Deborah Potter's Ceramic Figure: Deborah Potter

Standing in front of this sculpture, the viewer can feel the wind whipping around them and the sea spraying you in the face. The energy and motion add to the dramatic effect that immediately draws the viewer in. This dramatic effect is created by the lines of the figure. Nike’s elongated wings catch your eye and create a lengthy transverse line which adds to the drama. The drapery that clothes the figure has the same

Despite the grotesque and shocking appearance of the creature, the boy shows no fear, or malice generally associated with other species, he is only calm and affectionate in the creature’s appearance. Pinccinini has described this work as a visual representation of empathy, “she looks different, but she is still beautiful.” The familial relationship shown in this sculpture emphasises our compassionate for this other-worldly creature, humanising her. Piccinini is endorsing the study of genetics with this work, there has been much debate about how far genetics can go in the future, how we will soon lose how humanity within our enhancement. This work is used to displace this fear, it is shouting through the loving posing, that no matter how far we go, we will always be fundamentally

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

The human Maniken clay-sculpting experience may be more effective than an animal dissection because the human-clay

The sculpture demonstrates the idea of children’s mind development. What would one growing child naturally think and imagine, and how do they perceive and describe the themes that are often sublime which us adults lack to connect. This significance retrospect to where we earlier developed our creative thoughts and character.

This Etruscan- Roman piece of art is detailed all around, but also ideal as depictions look influential throughout the generations from the living patrician man holding the lifeless portrait busts of the two very distinct ancestors. The surface of the marble used to carve the male figure, and the portrait heads is very smooth and pale in colour, as the natural agent simulates’ realistic complexion through the veins present within the marble creating a three- dimensional illusion of meticulous naturalistic rendition of the human anatomy engraved with relief detail all around. The function of the portrait sculpture was to have a permanent documentation motivated by the realistic commemoration of one’s ancestors in a religious and ritualistic funeral use of death masks, that would have been cast from the face of the deceased. This became an obvious style of presenting recognizable prestige that conveyed the significance of

Like Georgiana in “The Birthmark”, women often find themselves striving to reach society’s expectation of beauty and perfection. In Marge Piercy’s poem “Barbie Doll”, a young girl is finally able to reach society’s version of beauty but she must die to do so. Piercy criticizes the ways “women are socialized into stereotypical feminine behavior” (“Overview: “Barbie Doll”, para. 1) in this poem and suggests that the pressure put on women to meet certain standards of beauty and behavior is destructive. The poem opens with the birth of a “girlchild” and all the “typical toys” that go along with it. When the girl hits puberty, her classmates begin to make fun of her big nose and fat legs. The girl is intelligent and healthy, but the other children only see the imperfections in her appearance. She is told she should behave “coy” and always wear a smile, but the teasing takes its’ toll. She cuts off her nose and legs and offers them up

A bronze sculpture consisting of just six rectangular shapes and a semi-rectangular base, this piece is very simple, and its minimalistic structure is similar to that of Malevich’s Supremacist Composition: Airplane Flying. From a certain angle, the sculpture resembles a figure stumbling and falling over the base, depicting some sort of motion. In this sense, it is similar to Boccioni’s Unique Forms of Continuity in Space, which sought to use air currents to symbolize a moving figure. The simplistic yet abstract nature of Shapiro’s work makes it feel right as home in the Modernist Revolution, despite the fact that Shapiro’s sculpture was made in 1991, more than 70 years after the Modernist Revolution occurred. In addition, Untitled is unlike any other “figure” sculpture we have studied thus far. Just about every major sculpture we have covered resembles some form of a human-like body, whether they be an actual human or a divine figure. Even Unique Forms of Continuity in Space possesses what appear to be legs, a head and a torso. The odd and minimalistic composition of Untitled means that is possesses no definite form resembling a human and could very well be meant to resemble something completely unrelated to human, quite possibly an inanimate object or even something that was not meant to be resembled. It is the only work of its kind present at the sculpture garden, and as such, it carries far more mystery than any other work

The visual work I have chosen is the Bith of Venus and is one of the world’s most famous works of art. Painted by Sandro Botticelli between 1482 and 1485, it is the first example of painting on canvas. The written work I have chosen is the Stanze per la Giostra. It was written by Angelo Poliziano, written between 1475-8. Both works are examples from the Italian Renaissance era, during the Medici rule, and share the theme of beauty and humanism. The works I've selected share the same subject matter, Venus, and is the perfect example of beauty and humanism. She is the epitome of beauty and her birth from the sea is an example of her metamorphosis of humanism. For this paper, I will compare both works then discuss how the shared theme is seen in contemporary works. How does Venus and her beautiful metamorphosis fit into contemporary forms of beauty and humanism?

The sculpture that we have observed has been dated to the first half of the first century C.E. This places the portrait during the Julio-Claudian period in Roman history. From the information we have gathered about the time period, the woman's style of dress and of the types of sculpture prevelant during the period, we have formed a possible profile of the daily life of the subject.

The sculptures “Apollo and Daphne” and “Two Women” share elements and principles with one another, such as shape, size and texture. Bernini’s work is a life size piece that complements the figure of the two characters. The facial expressions, hands, feet and hair of “Apollo and Daphne” are in reasonable detail; however there are no lines on the bodies to create depth and texture. On the other hand, Mueck challenge’s the viewer by changing the scale of his work, with “Two Women” minute and in incredible proportion with the features and figure of the women.

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

33). Of all his vendor subjects, this design along with Tulip Woman of 1921, have proved the most successful and profitable. The figures were an instant success, and over the next three decades, he would continually produce editions by customer demand. Both these figures require many piece moulds, and the decoration of the subject’s overdress is far more elaborate than in his previous design Lavender Girl, and in consequence the more labour intensive, and expensive to produce. The overdress is an invention of multi-coloured, vertical stripes, black, orange, yellow, purple and green, applied in varying widths, some straight, some wavy. Not to tire the eye with this seemingly riot of colour, the apron is unpainted and white. A critical examination reveals that the modelling is by necessity pragmatic. Vyse has pragmatically modelled the subject arm supporting the child into the figure’s mass. Undercutting here would cause fragility of structure and the possibility of more piece-moulds. The moulded tulips, ranged around the outer edges of the basket, minimise accidental damage from the over-zealous housemaid’s duster. They protect the separately hand-modelled blooms. The combination of mould-cast and hand-modelling conveys to the viewer both variety and liveliness. Vyse usually supplied a wooden base to support his figures to guard against accidental chipping and to protect the polished surface of furniture. An

Piero’s art is centred around mathematics and he was convinced that the highest beauty was found in those forms that have the clarity and purity of geometrical figures. The Flagellation shows Piero’s accurate sense of linear perspective; the tiles show the orthogonals and transversals as well as the blue sky and clouds that were drawn in perspectives. The use of foreshortening is minimal, and can be seen in the feet and arms of the middle figure at the front of the picture. One of the key elements is light which helps to create a perspectival depth. For example, the supernatural light above Christ and an external light source which casts the shadows. It was said that Piero made models and clothed them to study the fall of light on drapery folds before he began his paintings as can be seen on the 8 figures in the painting. Through his action, we realize the value he has placed on the use of light to create form in his figure construction. The fall of the drapery helped enhance a 3-D form to the figures. This light and line of columns show the separation between these two views of life. Like Alberti has suggested in every painting, there is a variety of poses in The Flagellation. This is demonstrated