Xem 1-20 trên 22 kết quả Sculpture research
  • What accents itself in the mind of the layman who makes even a cursory study of the sculptors and their works at the Panama-Pacific International Exposition is the fine, inspiring sincerity and uplift that each man brings to his work. One cannot be a great sculptor otherwise. The sculptor's work calls for steadfastness of purpose through long years of study, acute observation, the highest standards, fine intellectual ability and above all a decided universalism - otherwise the world soon passes him by. It is astonishing to see brought together the work of so many really great sculptors.

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  • Today’s public sculpture will become tomorrow’s historic monu- ments. Just as communities work now to preserve their existing sculp- ture and monuments, future generations will be preserving the art created today. The problems that have affected collections of older works will afflict new creations as well. Positive public support is crucial to the survival of outdoor sculpture and can be heightened through education and community participation.

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  • I must pray the readers of the following Lectures to remember that the duty at present laid on me at Oxford is of an exceptionally complex character. Directly, it is to awaken the interest of my pupils in a study which they have hitherto found unattractive, and imagined to be useless; but more imperatively, it is to define the principles by which the study itself should be guided; and to vindicate their security against the doubts with which frequent discussion has lately incumbered a subject which all think themselves competent to discuss. The possibility of such vindication is, of...

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  • When evaluating competitive bids, remember that cost should never be the sole determin- ing factor. Automatically contracting with the lowest bidder without considering other criteria is one of the most frequent mistakes organizations make when selecting conservators. Give the highest priority to subjective criteria such as experience, qualifications, and pro- posed treatment methods. If the conservation price tag is daunting, you may have to revise your expectations. Never compromise on the conservator’s qualifications, experience, or quality of work.

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  • Tham khảo sách 'title: a history of art for beginners and students: painting, sculpture, architecture painting', khoa học xã hội, lịch sử văn hoá phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả

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  • Notions of Inter-Viewing, viewing into, and viewing ourselves occupy the center of this publication. Kathleen Biddick opens the work of the medievalist on a note of enjoyment, including the capacity to incite curiosity and wonder. On the basis of an interview with Madeline Caviness, Biddick shows the person, the career, and the writing of Caviness in terms of “shattering,” “grafting,” and “queer performance.” One circle of essays considers a self-conscious assessment of critical theorizing.

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  • She encourages opposition to what some have feared and others have celebrated as “the end of theory.” Charles Nelson’s essay grows out of years of teaching critical theory in a literature department and interdisciplinary team teaching with Caviness at Tufts, as well as more recent collaboration with her in research and writing.

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  • There is always a danger of taking any image or model too literally [5]. Using images in science or philosophy to illustrate states of affair is generally a two-edged sword because it is essential that the audience knows the limits of a picture and uses it with discrimination and intelligence. With that caution, I believe that art, having shed the requirement to visually represent reality accurately, is uniquely capable of instilling an intuition for the deeper aspects of reality that are hidden to the...

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  • Recent titles in the INTERNATIONAL SERIES IN OPERATIONS RESEARCH & MANAGEMENT SCIENCE Frederick S.

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  • I also feel strongly that art making is a research driven activity. The infor- mation contained in this book is written by some of the more innovative and interesting minds working in ceramics today. While not all of the ideas are necessarily groundbreaking, they are unique in their individual approach to the use of the material. How these artists researched and successfully used the processes they set out to is inspirational, informative and important. I hope you find the research contained in these pages as exciting as I do....

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  • For my graduate research in Anton Zeilinger’s experimental physics group [7] in Vienna I participated in an experiment that successfully demonstrated quantum behavior for the heaviest particles ever, by sending them – as quantum mechanical matter waves – through a double-slit experiment [8]. The particles were C60 buckminsterfullerenes (or buckyballs for short), named after their resemblance to architect Buckminster Fuller’s geodesic domes [9]. Consisting of sixty carbon atoms, buckyballs have the shape of a truncated...

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  • If your project is large or if you have no experience in selecting conservators, consider contracting with a conservator to prepare the RFP and help evaluate the responses. The time and money you invest in developing complete, accurate specifications will pay off in the form of thorough proposals. Often, a government agency will permit a sole-source contract for this purpose. Remember that a conservator invests considerable time and resources in putting together an effective proposal. Some qualified professionals will not submit proposals without com- pensation.

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  • The contributors to the conference comprised a mixture of art historians, curators, museum studies lecturers, anthropologists, archaeologists and artists, and the conference timetable positioned established academics alongside scholars at an earlier stage in their research and writing careers.

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  • ENGR AV ING is one of the fine arts, and in this beautiful family has been the especial handmaiden of painting. Another sister is now coming forward to join this service, lending to it the charm of color. If, in our day, the "chromo" can do more than engraving, it cannot impair the value of the early masters. With them there is no rivalry or competition. Historically, as well as æsthetically, they will be masters always. Everybody knows something of engraving, as of printing, with which it was associated in origin. School-books, illustrated papers, and shop windows are the...

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  • The entrance on my duty for to-day begins the fourth year of my official work in Oxford; and I doubt not that some of my audience are asking themselves, very doubtfully—at all events, I ask myself, very anxiously—what has been done. For practical result, I have not much to show. I announced, a fortnight since, that I would meet, the day before yesterday, any gentleman who wished to attend this course for purposes of study. My class, so minded, numbers four, of whom three wish to be artists, and ought not therefore, by rights, to be at Oxford at...

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  • AN attempt is made in the following pages to determine the position and character of Donatello's art in relation to that of his contemporaries and successors. The subject must be familiar to many who have visited Florence, but no critical work on the subject has been published in English. I have therefore quoted as many authorities as possible in order to assist those who may wish to look further into problems which are still unsettled. Most of the books to which reference is made can be consulted in the Art Library at South Kensington, and in the British Museum....

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  • Thomas Bewick has been acclaimed as the pioneer of modern wood engraving whose genius brought this popular medium to prominence. This study shows that certain technological developments prepared a path for Bewick and helped give his work its unique character. THE AUTHOR: Jacob Kainen is curator of graphic arts, Museum of History and Technology, in the Smithsonian Institution's United States National Museum. No other artist has approached Thomas Bewick (1753-1828) as the chronicler of English rustic life.

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  • Tham khảo sách 'diecasting', văn hoá - nghệ thuật, điêu khắc - hội họa phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả

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  • No one can speak with exactness as to the time when sculpture was first practised by the Egyptians; we only know that it was a very long time ago. But we do know that in the time of the twelfth dynasty, which dates from 2466 B.C., sculpture had reached a stage of excellence such as could only have resulted from the experience of many years of training and practice in this art. In the Egyptian collection of the Louvre, at Paris, there is the memorial stone of an old Egyptian sculptor which has an inscription that reads as if he had written it himself; this...

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  • In his opening address to the conference, Jon wood, who coordinates the research programme at the Institute, traced the origins of the conference to a series of exploratory conversations on the relationship between archaeology and contemporary art with independent curator Katy rochester. From the outset, wood, rochester and their colleagues in leeds sought proposals from archaeologists who were interested in sculpture and in sharing new ideas with sculpture historians.

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