Learning to look at sculpture /
"Learning to Look at Sculpture is an accessible guide to the study and understanding of three dimensional art. Sculpture is all around us: in public parks, squares, gardens and railway stations, as part of the architecture of buildings, or when used in commemoration and memorials and can even b...
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Abingdon, Oxon ; New York :
Routledge,
2014
London ; New York : 2014 |
| Subjects: |
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| 100 | 1 | |a Acton, Mary |1 http://viaf.org/viaf/17361688 | |
| 100 | 1 | |a Acton, Mary | |
| 100 | 1 | |a Acton, Mary, |e author | |
| 245 | 1 | 0 | |a Learning to look at sculpture / |c Mary Acton |
| 264 | 1 | |a Abingdon, Oxon ; |a New York : |b Routledge, |c 2014 | |
| 264 | 1 | |a London ; |a New York : |b Routledge, |c 2014 | |
| 300 | |a xxxviii, 331 pages : |b illustrations ; |c 23 cm | ||
| 300 | |a xxxviii, 331 pages ; |c 22 cm | ||
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| 504 | |a Includes bibliographical references (pages 311-318) and index | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Introduction -- The influence of the classical tradition and the development of sculptural types -- The free-standing figure and its legacy -- Group sculpture: the interaction between forms -- Relief sculpture and its purpose: communication, decoration and narrative power -- The bust: sculpture and the portrait -- Sculpture, memory and commemoration -- Sculpture and its setting -- Sculpture and drawing -- Epilogue: the idea of seeing three-dimensional design as sculpture | |
| 505 | 0 | 0 | |a note: |g 1 |t influence of the classical tradition and the development of sculptural types -- |t Introduction -- |t ideal body -- |t cult figure and the importance of scale both large and small -- |t relief and the concept of narrative -- |t group sculpture and the interaction between figures and man and animal -- |t bust: sculpture and the portrait -- |t Change and continuity in more recent times -- |t Conclusion -- |g 2. |t free-standing figure and its legacy -- |t Introduction -- |t Transposition -- |t free-standing figure and space -- |t free-standing figure and its setting -- |t free-standing figure and the expressive surface -- |t Realism and verisimilitude -- |t Casting and its uses -- |t imperfect body and the fragment -- |t Conclusion -- |g 3. |t Group sculpture: the interaction between forms -- |t Introduction -- |t interaction between man and animal: the equestrian monument -- |t Small-scale animal sculpture with more than one form -- |t relationship between two figures large and small -- |t relationship between two figures of equivalent size -- |t Multiple groups of figures -- |t Conclusion -- |g 4. |t Relief sculpture and its purposes: communication, decoration and narrative power -- |t Introduction -- |t communication of a message -- |t ivory, the cameo, the jewel and very low relief which is primarily decorative -- |t relationship between relief and engraving -- |t Relief and the idea of installation -- |t Conclusion -- |g 5. |t bust: sculpture and the portrait -- |t Introduction -- |t Renaissance revival of the classical bust -- |t bust and the idea of commemoration -- |t Other possibilities in relation to the bust -- |t Conclusion -- |g 6. |t Sculpture, memory and commemoration -- |t Introduction -- |t Tomb sculpture -- |t Architecture and the memorial -- |t Conclusion -- |g 7. |t Sculpture and its setting -- |t Introduction -- |t relationship between sculpture and architecture -- |t Sculpture and the interior -- |t Sculpture and landscape -- |t Conclusion -- |g 8. |t Sculpture and drawing -- |t Introduction -- |t Drawing and the study of anatomy -- |t Sculpture, drawing and painting -- |t Sculpture and drawing from life -- |t Drawing in space -- |t Conclusion -- |g 9. |t Epilogue: the idea of seeing three-dimensional design as sculpture -- |t Introduction -- |t Drawing, goldsmithing and ceramics -- |t Beauty and use in glass design and making -- |t Furniture and its sculptural possibilities -- |t Sculpture and industrial design -- |t Conclusion. |
| 505 | 0 | 0 | |t Introduction |g xxxiii -- |g 1 |t The influence of the classical tradition and the development of sculptural types |g 1 -- |t Introduction |g 1 -- |t The ideal body |g 1 -- |t The cult figure and the importance of scale both large and small |g 7 -- |t The relief and the concept of narrative |g 11 -- |t The group sculpture and the interaction between figures and man and animal |g 17 -- |t The bust: sculpture and the portrait |g 25 -- |t Change and continuity in more recent times |g 28 -- |t Conclusion |g 35 -- |g 2 |t The free-standing figure and its legacy |g 37 -- |t Introduction |g 37 -- |t Transposition |g 37 -- |t The free-standing figure and space |g 43 -- |t The free-standing figure and its setting |g 48 -- |t The free-standing figure and the expressive surface |g 49 -- |t Realism and verisimilitude |g 57 -- |t Casting and its uses |g 64 -- |t The imperfect body and the fragment |g 68 -- |t Conclusion |g 71 -- |g 3 |t Group sculpture: the interaction between forms |g 72 -- |t Introduction |g 72 -- |t The interaction between man and animal: the equestrain monument |g 72 -- |t Small-scale animal sculpture with more than one form |g 78 -- |t The relationship between two figures large and small |g 81 -- |t The relationship between two figures of equivalent size |g 87 -- |t Multiple groups of figures |g 92 -- |t Conclusion |g 101 -- |g 4 |t Relief sculpture and its purposes: communication, decoration and narrative power |g 102 -- |t Introduction |g 102 -- |t The communication of a message |g 105 -- |t The ivory, the cameo, the jewel and very low relief which is primarily decorative |g 115 -- |t The relationship between relief and engraving |g 125 -- |t Relief and the idea of installation |g 128 -- |t Conclusion |g 130 -- |g 5 |t The bust: sculpture and the portrait |g 131 -- |t Introduction |g 131 -- |t The Renaissance revival of the classical bust |g 133 -- |t The bust and the idea of commemoration |g 135 -- |t Other possibilities in relation to the bust |g 140 -- |t Conclusion |g 154 -- |g 6 |t Sculpture, memory and commemoration |g 157 -- |t Introduction |g 157 -- |t Tomb sculpture |g 158 -- |t Architecture and the momorial |g 180 -- |t Conclusion |g 199 -- |g 7 |t Sculpture and its setting |g 201 -- |t Introduction |g 201 -- |t The relationship between sculpture and architecture |g 202 -- |t Sculpture and the interior |g 218 -- |t Sculpture and landscpae |g 228 -- |t Conclusion |g 244 -- |g 8 |t Sculpture and drawing |g 246 -- |t Introduction |g 246 -- |t Drawing and the study of anatomy |g 248 -- |t Sculpture, drawing and painting |g 252 -- |t Sculpture and drawing from life |g 260 -- |t Drawing in space |g 264 -- |t Conclusion |g 272 -- |g 9 |t Epilogue: the idea of seeing three-dimensional design as sculpture |g 273 -- |t Introduction |g 273 -- |t Drawing, goldsmithing and ceramics |g 275 -- |t Beauty and use in glass design and making |g 280 -- |t Furniture and its sculptural possibilities |g 284 -- |t Sculpture and industrial design |g 286 -- |t Conclusion |g 297 |
| 520 | |a "Learning to Look at Sculpture is an accessible guide to the study and understanding of three dimensional art. Sculpture is all around us: in public parks, squares, gardens and railway stations, as part of the architecture of buildings, or when used in commemoration and memorials and can even be considered in relation to furniture and industrial design. This book encourages you to consider the multiple forms and everyday guises sculpture can take. Exploring Western sculpture with examples from antiquity through to the present day, Mary Acton shows you how to analyse and fully experience sculpture, asking you to consider questions such as What do we mean by the sculptural vision? What qualities do we look for when viewing sculpture? How important is the influence of the Classical Tradition and what changed in the modern period? What difference does the scale and context make to our visual understanding? With chapters on different types of sculpture, such as free-standing figures, group sculpture and reliefs, and addressing how the experience of sculpture is fundamentally different due to the nature of its relationship to the space of its setting, the book also explores related themes, such as sculpture's connection with architecture, drawing and design, and what difference changing techniques can make to the tactile and physical experience of sculpture. Richly illustrated with over 200 images, including multiple points of view of three dimensional works, examples include the Riace bronzes, Michelangelo's David, Canova's The Three Graces, medieval relief sculptures, war memorials and works from modern and contemporary artists, such as Henry Moore, Cornelia Parker and Richard Serra, and three-dimensional designers like Thomas Heatherwick"-- |c Provided by publisher | ||
| 520 | |a "This new book from Mary Acton is a perfect companion volume to Learning to look at Paintings and Learning to look at Modern Art. Like them it is primarily about looking - and particularly about the differences in the experience of looking at three-dimensional art. Covering all periods of Western sculpture from Classical times to the present day, each chapter is broadly chronological, taking examples from different periods, while the book itself takes a thematic approach. Important themes throughout the book include a discussion of the idea of mimesis (the imitation of the natural world) and the three dimensional presence of the sculpture, the influence of the classical tradition on Western sculpture, the three dimensional experience for the spectator, and the use of the turntable in the studio and the experience for the maker of different points of view. There will also be a consideration of the all important relationship of form and space in sculpture and its tactile qualities. Richly illustrated with over 100 images, including photographs of three dimensional art from multiple points of view, and including examples from ancient bronzes and sarcophagi reliefs to the work of Cornelia Parker and Richard Serra, this will be the ideal companion for all those studying, or simply interested in, sculpture"-- |c Provided by publisher | ||
| 520 | |a "This new book from Mary Acton is a perfect companion volume to Learning to look at Paintings and Learning to look at Modern Art. Like them it is primarily about looking - and particularly about the differences in the experience of looking at three-dimensional art. Covering all periods of Western sculpture from Classical times to the present day, each chapter is broadly chronological, taking examples from different periods, while the book itself takes a thematic approach.Important themes throughout the book include a discussion of the idea of mimesis (the imitation of the natural world) and the three dimensional presence of the sculpture, the influence of the classical tradition on Western sculpture, the three dimensional experience for the spectator, and the use of the turntable in the studio and the experience for the maker of different points of view. There will also be a consideration of the all important relationship of form and space in sculpture and its tactile qualities.Richly illustrated with over 100 images, including photographs of three dimensional art from multiple points of view, and including examples from ancient bronzes and sarcophagi reliefs to the work of Cornelia Parker and Richard Serra, this will be the ideal companion for all those studying, or simply interested in, sculpture"-- |c Provided by publisher | ||
| 590 | |a OCLC |b WorldCat Holdings | ||
| 650 | 0 | |a Sculpture |x Appreciation | |
| 650 | 0 | |a Sculpture |x Themes, motives | |
| 650 | 0 | |a Visual perception | |
| 650 | 2 | |a Visual Perception | |
| 650 | 7 | |a ART / History / General |2 bisacsh | |
| 650 | 7 | |a ART / Sculpture & Installation |2 bisacsh | |
| 650 | 7 | |a ART |x History |x General |2 bisacsh | |
| 650 | 7 | |a ART |x Sculpture & Installation |2 bisacsh | |
| 650 | 7 | |a Motiv i konsten |2 sao | |
| 650 | 7 | |a SOCIAL SCIENCE / Media Studies |2 bisacsh | |
| 650 | 7 | |a SOCIAL SCIENCE |x Media Studies |2 bisacsh | |
| 650 | 7 | |a Sculpture |x Appreciation |2 fast | |
| 650 | 7 | |a Sculpture |x Themes, motives |2 fast | |
| 650 | 7 | |a Skulptur |x mottagande |2 sao | |
| 650 | 7 | |a Visual perception |2 fast | |
| 650 | 7 | |a Visuell perception |2 sao | |
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