Petro Hrytsiuk. Virginia Garcia Costa. Water reflections. Anna Sidi-Yacoub. Olivier Messas. Paperwork Astrid Stoeppel. Andrea de Ranieri. Manuel Izquierdo. Spiral - Blue - States of mind - Sculpture. Side Lined. Sculpture, 36 W x 16 H x 2. Betty McGeehan. Sculpture, 23 W x 30 H x 1. Scott Troxel. PLaton ii. Sculpture, 40 W x 40 H x 2 D in. Maria Bouquet. Fabrics 2. Void in Black. Sculpture, 35 W x Christoph Robausch. Woman Standing II.
Sculpture, 7 W x 19 H x 5. Heidi Lanino. James Watts. Folded Female in pink. Sculpture, 13 W x 23 H x 4 D in. Interactive mobile position B. Life vs Game. From the cycle "Exploring the Randomness". Sculpture, 40 W x 44 H x 2. Genna Gurvich. The Trap. Shifting colors. Andrij Savchuk. Moon Aura - Sculpture, 12 W x 12 H x 0. Olga Skorokhod. Murmur 3 abstract, dimensional, painting, lucite, sculpture, translucent, light, optical, fluorescent. Sculpture, 24 W x 24 H x 2.
Kal Mansur. Paintings See All. Photography See All. Drawings See All. Sculpture See All. Prints See All. Features See All. Blog See All. Art Advisory See All. Art Art Artist. Art Artist. Browse our wide-ranging selection of over , original sculptures by artists working in a variety of mediums.
Suitable for both the interior home and outdoor spaces, sculptures anchor a space and are available in numerous textures and colors. Read more. However, sculptors create works in a variety of mediums, styles, and sizes in a wide range of prices--some of which may not be as prohibitive as you think.
It projects from and is attached to or is an integral part of something else that serves either as a background against which it is set or a matrix from which it emerges. The actual three-dimensionality of sculpture in the round limits its scope in certain respects in comparison with the scope of painting. Sculpture cannot conjure the illusion of space by purely optical means or invest its forms with atmosphere and light as painting can.
It does have a kind of reality, a vivid physical presence that is denied to the pictorial arts. The forms of sculpture are tangible as well as visible, and they can appeal strongly and directly to both tactile and visual sensibilities. Even the visually impaired, including those who are congenitally blind, can produce and appreciate certain kinds of sculpture. It was, in fact, argued by the 20th-century art critic Sir Herbert Read that sculpture should be regarded as primarily an art of touch and that the roots of sculptural sensibility can be traced to the pleasure one experiences in fondling things.
All three-dimensional forms are perceived as having an expressive character as well as purely geometric properties. They strike the observer as delicate, aggressive, flowing, taut, relaxed, dynamic , soft, and so on. By exploiting the expressive qualities of form, a sculptor is able to create images in which subject matter and expressiveness of form are mutually reinforcing.
Such images go beyond the mere presentation of fact and communicate a wide range of subtle and powerful feelings. The aesthetic raw material of sculpture is, so to speak, the whole realm of expressive three-dimensional form. A sculpture may draw upon what already exists in the endless variety of natural and man-made form, or it may be an art of pure invention. It has been used to express a vast range of human emotions and feelings from the most tender and delicate to the most violent and ecstatic.
All human beings, intimately involved from birth with the world of three-dimensional form, learn something of its structural and expressive properties and develop emotional responses to them. This combination of understanding and sensitive response, often called a sense of form, can be cultivated and refined. It is to this sense of form that the art of sculpture primarily appeals.
This article deals with the elements and principles of design; the materials, methods, techniques, and forms of sculpture; and its subject matter, imagery, symbolism, and uses. For the history of sculpture in antiquity, see art and architecture, Anatolian ; art and architecture, Egyptian ; art and architecture, Iranian ; and art and architecture, Mesopotamian. For the development of sculpture in various regions, see such articles as sculpture, Western ; and African art.
For related art forms, see mask and pottery. The two most important elements of sculpture— mass and space —are, of course, separable only in thought. All sculpture is made of a material substance that has mass and exists in three-dimensional space. The mass of sculpture is thus the solid, material, space-occupying bulk that is contained within its surfaces. Space enters into the design of sculpture in three main ways: the material components of the sculpture extend into or move through space; they may enclose or enfold space, thus creating hollows and voids within the sculpture; and they may relate one to another across space.
Volume, surface, light and shade, and colour are supporting elements of sculpture. Article Introduction Elements and principles of sculptural design Elements of design Principles of design Relationships to other arts Materials Primary Other materials Methods and techniques The sculptor as designer and as craftsman General methods Carving Indirect carving Carving tools and techniques Modeling Modeling for casting Modeling for pottery sculpture General characteristics of modeled sculpture Constructing and assembling Direct metal sculpture Reproduction and surface-finishing techniques Casting and molding Pointing Surface finishing Smoothing and polishing Painting Gilding Patination Electroplating Other finishes Forms, subject matter, imagery, and symbolism of sculpture Sculpture in the round Relief sculpture Modern forms of sculpture Representational sculpture The human figure Devotional images and narrative sculpture Portraiture Scenes of everyday life Animals Fantasy Other subjects Nonrepresentational sculpture Applied sculpture Symbolism Uses of sculpture Show more.
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