This book provides a comprehensive analysis of the significant growth of sculpture as an artistic form in Europe and America from 1900-1945. Using a clearly-defined thematic structure it identifies key issues and developments throughout this important period in the history of art. Individualchapters cover: public sculpture, the monument, the object, image-making, the built environment, the figurative ideal, and different materials. These themes broadly reflect the changing cultural and political climate of a turbulent period which included two world wars, each preceded by widespreadrising nationalism. The practice of sculpture is considered within the wider artistic context of painting and architecture and the development of international art markets. Auguste Rodin, whose ground-breaking exhibition opened in Paris in 1900, serves as the book's point of departure, and as arecurrent point of reference.
This book examines the relationship between modern sculpture and architecture in the mid-twentieth century, an interplay that has laid the ground for the semi-sculptural or semi-architectural works by architects such as Frank Gehry and artists such as Dan Graham. The first half of the book looks at how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe's Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New York's Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain. Curtis argues that it was in the middle of the twentieth century, before sculptural and architectural forms began to converge, that the complementary nature of--though essential difference between--the two art forms began to clearly emerge: how figurative sculpture highlighted the modernist architectural experience and how the abstract qualities of that architecture imparted to sculpture a heightened role.
This catalogue celebrates the recently installed collection of twentieth-century sculpture donated to the J. Paul Getty Trust by the Fran and Ray Stark Trust in 2005. The book takes the reader on a visual tour of the J. Paul Getty Museum's new sculpture gardens and installations, which features twenty-eight works by artists such as Alexander Calder, Alberto Giacometti, Ferdinand Leger, Roy Lichtenstein, Rene Magritte, Aristide Maillol, Joan Miro, Henry Moore, and Isamu Noguchi. The book offers essays on the curatorial decisions involved in establishing harmonious groupings; a history of European and American sculpture within built outdoor environments and gardens; and catalogue entries that discuss individual pieces within their broader art-historical contexts.
Throughout his varied career, Nicholas Pope's multivalent sculpture has explored the inherent physical qualities of the materials that he shapes and carves. From his earlier art to his more recent exploration with abstraction, this lavishly produced title presents a substantial overview of the artist's work.British artist Nicholas Pope was best known in the 1970s and early 1980s for his large-scale sculptures made of wood, metal, stone, sheet lead or chalk.Following his 1980 exhibition representing Britain at the Venice Biennale, Pope was awarded a Cultural Visitor grant to Zimbabwe and Tanzania; an experience that affected the rest of his life and twisted his artistic practice completely.In a move towards softer, more malleable materials such as glass, porcelain, texture, moulded aluminium and ceramics, Pope began to make abstract works that reference complicated themes of religion, suicide and society.The first comprehensive monograph on the artist, this publication features over 75 colour illustrations alongside an introduction to the artist by Penelope Curtis, an analysis of the work's religious themes by Christopher Townsend and Andrew Sabin's exploration of Pope's recent work.
Major presentation of new and recent work comprised of sculptural pieces, wall drawings, display table installations and pencil drawings. 31 January - 18 March 2007.
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