1000 Scupltures of Genius. Patrick Bade

Чтение книги онлайн.

СКАЧАТЬ Society (ARS), New York, USA

      © Estate of Jacques Lipschitz, New York

      © Aristide Maillol, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Man Ray Trust/ Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Giacomo Manzù

      © Walter de Maria

      © Marino Marini, Artists Rights Society (ARS), New York, USA/ SIAE, Roma

      Art © Marisol Escobar/Licensed by VAGA, New York, NY

      © Etienne Martin, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Pierre Masseau, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Henri Matisse, Les Héritiers Matisse, Artists Rights Society, New York, USA/ ADAGP, Paris

      © Succession H. Matisse, Paris/ Artists Rights Society (ARS), New York, USA

      © George Minne, Artists Rights Society (ARS), New York, USA/ SABAM, Brussels

      © Successió Miró, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Robert Morris, Artists Rights Society (ARS), New York, USA

      © Bruce Nauman, Artists Rights Society (ARS), New York, USA

      © Estate of Louise Nevelson, Artists Rights Society (ARS), New York, USA

      © Barnett Newman, Artists Rights Society (ARS), New York, USA

      © The Isamu Noguchi Foundation and Garden Museum, New York/ Artists Rights Society

      (ARS), New York, USA

      © Hélio Oiticica

      © Georgia O’Keeffe Museum/ Artists Rights Society (ARS), New York, USA

      © Claes Oldenburg and Coosje van Bruggen, pp. 462, 468

      © Meret Oppenheim, Artists Rights Society (ARS), New York, USA/ ProLitteris, Zürich

      © Panamarenko

      © Gina Pane, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Trustees of the Paolozzi Foundation, Licensed by DACS/ Artists Rights Society (ARS), New York, USA

      © Pino Pascali

      © Giuseppe Penone, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Antoine Pevsner, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Estate of Pablo Picasso/ Artists Rights Society (ARS), New York, USA Art © Robert Rauschenberg/Licensed by VAGA, New York, NY

      © Martial Raysse, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Germaine Richier, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      Art © Estate of Alexander Rodchenko/RAO, Moscow/Licensed by VAGA, New York, NY

      © Niki de Saint-Phalle, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Alain Séchas, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      Art © The George and Helen Segal Foundation/Licensed by VAGA, New York, NY

      © Richard Serra, Artists Rights Society (ARS), New York, USA Art © Estate of David Smith/Licensed by VAGA, New York, NY

      © Estate of Tony Smith, Artists Rights Society (ARS), New York, USA

      © Jesús Rafael Soto, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Mark di Suvero

      © Sophie Taeuber-Arp, Artists Rights Society (ARS), New York, USA/ VG Bild-Kunst, Bonn

      © Takis, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Vladimir Tatlin

      © Jean Tinguely, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Joaquín Torrès-Garcia, Artists Rights Society (ARS), New York, USA/ VEGAP, Madrid

      © Paul Troubetzkoy

      © Leon Underwood

      © Gertrude Vanderbilt Whitney

      © Georges Vantongerloo, Artists Rights Society (ARS), New York, USA/ ProLitteris, Zürich

      © Alison Wilding

      © Jackie Winsor

      © Ossip Zadkine, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris

      © Gilberto Zorio

      The works 839–841, 874–876, 891, 901–903, 977–979 have been reproduced by permission of the Henry Moore Foundation

      Introduction

      The Classical World

      The ancient Greeks, at first an isolated and provincial people among many population groups in the Mediterranean basin, rose to cultural, military, and political prominence, but they stood on the shoulders of giants and learned from the traditions of other ancient Mediterranean and Near Eastern civilisations. In the sphere of the arts, the Egyptians, in particular, had already developed a culture of idealised, well-proportioned human figures, a narrative tradition in painting and relief sculpture, and temple architecture that incorporated the display of a variety of sculptural elements. Yet the Greeks, in altering the static forms of the Egyptians, sought to craft sculptural figures that expressed life, movement, and a more fundamental and humane sense of moral potential. This development is seen in its early phase in the growing naturalism and subtlety of facial expression in sculpture produced in the Archaic period of the seventh and sixth centuries B.C.E. greater freedom of invention appeared during that time in vase painting, but sculptors, restrained by the intractability of stone and by convention, lagged somewhat behind. Reflecting a philosophical search for the ideal, the sculptors aimed at achieving timeless beauty. Just as Greek philosophers considered the nature of the ideal republic, perfect justice, or the ideal Good itself, artists brought forth a host of perfected forms. In their subject matter, sculptors often favoured the naked, youthful male body, a reflection of the Greek penchant for athleticism and military prowess, and an indication of the fluid boundaries of their range of sexual appreciation. A widespread and important form was the kouros, a free-standing male figure often placed at tombs in honour of the deceased. Kore, female equivalents of the kouroi, were clothed, following the convention of the time, but equally focused on youth, charm, and ideal beauty.

      During the fifth century B.C.E. a mood of great confidence developed among the Athenian people, spawned by their victory over the Persians in 490–479 B.C.E. and by continued Athenian leadership among the collected Greek city-states. Indeed, the Athenian leader Perikles, in his famous oration (431 B.C.E.) for soldiers fallen in the Peloponnesian War, affirmed the superiority of Athens in cultural affairs, stating that their dedication to citizenship, sacrifice, and intellect formed the moral core of Athenian greatness. This was a СКАЧАТЬ