The 's Very Own Blacksmith Fountain

1432 WordsFeb 13, 20176 Pages
Art has always been a complex, interdisciplinary and necessary craft universally throughout history. Within modern history, fine art has been revolted against for its strict and primarily aesthetic rhetoric, where the birth of avant garde takes place. Arguably, this movement allowed for the birth, if you will, of modern public art. In itself, this field is very convoluted and there are suggested guideline, as will be demonstrated throughout this paper, particularly by critically reviewing Guelph 's very own Blacksmith Fountain. Interestingly, the piece itself was from the late 19th C, coinciding with much of the conflict surrounding art in Europe, which then migrated to the new world. With this in mind, this review of Blacksmith…show more content…
That being said, this sculpture is heavily inspired by classical Greece, from the sculpture and detailing down to the colour. This was much more acceptable in the fine art world, which was still a dominant belief for many people, fitting the public mindset of the piece at this time. Furthermore, the size and colour not only catch the eye, but illuminate the attention to detail, line and pattern. Especially when considering the ram heads spouting water, possibly a metaphor for the magical quality industrial growth can bring to everyday life. Also, the blacksmith atop the fountain is much taller compared to the average viewer, making them look up, almost as a sign of respect, gratuity, a role model or simply the memory of the contribution of industry to society and the everyday people faced with this piece. The point being: it is enticing and memorable, a seemingly true representation of art in the public sphere. As stated above, public art is very convoluted and ever-expanding, especially in our contemporary world. Cartier, acknowledges the hardship of putting art in boxes due to the sheer diversity and approaches to works, stating that one can find “permanent works, temporary works, political activism, service art, performance, earthworks, community projects...etc”.3 Do these account for public art, or art in general? Rosalind Krauss, aware of the

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