How To Talk About Sculpture

Consider if the material is an advancement for that time (I. E. Oil paints) 3. Subject what or who does it represent? 4. Method of sculpting? Additive Roding subtractive Michelangelo found object deaden camp 5. Tyler/period? Regional satirical artists personal style (style of the workshop) 6. Point of project? WHY? (hint you have to look at 8, 11, 12, 13 and 14 to attend this) Where was it originally? (see 13 and 14) *** 7. Composition organization of forms (form shape and structure, ad or ad)?While the Sours can be divided equally traits down the concern (axial symmetry) the Speedboater CANNOT. Yet, the Sparsenesss lines are based on a system of diagonals that help to produce contraption tense -vassalage helping to create movement. Now look at the composition of both pieces. The Sours is both balanced and exhibiting axial symmetry, however the Speedboater is withal balanced simply NOT exhibiting axial symmetry as it is practical for a piece of art work to be balanced but not symmetrical. 9. Color if any?Where was this sculpture originally? What does it do to the museum quadrangle that it currently occupies? How do you think it would have affected the space more or less it in its original position? 14. Intended use? Intention ordinarily affects the space around it and is directly related to the three AS of determine art that you pull up stakes know and love by the end of the passkey patronage, philosophy (including religion) and propaganda.Now that youve done all that lets bear witness the piece 1 . How do the formal aspects relate to the aim/style of the period, person or school? Outside sources? Do they follow suit or do they break free from the constraints and introduce something NEW? What does this mean? Was there some benign of advancement? Was there a new THOUGHT or picture system coming into play? 2. How do the formal aspects affect the feeling of the piece, how does it affect the view and the space around it? . How do the formal as pects conjecture its purpose? . How do the formal aspects SHAPE the piece you are look at? How does the artist CHOOSE to manipulate these formal TECHNIQUES to create content? 5. How do the three AS shape the formal aspects and in procedure shape the piece and the artists methods of making the piece? This is only the beginning of the process. expend your own observations, relate all of the above to each other and READ your textbook in no time at all you will develop the skills to deconstruct and talk about sculpture.