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In archeology and art history the appearance, and sometimes disappearance, of monumental sculpture (using the size criterion) in a culture, is regarded as of great significance, though tracing the emergence is often complicated by the presumed existence of sculpture in wood and other perishable materials of which no record remains; [7] the totem pole is an example of a tradition of monumental ...
Carole A. Feuerman (born 1945) is an American sculptor and author renowned for her superrealist and hyperrealist art. [1] [2] She is recognized as one of the pioneering artists of the hyperrealist movement in the late 1970s and is best known for her figurative works of swimmers and dancers.
Large Two Forms (LH 566) is a 1966-1969 sculpture by Henry Moore. The monumental sculpture measures 365 cm × 610 cm × 400 cm (144 in × 240 in × 157 in). It comprises two large curving elements that almost meet. The organic shapes, each with oval openings, resemble two human pelvis bones, positioned as if copulating.
Perseus and the Gorgon is a 1902 monumental sculpture by Camille Claudel that portrays a scene from Greek mythology. The artist sculpted her own likeness for Medusa's face, in anger after the break-up of her romantic partnership with sculptor Auguste Rodin. The work achieved a great notoriety throughout the years.
Constantin Lucaci (July 7, 1923 – July 20, 2014) was a Romanian contemporary sculptor, best known for his monumentalist sculptures and his kinetic fountains (or decorative moving metal fountains) most made from stainless steel [citation needed], among which those from the Romanian cities of Reșița and Constanța are best known.
A photo of the sculptures in situ, as they were discovered, with the "twins" facing off against the jaguar. The sculptures have since been moved to Xalapa. El Azuzul is an Olmec archaeological site in Veracruz, Mexico, a few kilometers south of the San Lorenzo Tenochtitlán complex and generally considered contemporary with it (perhaps 1100 to ...
The work also contains a crypto-portrait of Philip the Bold as Jeremiah, the favoured prophet of the Carthusian order. When compared with the sculpture of Philip the Bold in the portal of the church, the two sculptures bear a striking resemblance to each other: prominent, rounded chin, large nose, deep set eyes with distinctive arched eyebrows.
Byzantine art, though producing superb ivory reliefs and architectural decorative carving, never returned to monumental sculpture, or even much small sculpture in the round. [67] However, in the West during the Carolingian and Ottonian periods there was the beginnings of a production of monumental statues, in courts and major churches.