25 Figure Sculptures you need to know…. Edmonia Lewis Forever Free , 1867.
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you need to know…
Forever Free, 1867.
Forever Free is a representation of the emancipation of African-American slaves after the Civil War. Lewis attempts to break stereotypes of African-American women with this sculpture. For example, Lewis allows the woman to be completely dressed while the man is partially dressed. This draws attention away from the notion of African-American women being sexual and erotic figures. This sculpture is also a representation of the end of the Civil War. While African-Americans are technically free, they continue to be restrained due to the fact that the couple still has chains wrapped around their bodies.
Jaguar Devouring a Hare
The Portuguese served as mercenaries in the army of Benin's Oba Esigie (r. ca. 1504-1550). His mother, Idia, helped him in warfare, and he honored her with the title of Iy'oba (Queen Mother). The ivory belt mask probably represents Idia. It contains symbolic references to Benin's trade and diplomatic relationships with the Portuguese and to the Iy'oba's link to Olokun, god of the sea. Interspersed in the front row of her hair are Portuguese heads with mustaches. The Benin culture probably associated the Portuguese with Olokun. Mudfish, which have barbels like catfish, symbolically represented Olokun, and often served as sacrificial offerings.
Nymph and Satyr Carousing, Late 18th century (ca. 1780–90)NEOCLASSICAL
While often Neoclassical, his manner at times remained quite Rococo, as in the present example. Although Clodion received a number of important commissions for monumental marble sculptures, his fame and popularity rested on his skill at modeling small-scale terracotta groups for private collectors.
Bust of Louis XIV
Antonio Canova,Pauline Borghese as Venus, 1808. NEOCLASSICAL
ca. 470 BCE
EARLY CLASSICAL GREEK
ca. 530 BC
HIGH CLASSICAL GREEK
Pergamon, Turkey ca. 230-220 BC
305 ADLATE EMPIRE ROMAN
ca. 530 BC
commissioned by Archbishop Gero
ca. 970OTTONIAN (Early Medieval)
This Crucifix, carved in oak and then painted and gilded, epitomizes the revival of interest in monumental sculpture during this period. The six-foot-tall image of Christ nailed to the cross is both statue and reliquary [a shrine for sacred relics].
A compartment in the back of the head held the Host. This dramatically different conception of the crucified Savior digresses from the Early Christian image of the youthful Christ triumphant over death in that he is represented as an all-too-human martyr in intense agony.
Though the work may seem more similar to the Byzantine representations of a suffering Christ, its emotional power is unparalleled.
Blood streaks down his forehead from the (missing) crown of thorns. Christ's body sags under its own weight. The muscles are stretched to the limit - those of his right shoulder and chest seem almost to rip apart.
Notre Dame, Paris
Early fourteenth century
C500 BCE5’10” in height.
ca. 480 BCE
EARLY CLASSICAL GREEK
Bust of George Washington
Greece ca. 600 BC
Hermes and Infant Dionysus(Roman Copy)
Late Classical Period
The Thinker(or The Poet)
Nude Descending a Staircase, 1912.