Tach Pollard, a wood sculpture from England, has always loved trees. The woodlands offered him a wonderland of organically shaped roots for him to pull out of the ground. It was not until later in his life that he began to carve some of the wood he had collected. He focuses on sculpting wood and he occasionally carves woodblocks for printing. His sculptures are inspired by the wood itself with hints of European Folklore, mystery traditions, and mythology.
Art is the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power. There are some artists who have given their incredible sculptures and statues a special note of creation. Many of these creations have become a trademark of entire cities and even countries.
1. Cap’è Caxx by Yoan Capote.
2. Love Land erotic art park on Jeju Island Korea.
3. Fat Lady Statue in San José, Costa Rica.
4. Venus of Willendorf
5. Winged Victory of Samothrace
6. David by Michelangelo
7. Expansion sculpture in Brooklyn Bridge.
8. Guardians of time, Stonehenge – United Kingdom.
9. Amazing sculpture in South Korea.
10. Water nymphs, York House Gardens Oxford, England.
11. Kiss of death, Poblenou Cemetery in Barcelona.
12. Reflection Sculpture In The United Kingdom.
13. We’re All In The Same Game, Just Different Levels Artwork.
14. Guardians Of Time, Berlin cathedral.
15. Cupid's Kiss' Musee Du Louvre, Paris, France
16. Rape of the Sabine Women, 1583 (detail) Firenze, Italy
Kumi Yamashita was born in Takasaki, Japan. She received her Master of Fine Arts Degree from Glasgow School of Art and her Bachelor of Fine Arts Degree from Cornish College of the Arts in Seattle, Washington.
Kumi Yamashita sculpts using both light and shadow. Kumi constructs single or multiple objects and places them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).
Matteo Pugliese was born in Milan in 1969.In 1978 his family moved to Sardinia where Matteo lived for the next 12 years. During this time he developed a strong love for drawing and sculpture and continued his art work without any formal education. Today his works are on permanent display in galleries in Italy and major cities throughout the world: New York, Rome, Hong Kong, London, Antwerp, Lugano and have been shown at some of the most important Italian and international art fairs.
In recent years his pieces have been sold with considerable success at some of the world’s most prestigious fine art auction houses (Christie’s, Sotheby’s, Bonham’s, and Dorotheum).
The Rape of Proserpina (Italian: Ratto di Proserpina) is a large Baroque marble sculptural group by Italian artist Gian Lorenzo Bernini, executed between 1621 and 1622. Bernini was only twenty-three years old at its completion. It depicts the Abduction of Proserpina, where Proserpina is seized and taken to the underworld by the god Pluto.
Location: Galleria Borghese, Rome
David is one of Michelangelo’s most-recognizable works, and has become one of the most recognizable statues in the entire world of art. Standing 13’5″ tall, the double life-sized David is depicted patiently waiting for battle, prepped with slingshot in one hand and stone in the other. The twentysomething-Michelangelo carved the David after he had already carved the Pieta in Rome in the late 1490s and returned to Florence in 1501.
Knowledge of his talent as a sculptor, therefore, was growing, and his career was accelerating when he was commissioned to carve the biblical David for the outside of the Florence Cathedral. Because the statue was intended to be placed in a high location on the church, it had to be large enough to be seen from below. Today, it resides not outside the cathedral, but inside the comfortable confines of the Accademia Museum in Florence.
The David we are presented with here is a nude man with a very muscular physique. His veins are visible in his arms and hands as he clutches the stones with one hand and the slingshot in the other. His hands and his head appear to be disproportionally large for his body, possibly because they were deemed more visually important for viewers who would see the statue high up on the exterior of the cathedral. Also, his left leg, which straddles the rocky base upon which he stands, appears a big too long for his body. It accentuates the line of this leg as it forms an essential component in David’s contrapposto stance. Like the ancient Hellenistic and Roman sculptures who were masters at convincingly depicting the human anatomy, Michelangelo has depicted David so that his body responds to the stance he is in. David’s weight has been placed on his right leg while his left leg is at rest. Because of this, his hips have shifted with one side being higher than the other. In turn, this has caused David’s spine and midsection to curve slightly, and his right shoulder drops slightly below his left one.
Text source The Italian Renaissance
Bennett Ewing, better known as "Eyevan Tumbleweed," is a nature lover with an art intensive background of over 15 years. In 2002 while living in Prescott, AZ Eyevan found his niche medium in found wood sculpture. Since then he has spent the majority of his artistic focus on a series of visages comprised from pieces of wood he collects from mountains, deserts, swamps, forests, riparian zones (rivers) and beaches.
The wall hanging relief faces in his series are pieced together meticulously and somewhat extemporaneously, using the natural colors, patterns and directions of various wood fragments to create countenances not entirely human nor entirely elvin or fay. Bonded with glue and reinforced with epoxy, the sylvan entities and their expressions of thought and emotion portray a glimpse of an otherworldly realm that is not altogether unfamiliar.
His technique ranges from smooth and spiraling to rough and jagged, blending fantasy with reality and impressionism with ornate design—an effect that might be something along the lines of abstract realism.
Love is a war of lightning, and two bodies ruined by a single sweetness. Kiss by kiss I cover your tiny infinity, your margins, your rivers, your diminutive villages, and a genital fire, transformed by delight, slips through the narrow channels of blood to precipitate a nocturnal carnation, to be, and be nothing but light in the dark - Pablo Neruda
The Lovers, by Rene Magritte 1928
The Kiss, by Gustav Klimt
The Kiss, by Francesco Hayez
Romeo and Juliet, by Frank Dicksee
Hercules and Omphale, by Boucher 1735
Le baiser, by Carolus-Duran, 1868
Eros y Psique, by Antonio Canova, Museo del Louvre, París
The plaster model is a masterpiece created by archaeologist Italo Gismondi, who worked on the piece throughout his life. The initial core of the scale model, which was partially based on Rodolfo Lanciani‘s 1901 map Forma Urbis, was completed for a large exhibition celebrating the 2,000th anniversary of the death of Augustus. In the 1950s, it was installed permanently in the Museum of Roman Civilization, with Gismondi continuing to expand the model up until 1971.
Now considered one of the most important references for how ancient Rome looked, Gismondi used precise maps for known monuments like the Pantheon and Colosseum. The residential housing, as well as other sites without archeological remains, were created using models that were representative of ancient construction. Ironically, though Mussolini commissioned the model, the lack of references was actually his fault, as he ordered that many of Rome's ancient houses be razed to make way for large thoroughfares such as the via dei Fori Imperiali, which leads to the Colosseum.
Milena Naef juxtaposes the manufactured shapes of marble slabs with the organic forms of the human figure in her performative sculptural works. In her series ‘Fleeting Parts,’ the artist removes portions of Cristallina marble to create openings that are perfectly shaped to allow arms, legs, and torsos to emerge.
Naef, who lives and works in Amsterdam, describes her work in a statement: “Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed. The body itself with its physical presence and its absence becomes a vital aspect of the work. When do structures inhibit or liberate us and our physical form? What is the consequence of the fact that our bodies are always ‘filling space’?”
You can see more of her work on Instagram.
(Via I Need A Guide)