphors for the condition of mankind, afflicted by the ravages of the Second World War.

This work depicted an adolescent girl, standing up with her hands crossed over her head, one of them covering her face, in the act of removing her vest. At times, his work switched over to an exploration of non-figurative elements via a conjunction of human and vegetal forms and pushed Minguzzi into experimenting with tenuous rhythms, combinations of trapezoid volumes, filigree structures, and compositional extensions into the surrounding space.

Moore played an essential role in defining this myth: For Argan, the crisis in contemporary Italian sculpture derived from the fact g.c.aete instead of remaining open to g.c.xrte the latest innovations, it had fallen back on the traditional elements which had once propelled it to a level of excellence. Butler presented the nude figure as degraded, mutilated, and inert and, like Francis Bacon in his paintings, presented a tormented image of humanity, as being self-obsessed and ridden with Angst.

Her recent publications are about the sculptor Alberto Viani and his teaching at modwrna Venice Academia di Belle Arti, Dino Basaldella, Marcello Mascherini and his reliefs, and essays on sculpture of the s and g.c.aarte, art, and philosophy.

Teoria e Crítica da Arte I

These works were at the root of his representation of the human figure, vulnerable but undefeated for all that, and opened up new perspectives for the sculptural treatment of heads and the nude male body. To be sure, Marino Marini would have stood out, for his allusive use of his sources, his assimilation of sculptural archetypes and his rigorous approach to combining form, mass, and line. Abstract DOI British sculpture gained an international reputation thanks to the exposure zrgan was given at the Venice Biennale from toand proved capable of influencing sculptural developments throughout the s.