SCULPTURE

GROUP 5
Renzo Beaver Balberona
Dinese Isabel Besa
Jean Cheng
Mae Anne Dumdumaya
Greline Fermiza
Katchry Evan Galleto

AB POLITICAL SCIENCE 2A
JEFFREY BALLARET
INTRODUCTION TO HUMANITIES 101

September 19, 2013

Table of Contents

Objectives of the Study - - - - - - - 2
SCUPLTURE - - - - - - - 3
MATERIALS AND TECHNIQUES- - - - - - - 3 Carving - - - - - - - 3 Modelling - - - - - - -

Objectives of the Study * To further understand the importance of sculpture. * To know more about the different kinds of sculpture. *

SCUPLTURE Sculpture (Latin sculpere, “to carve”), three-dimensional art concerned with the organization of masses and volumes. The two principal types have traditionally been freestanding sculpture in the round and relief sculpture. MATERIALS AND TECHNIQUES Sculpture can be made from almost any organic or inorganic substance. It puts together into a beautiful, meaningful shape such materials as wood, stone, metal and other hard materials. The processes specific to making sculpture date from antiquity and, up to the 20th century, underwent only minor variations. These processes can be classified according to materials—stone, metal, clay, and wood; the methods used are carving, modelling, and casting.

Carving
A procedure dating from prehistoric times, carving is a time-consuming and painstaking process in which the artist subtracts, or cuts away, superfluous material until the desired form is reached. The material is usually hard and frequently weighty; generally, the design is compact and is governed by the nature of the material. For example, the narrow dimensions of the marble block used by Michelangelo to carve his David (1501-1504, Accademia, Florence, Italy) strongly affected the pose and restricted the figure's outward movement into space. Various tools are used, depending on the material to be carved and the state to which the work has progressed.

Modelling

Modeling consists of addition to, or building up of, form. The materials used are soft and yielding and can be easily shaped, enabling rapid execution. Thus, a sculptor can capture and record fleeting impressions much the way a painter does in a quick sketch. Clay or claylike substances, baked to achieve increased durability, have been used for modeling since ancient times.
Casting

The only means of obtaining permanence for a modeled work is to cast it in bronze or some other durable substance. Two methods of casting are used: the cire perdue, or lost-wax process, and sand-casting. Both methods have been used since antiquity, although the lost-wax process is more widely employed. Casting is accomplished in two stages: First, an impression or negative mold is formed from the original—a clay model, for instance—and second, a positive cast or reproduction is made of the original work from the negative impression. The term negative refers to the hollow form or mold into which the liquefied casting material is poured. The term positive means the copy or reproduction resulting from filling the negative mold with the substances selected for the specific cast, which are then allowed to harden. Plaster is frequently used for the negative mold, and bronze for the positive or final work.

FEATURES OF SCULPTURE

Line Line features are the shape of arts. This line could be horizontal, vertical, and diagonal.
Horizontal line connotes peace and tranquillity while vertical lines are forceful and dynamic. Diagonal lines show movement.

Colour Colour is generally referred to as to its property hue and value. Colour is the decorative element put into the art piece.

Texture Texture refers to the way the objects feel to the touch. This is a feature of sculpture that is important because these are pieces which could be felt.

Volume Volume means solidity or thickness. The sculpture is concerned with volume because a sculpture occupies space.
Perspective
Perspective refers to depth or distance. Two features of perspective are linear an aerial. Linear perspective means that the figures become smaller as they recede into the distance. Aerial perspective means that the figures become fainter or less visible in the distance.

Style How the artist show his/her feelings.

HISTORY OF SCULPTURE
Pre-Historic Sculpture
Experts have traditionally believed that the earliest sculpted objects, cut from ivory, horn, bone, or stone, dated from about 27,000 to 32,000 years ago. But discoveries in the early 2000s suggest that prehistoric people in Africa began carving objects even earlier. In 2006 Norwegian researchers reported finding a rock in a cave in Botswana that resembles the head of a python, an animal important in the rituals of the San people. The rock has markings made by humans and appears to date from about 70,000 years ago.
Other early sculptures, from about 30,000 years ago, have been found in Europe. A small ivory horse with graceful, curving lines is among the oldest of these objects; it was found in a cave in Germany. Also found on cave floors are little stone female figurines carved with emphasis on the reproductive organs, the breasts, and the buttocks. These figures are thought to represent fertility goddesses and therefore are given the name Venus. One such figure, the Venus figurine from the area of Willendorf, Austria (23,000? bc, Naturhistorisches Museum, Vienna, Austria), with bulbous proportions although a mere 11.5 cm (4.5 in) high, was painted red to resemble blood, thereby signifying life. In Jericho, human skulls covered with plaster were naturalistically rendered some 9000 years ago.
Baroque-Rococo Sculpture
The stylistic period roughly spanning the 17th century is known as the baroque; characterized by dynamic intensity, it had its origins in Rome. Its offshoot, the more delicate, decorative style characteristic of the early part of the 18th century, is known as rococo; this style originated in France.
Italy
Gianlorenzo Bernini was the outstanding personality of the baroque age; like Michelangelo, he was a child prodigy, had a long and prolific career, and was a painter, sculptor, and architect. Bernini's works are highly dramatic, and their depth of emotional expression suited the intense spirit of the Counter Reformation. A strong interplay of light, shadow, and movement characterizes all of Bernini’s works, including Apollo and Daphne (1622-1624, Galleria Borghese, Rome), which also shows his incredible technical virtuosity in handling marble. France & Germany
The theatrical aspects of the rococo were best exemplified in Germany by the colorful works of the brothers Egid Quirin Asam and Cosmas Damian Asam, who were painters and architects as well as sculptors. Best known is their ornate decoration for the Church of Saint John Nepomuk (1733-1746) in Munich.