Analysis Of Elizabeth Brim's Catch !

With the sculpture straight ahead, the audience sees a profile view of the scene; however, the artist created the sculpture with enough space and depth to be able to view the front of the woman’s face from a side angle. The artist created the seated woman with much detail; her nose, chin, slightly opened mouth, pronounced brow line and inset eyes show this. She reaches for the chest with her right arm in a very delicate manner as her left arm lays on the throne for support.

This sculpture is comprised of marble, and due to its large size it was easier for me to develop an impression about the piece because I can focus on specific parts in more detail. To understand the piece, a very visual and detailed perspective is needed. Judging by the way the thighs are represented, it appears as though she is striking a contrapposto pose, which makes her appear static. She has most of her weight shifted on her left leg, but not all of it The focal point of this piece I believe is her robe. It skillfully falls down her left side, while leaving other parts exposed, drawing the main attention of this piece. Few different types of shapes are displayed, except the shape of her legs and the form of the robe. The physical texture was smooth throughout the entire piece, partly due to the material it is made of. There is only this one texture, as her robe and body parts all feel the same.

The sculpture on South Campus at Moravian College commonly known as Moravian Roots one and two has a significant meaning behind the moderately new sculpture. There are two of the same type of sculptures in the same place, signifying the same meaning. This sculpture seems to be abstract, since we are taking the form of what it looks like to create a meaning, which can be something different in other people’s eyes. The sculpture is a dark black shade that naturally blends in with the surroundings, therefore making it blend in with its natural surroundings. The negative space between the roots are easily seen since its roots are based in various directions, showing us how far the roots of the sculpture and realistically Moravian has grown. There is no base or pedestals for these two sculptures who go hand in hand together, but it is roughly around five feet standing upward and going in

This free-standing example of a well-established type consists of a base, a supporting figure, and the mirror disk which is decorated with additional figures around its periphery; outer edges. A graceful female figure serves as a caryatid which is a stone carving, or human support, for the base of the mirror. The figure's pose, modest gestures, and simple drapery characterize the quiet elegance of the Early Classical style. The female’s drape is a woolen garment; this is an example of a peplos which is either a robe or shawl worn by the rich woman of ancient Greece. The female in this masterpiece is standing upright with her left leg forward and places her bare feet directly on the square surface of the base. Her right arm is bent at what looks to be a right angle, and the woman is holding some kind of bird in the palm of her hand. Her left arm is alongside her body, but it still slightly bent; at the hip level which seems he be holding her

Behind every original piece of artwork, there is a creation story that weaves together the purpose of the art piece, the symbolism demonstrated, and the supporting culture that cultivates it. The intricately carved artwork of the Senufo figure is of no exception; each statue evokes not only a sense of appreciation for the statue’s aesthetic appeal but also reveals the veiled nuances of the Senufo culture. Although much of the Senufo Poro culture remains undisclosed to outsiders of the community, this paper will aim to utilize the analysis of the “Figure of Ancient Mother” to provide an original contribution regarding the Poro

As the Votive of Eannatum stood behind a glass case, the miniature of 12 x 4-½ x 4 inches had me amazed at its craftsmanship. As I look tru the glass case into the back of the statue, I can clear see genuine allegiance on his back. Moving the front, the statue was in bad shape at one point, the legs were broken and place back on. At the same time, the hand from below the elbow were broken and glue back on and the same goes for the wrists. Do not know if it was found in broken pieces and restore or it was the original shape of the sculpture. The craftsmanship that when into the skirt that he is wearing, looks like long pointy shape connecting in the back with five layers each getting smaller towards the waist. The papilla and the center of the

The designs on the vase are created using the black-figure technique all throughout the structure. Starting at the mouth of the Oinoche, it is overall colored with a dark black pigment, which also is the color for the arm of the vase. There is a little flower, lightly transferred or painted on by the spout. Moving onto the neck, the same dark pigment is present and smaller flower-like designs are evenly spaced out all the way around. The minor floral motifs add a feeling of nature to the piece because the addition of wildlife and plant life is thriving in this particular piece. The body of the vase has a dark cream-colored pigment that covers all of the free space in the background of the overall composition. Five portions of the body are separated by lines of different thickness that seem to get thicker by the belly and then get thinner as they reach the base. In the first layer from the top, a deer-like figure, a lion and a peacock-like figure are present. The animals have minor details with minimal line work to distinguish the composition of their bodies. The second layer consists of another lion, a bull and/or an ox. They are again made using the minimal details, which is also used throughout the black-figure design of

Again, this is not a large sculpture compared to the 2015 work and is the human form confined within a single piece of wood. The variety of grain and the deep carving to accentuate grains, forms, shapes to create the stylized woman sitting in a tucked position which ungulates with exquisite interlocking shapes in a gentle manner, an honor to the tree used. This is an elegant combination of distinct areas that create a head, breasts, arm, legs and torso, polished to a satin finish and looks inviting to rub the undulating surfaces. This again is a single piece of wood, sanded and polished velvet smooth. The wood is Platane or Sycamore tree, which grows to up to 164 feet high and can provide many sections of the single tree of sculptures. (Image pg...6

I barely trace my fingers along the raw and frigid curves of the bust. They instinctively follow the harsh edges that define the woman’s décolleté, inside the concavities of the collarbone. My fingers retract into a tight fist, as I kneeled down to admire the sculpture’s subtle details - the subdued simplicity of her fine curls and how they accented her defined features, and the protruding brow bone harmonizing with the lacklustre eyes. Footsteps bounce off the carven mahogany walls, adding undertones of life to the otherwise transfixed woman. The shadows I cast upon her fall in flawless, practiced unison - a gradient and geometric pattern resting upon the ivory marble, creating a juxtaposition between the softness of her expression to the

The piece is a collection of place settings made up of a plate, utensils, a goblet, and a unique runner for each setting located on three long dining tables that are places on a tiled floor, yet there is much more to the piece than meets the eye. First off the three long dining tables have purposely been set up in a perfect triangle which is “a primordial symbol of women hood as well as equality” (Arnason 576). This is a simple yet effective nod to two of the principles that the feminist art movement were striving for. Going even further, each table respectively represent a period in history, one presenting early history to the Roman Empire, another Christianity to Reformation, and finally American Revolution to the feminist movement. The piece also uses media that for the most part had been relegated to the realm of craftwork which was needlework and china painting. Each place setting has the name of an important female figure embroidered on the runner “in a style appropriate to its figure’s historical era” (Arnason 576). Along with the embroidered names are perfectly embroidered triangles at each of the three corners that have a repeating triangle shape on the inside, again contributing to the women hood and equality ideal. Complementing the embroidered names are thirty-nine hand painted plates each with a relatively unique design on them. These designs

When I first walked into the room where this piece was exhibited I was immediately drawn to its ornate details and rather bright colors compared to the other objects that were displayed next to this one. The worn primary colors contrasted with the browns of the

The first visual element I noticed about this sculpture was the mass. This sculpture is about 10 feet tall and has an open form of mass. I think it is an open form because with this sculpture, not only can you just look at it from a distance, you can also go inside the sculpture and see that the exterior and interior of the sculpture are different.

The artist focuses less on any form of realism with this three-dimensional ornament, but instead, heavily depicts emotion and the play on spirituality. When looking at the inventive hanging decoration, you can easily get swept up into a feeling of peace with oneself and beauty, but most of all, you can easily get a strong sense of hope. The artist created this unique piece to symbolize the purity of faith and religion, and capture undying devotion and hope in what they believed in. More often than not, a well worshiped statue of a buddhist deity would be covered in these hand crafted ornaments further expressing love for religion, prosperity, and peace amongst

The reason why I chose this sculpture is because it’s very unique. It’s remarkable, special, idiosyncratic, one-of-a-kind, extraordinary, peerless. This sculpture fits Henry’s type of art style is because

The sculpture is something that can help bring people together for something good. It can lead to people helping make the community better, “public art can also transform dull or run-down public spaces and inspire the people who live and work there. We believe that art is educational and belongs to all people. We endeavor to produce creative projects that engage