See also articles on special techniques, e.g., model and modeling.
Sculpture embraces such varied techniques as modeling, carving, casting, and construction—techniques that materially condition the character of the work. Whereas modeling permits addition as well as subtraction of the material and is highly flexible, carving is strictly limited by the original block from which material must be subtracted. Carvers, therefore, have sometimes had recourse to construction in which separate pieces of the same or different material are mechanically joined together. Casting is a reproduction technique that duplicates the form of an original whether modeled, carved, or constructed, but it also makes possible certain effects that are impractical in the other techniques. Top-heavy works that would require external support in clay or stone can stand alone in the lighter-weight medium of hollow cast metal.
The principal sculptural techniques have undergone little change throughout the ages. Hand modeling in wax (see wax figures), papier-mâché, or clay remains unaltered, although the firing of the clay from simple terra-cotta to elaborately glazed ceramics has varied greatly. Carving has for centuries made use of such varied materials as stone, wood, bone, and, more recently, plastics, and carvers have long employed many types of hammers, chisels, drills, gauges, and saws. For carrying out monumental works from small studies, various mechanical means have been developed for approximating the proportions of the original study.
Bronze casting is also a technique of extreme antiquity (see bronze sculpture). The Greeks and Chinese mastered the cire perdue (lost-wax) process, which was revived in the Renaissance and widely practiced until modern times. Little Greek sculpture in bronze has survived, apparently because the metal was later melted down for other purposes, but the material itself resists exposure better than stone and was preferred by the Greeks for their extensive art of public sculpture. Metal may also be cast in solid, hammered, carved, or incised forms. The mobile is a construction that moves and is intended to be seen in motion. Mobiles utilize a wide variety of materials and techniques (see also stabile). Contemporary practice emphasizes the beauty of materials and the expression of their nature in the work.
Sculpture has been a means of human expression since prehistoric times. The ancient cultures of Egypt and Mesopotamia produced an enormous number of sculptural masterworks, frequently monolithic, that had ritual significance beyond aesthetic considerations (see Egyptian art; Assyrian art; Sumerian and Babylonian art; Hittite art and architecture; Phoenician art). The sculptors of the ancient Americas developed superb, sophisticated techniques and styles to enhance their works, which were also symbolic in nature (see pre-Columbian art and architecture; North American Native art). In Asia sculpture has been a highly developed art form since antiquity (see Chinese art; Japanese art; Indian art and architecture).
The freestanding and relief sculpture of the ancient Greeks developed from the rigidity of archaic forms. It became, during the classical and Hellenistic eras, the representation of the intellectual idealization of its principal subject, the human form. The concept was so magnificently realized by means of naturalistic handling as to become the inspiration for centuries of European art. Roman sculpture borrowed and copied wholesale from the Greek in style and techniques, but it made an important original contribution in its extensive art of portraiture, forsaking the Greek ideal by particularizing the individual (see Greek art; Etruscan art; Roman art).Western Sculpture from the Middle Ages to the Seventeenth Century
In Europe the great religious architectural sculptures of the Romanesque and Gothic periods form integral parts of the church buildings, and often a single cathedral incorporates thousands of figural and narrative carvings. Outstanding among the Romanesque sculptural programs of the cathedrals and churches of Europe are those at Vézelay, Moissac, and Autun (France); Hildesheim (Germany); and Santiago de Compostela (Spain). Remarkable sculptures of the Gothic era are to be found at Chartres and Reims (France); Bamberg and Cologne (Germany). Most of this art is anonymous, but as early as the 13th cent. the individual sculptor gained prominence in Italy with Nicola and Giovanni Pisano.
The late medieval sculptors preceded a long line of famous Italian Renaissance sculptors from Della Quercia to Giovanni da Bologna. The center of the art was Florence, where the great masters found abundant public, ecclesiastical, and private patronage. The city was enriched by the masterpieces of Ghiberti, Donatello, the Della Robbia family, the Pollaiuolo brothers, Cellini, and Michelangelo. The northern Renaissance also produced important masters who were well known individually, such as the German Peter Vischer the elder, the Flemish Claus Sluter, and Pilon and Goujon in France.
In France a courtly and secular art flourished under royal patronage during the 16th and 17th cent. In Italy the essence of the high baroque was expressed in the dynamism, technical perfection, originality, and unparalleled brilliance of the works of the sculptor-architect Bernini. The sculpture of Puget in France was more consistently Baroque in style and theme than that of his contemporaries Girardon and the Coustous.Modern Sculpture
The 18th cent. modified the dramatic and grandiose style of the baroque to produce the more intimate art of Clodion and Houdon, and it also saw the birth of neoclassicism in the work of Canova. This derivative style flourished well into the 19th cent. in the work of Thorvaldsen and his followers, but concurrent with the neoclassicists, and then superseding them, came a long and distinguished line of French realist sculptors from Rude to Rodin.
Rodin's innovations in expressive techniques helped many 20th-century sculptors to free their work from the extreme realism of the preceding period and also from the long domination of the Greek ideal. In the work of Aristide Maillol, that ideal predominates. The influence of other traditions, such as those of African sculpture and Aztec sculpture (in both of which a more direct expression of materials, textures, and techniques is found), has contributed to this liberation (see African art).
Among the gifted 20th-century sculptors who have explored different and highly original applications of the art are sculptors working internationally, including Pablo Picasso, Constantin Brancusi, Jacques Lipschitz, Naum Gabo, Antoine Pevsner, Ossip Zadkine, Alberto Giacometti, and Ivan Mĕstrović. Important contributions have also been made by the sculptors Jacob Epstein, Henry Moore, and Barbara Hepworth (English); Aristide Maillol, Charles Despiau, and Jean Arp (French); Ernst Barlach, Wilhelm Lehmbruck, and Georg Kolbe (German); Julio González (Spanish); Giacomo Manzù and Marino Marini (Italian); and Alexander Calder, William Zorach, David Smith, Richard Lippold, Eva Hesse, and Louise Nevelson (American).
An element of much modern sculpture is movement. In kinetic works the sculptures are so balanced as to move when touched by the viewer; others are driven by machine. Large moving and stationary works in metal are frequently manufactured and assembled by machinists in factories according to the sculptor's design specifications.
See Sir Herbert Read, A Concise History of Modern Sculpture (1964); G. Bazin, The History of World Sculpture (tr. 1968); A. M. Hammacher, The Evolution of Modern Sculpture (1969); W. Tucker, The Language of Sculpture (1985); B. Ceysson, ed., Sculpture: The Great Tradition of Sculpture from the 15th to the 18th Century (1987).
Figures modeled or molded in beeswax, either as finished pieces or for use as forms for casting metal (see lost-wax casting) or creating preliminary models. At ordinary temperatures, beeswax can be cut and molded easily, it melts at a low temperature, it mixes with any colouring matter and takes surface tints well, and its texture can be modified by a variety of additives. The ancient Egyptians used wax figures of deities in their funeral rites, and the Romans used wax images as presents in the Saturnalia. Michelangelo used wax models in making preliminary sketches for his statues. Wax medallion portraits, popular in the 16th century, enjoyed renewed popularity in the 18th century. John Flaxman made many wax portraits and relief figures which Josiah Wedgwood translated into pottery. Exhibitions of wax figures are still popular, the most famous being those of Madame Tussaud's museums in London and other international cities.
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Three-dimensional art produced especially by forming hard or plastic materials into three-dimensional objects, usually by carving or modeling. The designs may be produced in freestanding objects (i.e., in the round), in relief, or in environments, and a variety of media may be used, including clay, wax, stone, metal, fabric, wood, plaster, rubber, and found objects. Materials may be carved, modeled, molded, cast, wrought, welded, sewn, or assembled and combined. Various forms of sculpture have been found in virtually every culture throughout history. Until the 20th century, sculpture was considered a representational art, but, beginning in the early 1900, nonrepresentational works were increasingly produced. The scope of the term became much wider in the second half of the 20th century. Present-day sculptors use any materials and methods of manufacture that will serve their purposes, and so the art of sculpture can no longer be identified with any special materials or techniques. Seealso environmental sculpture; kinetic sculpture.
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Public or private aid to people in economic need because of natural disasters, wars, economic upheaval, chronic unemployment, or other conditions that prevent self-sufficiency. A distinction may be drawn between relief targeting upheavals and natural disasters and relief of chronic social conditions, now usually referred to as welfare. In 17th-century China the government maintained ever-normal granaries for use in the event of famine. Through the 19th century, disaster relief in Europe consisted largely of emergency grants of food, clothing, and medical care through hastily organized local committees. In the 20th century, disaster relief became one of the chief activities of the International Red Cross and other international agencies. Assistance to the needy from public funds has traditionally been strictly limited; in England, the Poor Law Reform Act of 1834 required people able to work to enter a workhouse in order to receive public assistance. The U.S. government responded to the Great Depression with the New Deal, which emphasized work relief programs such as the Works Progress Administration. In the later 20th century, the work requirement was abandoned in most countries, and the needy received direct cash payments, though in the U.S. the movement for welfare reform resulted in the passage in 1996 of “workfare” laws cutting off relief for most able-bodied welfare recipients who failed to find a job or perform community service.
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Administrative body (1943–47) for an extensive social-welfare program for war-ravaged nations. It distributed relief supplies and services, including shelter, food, and medicine, and helped with agricultural and economic rehabilitation. Its functions were later taken over by the International Refugee Organization, the World Health Organization, and UNICEF.
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Sculpture in which movement (as of a motor-driven part or a changing electronic image) is a basic element. Actual movement became an important aspect of sculpture in the 20th century. Pioneers such as Naum Gabo, Marcel Duchamp, László Moholy-Nagy, and Alexander Calder produced movement by such means as water, mechanical devices, and air currents (as in Calder's mobiles). Neo-Dadaist works such as Jean Tinguely's self-destructing Homage to New York (1960) embody the concept of a sculpture that functions as both an object and an event—a “happening.”
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Art form, developed in the 20th century, that involves or encompasses the spectator. The environmental sculptor can use any medium, from mud and stone to light and sound. Indoor environmental works often incorporate sculptural figures in detailed settings in gallery or museum spaces. Outdoor works in natural or urban settings include “earthworks” (large-scale alterations of the Earth's surface effected by earth-moving equipment) such as Robert Smithson's Spiral Jetty (1970), a rock-and-dirt spiral 1,500 feet long in the Great Salt Lake. The wrapped buildings of Christo are notable urban environmental works.
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Sculpture is three-dimensional artwork created by shaping hard or plastic material, commonly stone (either rock or marble), metal, or wood. Some sculptures are created directly by carving; others are assembled, built up and fired, welded, molded, or cast. A person who creates sculptures is called a sculptor.
Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture. Many sculptures together in a garden setting may be referred to as a sculpture garden.
Many sculptors seek new ways and materials to make art. Jim Gary used stained glass and automobile parts, tools, machine parts, and hardware. One of Pablo Picasso's most famous sculptures included bicycle parts. Alexander Calder and other modernists made spectacular use of painted steel. Since the 1960s, acrylics and other plastics have been used as well. Andy Goldsworthy makes his unusually ephemeral sculptures from almost entirely natural materials in natural settings. Some sculpture, such as ice sculpture, sand sculpture, and gas sculpture, is deliberately short-lived.
Sculptors often build small preliminary works called maquettes of ephemeral materials such as plaster of Paris, wax, clay, or plasticine, as Alfred Gilbert did for 'Eros' at Piccadilly Circus, London. In Retroarchaeology, these materials are generally the end product.
The first known sculptures are from the Indus Valley civilization (3300–1700 BC), found in sites at Mohenjo-daro and Harappa in modern-day Pakistan. These are among the earliest known instances of sculpture in the world. Later, as Hinduism, Buddhism, and Jainism developed further, India produced bronzes and stone carvings of great intricacy, such as the famous temple carvings which adorn various Hindu, Jain and Buddhist shrines. Some of these, such as the cave temples of Ellora and Ajanta, are examples of Indian rock-cut architecture, perhaps the largest and most ambitious sculptural schemes in the world.
During the 2nd to 1st century BC in northern India, in what is now southern Afghanistan and northern Pakistan, sculptures became more anatomically realistic, often representing episodes of the life and teachings of Gautama Buddha. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form before this time, but only through symbols such as the stupa. This alteration in style may have occurred because Gandharan Buddhist sculpture in ancient Afghanistan acquired Greek and Persian influence. Artistically, the Gandharan school of sculpture is characterized by wavy hair, drapery covering both shoulders, shoes and sandals, and acanthus leaf decorations, among other things.
The pink sandstone sculptures of Mathura evolved during the Gupta Empire period (4th-6th century AD) to reach a very high fineness of execution and delicacy in the modeling. Gupta period art would later influence Chinese styles during the Sui dynasty, and the artistic styles across the rest of east Asia. Newer sculptures in Afghanistan, in stucco, schist or clay, display very strong blending of Indian post-Gupta mannerism and Classical influence. The celebrated bronzes of the Chola dynasty (c. 850-1250) from south India are of particular note; the iconic figure of Nataraja being the classic example. The traditions of Indian sculpture continue into the 20th and 21st centuries with for instance, the granite carving of Mahabalipuram derived from the Pallava dynasty. Contemporary Indian sculpture is typically polymorphous but includes celebrated figures such as Dhruva Mistry.
Artifacts from China date back as early as 10,000 BC and skilled Chinese artisans had been active very early in history, but the bulk of what is displayed as sculpture comes from a few select historical periods. The first period of interest has been the Western Zhou Dynasty (1050-771 BC), from which come a variety of intricate cast bronze vessels. The next period of interest was the Han Dynasty (206 BC-220 AD), beginning with the spectacular Terracotta Army assembled for the tomb of Qin Shi Huang, the first emperor of the important but short-lived Qin Dynasty that preceded the Han. Tombs excavated from the Han period have revealed many figures found to be vigorous, direct, and appealing 2000 years later.
The first Buddhist sculpture is found dating from the Three Kingdoms period (3rd century), while the sculpture of the Longmen Grottoes near Luoyang, Henan Province (Northern Wei, 5th and 6th century) has been widely recognized for its special elegant qualities.
The period now considered to be China's golden age is the Tang Dynasty, coinciding with what in Europe is sometimes called the Dark Ages). Decorative figures like those shown below became very popular in 20th century Euro-American culture, and were made available in bulk, as warlords in the Chinese civil wars exported them to raise cash. Considered especially desirable, and even profound, was the Buddhist sculpture, often monumental, begun in the Sui Dynasty, inspired by the Indian art of the Gupta period, and many are considered treasures of world art.
Following the Tang, Western interest in Chinese artifacts drops off dramatically, except for what might be considered as ornamental furnishings, and especially objects in jade. Pottery from many periods has been collected, and again the Tang period stands out apart for its free, easy feeling. Chinese sculpture has no nudes --other perhaps than figures made for medical training or practice -- and very little portraiture compared with the European tradition. One place where sculptural portraiture was pursued, however, was in the monasteries.
Almost nothing, other than jewelry, jade, or pottery is collected by art museums after the Ming Dynasty ended in the late 17th century -- and absolutely nothing has yet been recognized as sculpture from the tumultuous 20th century, although there was a school of Soviet-influenced social realist sculpture in the early decades of the Communist regime, and as the century turned, Chinese craftsmen began to dominate commercial sculpture genres (the collector plates, figurines, toys, etc) and avant garde Chinese artists began to participate in the Euro-American enterprise of contemporary art.
Countless paints and sculpture were made, often under governmental sponsorship. Most Japanese sculpture is associated with religion, and the medium' use declined with the lessening importance of traditional Buddhism. During the Kofun period of the third century, clay sculptures called haniwa were erected outside tombs. Inside the Kondo at Hōryū-ji is a Shaka Trinity (623), the historical Buddha flanked by two bodhisattvas and also the Guardian Kings of the Four Directions The wooden image (9th c.) of Shakyamuni, the "historic" Buddha, enshrined in a secondary building at the Muro-ji, is typical of the early Heian sculpture, with its ponderous body, covered by thick drapery folds carved in the hompa-shiki (rolling-wave) style, and its austere, withdrawn facial expression. The Kei school of sculptors, particularly Unkei, created a new, more realistic style of sculpture.
African art has an emphasis on Sculpture - African artists tend to favor three-dimensional artworks over two-dimensional works. Although anthropologists argue that the earliest known sculptures in Africa are from the Nok culture of Nigeria that date around 500 BC, the art of Pharaonic Africa date much earlier than the Nok period. Metal sculptures from the eastern portions of west Africa such as Benin, are considered among the best ever produced.
Art plays an essential role in the lives of the African peoples and communities across the continent. The beauty of African art is simply in meaning. These objects mean a great deal to the people and they are of significant meaning to the traditions that produce them. Their beauty and content protect the community and the individual artists, and tell much of the artists who use them. Later exhibitions of African art in the West have been able to get much detailed catalogues that attempt to cover the art of the whole continent.
In West Africa, the figures have elongated bodies, angular shapes, and facial features that represent an ideal rather than an individual. These figures are used in religious rituals. They are made to have surfaces that are often coated with materials placed on them for ceremonial offerings. In contrast to these sculptures of West Africa are the ones of Mande-speaking peoples of the same region. The Mande pieces are made of wood and have broad, flat surfaces. Their arms and legs are shaped like cylinders.
In Central Africa, however, the key characteristics include heart shaped faces that are curve inward and display patterns of circles and dots. Although some groups prefer more of geometric and angular facial forms, not all pieces are exactly the same. Also, not all pieces are made of the same material. The materials used range from mostly wood all the way to ivory, bone, stone, clay, and metal. Overall, though, the Central African region has very striking styles that is very easy to identify. With the distinctive style, one can easily tell which area the sculpture was produced in.
Eastern Africa is not known for their sculptures but one type that is done in this area is pole sculptures. These are a pole carved in a human shape and decorated with geometric forms, while the tops are carved with figures of animals, people, and various objects. These poles are then placed next to graves and are associated with death and the ancestral world.
Southern Africa’s oldest known clay figures date from 400 to 600 A.D. and have cylindrical heads. These clay figures have a mixture of human and animal features. Other than clay figures, there are also wooden headrests that were buried with their owners. The headrests had styles ranging from geometric shapes to animal figures. Each region had a unique style and meaning to their sculptures. The type of material and purpose for creating sculpture in Africa reflect the region from which the pieces are created.
Sculpture in what is now Latin America developed in two separate and distinct areas, Mesoamerica in the north and Peru in the south. In both areas, sculpture was initially of stone, and later of terra cotta and metal as the civilizations in these areas became more technologically proficient. The Mesoamerican region produced more monumental sculpture, from the massive block-like works of the Olmec and Toltec cultures, to the superb low reliefs that characterize the Mayan and Aztec cultures. In the Andean region, sculptures were typically small, but often show superb skill. In North America, wood was sculpted for totems, totem poles, masks, and boats. The arrival of European Catholic culture readily adapted local skills to the prevailing Baroque style, producing enormously elaborate retablos and other mostly church sculptures in a slightly hybrid style. Later, artists trained in the Western academic tradition followed European styles until in the late nineteenth century they began to draw again on indigenous influences.
The history of sculpture in the United States after Europeans' arrival reflects the country's 18th-century foundation in Roman republican civic values and Protestant Christianity. Compared to areas colonized by the Spanish, sculpture got off to an extremely slow start in the British colonies, with next to no place in churches, and was only given impetus by the need to assert nationality after independence. American sculpture of the mid- to late-19th century was often classical, often romantic, but showed a bent for a dramatic, narrative, almost journalistic realism. Public buildings of the first half of the 20th century often provided an architectural setting for sculpture, especially in relief. By the 1950s, traditional sculpture education would almost be completely replaced by a Bauhaus-influenced concern for abstract design. Minimalist sculpture often replaced the figure in public settings. Modern sculptors use both classical and abstract inspired designs. Beginning in the 1980s, there was a swing back toward figurative public sculpture; by 2000, many of the new public pieces in the United States were figurative in design.
Features that the European Classical tradition shares with many others:
The topic of Nudity
An unadorned figure in Greek classical sculpture was a reference to the status or role of the depicted person, deity or other being. Athletes, priestesses and gods could be identified by their adornment or lack of it.
The Renaissance preoccupation with Greek classical imagery, such as the 5th century B.C. Doryphoros of Polykleitos, led to nude figurative statues being seen as the 'perfect form' of representation for the human body. Subsequently, nudity in sculpture and painting has represented a form of ideal, be it innocence, openness or purity. Nude sculptures are still common. As in painting, they are often made as exercises in efforts to understand the anatomical structure of the human body and develop skills that will provide a foundation for making clothed figurative work.
Nude statues are usually widely accepted by most societies, largely due to the length of tradition that supports this form. Occasionally, the nude form draws objections, often by fundamentalist moral or religious groups. Classic examples of this are the removal of penises from the Vatican collection of Greek sculpture and the addition of a fig leaf to a plaster cast of Michelangelo's sculpture of David for Queen Victoria's visit to the British Museum.
Gothic sculpture evolved from the early stiff and elongated style, still partly Romanesque, into a spatial and naturalistic feel in the late 12th and early 13th century. The architectural statues at the Western (Royal) Portal at Chartres Cathedral (c. 1145) are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors. Prior to this there had been no sculpture tradition in Ile-de-France—so sculptors were brought in from Burgundy. Bamberg Cathedral had the largest assemblage of 13th century sculpture. In England sculpture was more confined to tombs and non-figurine decorations. In Italy there was still a Classical influence, but Gothic made inroads in the sculptures of pulpits such as the Pisa Baptistery pulpit (1269) and the Siena pulpit. Dutch-Burgundian sculptor Claus Sluter and the taste for naturalism signaled the beginning of the end of Gothic sculpture, evolving into the classicistic Renaissance style by the end of the 15th century.
During the High Renaissance, the time from about 1500 to 1520, Michelangelo was an active sculptor with works such as David and the Pietà, as well as the Doni Virgin, Bacchus, Moses, Rachel, Orgetorix, and members of the Medici family. Michelangelo's David is possibly the most famous sculpture in the world, which was unveiled on September 8, 1504. It is an example of the contrapposto style of posing the human figure, which again borrows from classical sculpture. Michelangelo's statue of David differs from previous representations of the subject in that David is depicted before his battle with Goliath and not after the giant's defeat. Instead of being shown victorious over a foe much larger than he, David looks tense and battle ready.
Auguste Rodin was the most renowned European sculptor of the early 20th century. He might be considered as sui generis -- that is, if anyone successfully composed in his turbulent, virtuosic style, they have yet to be discovered. But he is often considered a sculptural Impressionist, as are Medardo Rosso, Count Troubetski, and Rik Wouters, attempting to frame the charm of a fleeting moment of daily life.
Modern Classicism showed a lesser interest in naturalism and a greater interest in formal stylization. Greater attention was paid to the rhythms of volumes and spaces - as well as greater attention to the contrasting qualities of surface (open, closed, planar, broken etc) while less attention was paid to story-telling and convincing details of anatomy or costume. Greater attention was given to psychological realism than to physical realism. Greater attention was given to showing what was eternal and public, rather than what was momentary and private. Greater attention was given to examples of ancient and Medieval sacred arts:Egyptian, Middle Eastern, Asian, African, and Meso-American. Grandiosity was still a concern, but in a broader, more world-wide context.
As the century progressed, modern classicism was adopted as the national style of the two great European totalitarian empires: Nazi Germany and Soviet Russia, who co-opted the work of early masters, like Kolbe and Arno Breker in Germany, and Matveev in Russia. Nazi Germany had a 15-year run; but over the 70 years of the USSR, new generations of sculptors were trained and chosen within their system, and a distinct style, socialist realism, developed, that returned to the 19th century's emphasis on melodrama and naturalism.
Classical training was rooted out of art education in Western Europe (and the Americas) by 1970 and the classical variants of the 20th century were marginalized in the history of modernism. But classicism continued as the foundation of art education in the Soviet academies until 1990, providing a foundation for expressive figurative art throughout eastern Europe and parts of the Middle East. By the year 2000, the European classical tradition maintains a wide appeal to viewers - especially tourists - and especially for the ancient, Renaissance, Baroque, and 19th century periods -- but awaits an educational tradition to revive its contemporary development.
In the rest of Europe, and the United States the modern classical became either more decorative/art deco (Paul Manship, Jose de Creeft, Carl Milles) or more abstractly stylized or more expressive (and Gothic) (Anton Hanak, Wilhelm Lehmbruck, Ernst Barlach, Arturo Martini) -- or turned more to the Renaissance (Giacomo Manzù, Venanzo Crocetti) or stayed the same (Charles Despiau, Marcel Gimond).
In the early days of the 20th century Pablo Picasso revolutionized the art of sculpture when he began creating his constructions fashioned by combining disparate objects and materials into one constructed piece of sculpture, - by addition. Picasso reinvented the art of sculpture with his innovative use of constructing a work in three dimensions with disparate material. Just as collage was a radical development in two dimensional art; so was construction a radical development in three dimensional sculpture. The advent of Surrealism lead to things occasionally being described as "sculpture" that would not have been so previously, such as "involuntary sculpture" in several senses, including coulage. In later years Pablo Picasso became a prolific ceramicist, revolutionizing the way Ceramic art is perceived. George E. Ohr and more contemporary sculptors like Peter Voulkos, Kenneth Price and others have effectively used ceramics as an important integral medium for their work.
In Europe, by the 1930s and 1940s Modernism in sculpture became more abstract and stylized, exemplified by Picasso, Gaston Lachaise, Sir Jacob Epstein, Henry Moore, Alberto Giacometti, Joan Miró, Julio González and Jacques Lipschitz. Eventually artists like Isamu Noguchi, David Smith, Alexander Calder, Jean Tinguely, Richard Lippold, George Rickey Louise Bourgeois and Louise Nevelson came to characterize the look of modern sculpture. By the 1960s Abstract expressionism, Geometric abstraction and Minimalism as exemplified by the Cubi's of David Smith, and the welded steel work of Sir Anthony Caro, the large scale work of John Chamberlain, and Mark di Suvero, and the Minimalist works by Tony Smith, Robert Morris, Donald Judd, Larry Bell, Anne Truitt, Richard Serra, Dan Flavin and others led contemporary abstract sculpture in new directions.
Since the 1950s Modernist trends in sculpture both abstract and figurative have dominated the public imagination and the popularity of Modernist sculpture has all but eliminated the traditional approach. During the 1960s and 1970s figurative sculpture by modernist artists as stylized as Leonard Baskin, Ernest Trova, Marisol Escobar, Paul Thek and Manuel Neri became popular, and by the 1980s the painter Fernando Botero emerged with monumental figures reminiscent of the fat characters in his paintings. Picasso was commissioned to make a maquette for a huge -high public sculpture to be built in Chicago, known usually as the Chicago Picasso. He approached the project with a great deal of enthusiasm, designing a sculpture which was ambiguous and somewhat controversial. What the figure represents is not known; it could be a bird, a horse, a woman or a totally abstract shape. The sculpture, one of the most recognizable landmarks in downtown Chicago, was unveiled in 1967. Picasso refused to be paid $100,000 for it, donating it to the people of the city.
During the late 1950s and the 1960s abstract sculptors began experimenting with a wide array of new materials and different approaches to creating their work. Surrealist imagery, anthropomorphic abstraction, new materials and combinations of new energy sources and varied surfaces and objects became characteristic of much new modernist sculpture. The term Postminimalism became a rubric for a wide range of new sculpture. Bill Bollinger, Eva Hesse, Sol LeWitt, Jackie Winsor, Keith Sonnier, Bruce Nauman, Lucas Samaras, and Robert Smithson among others were pioneers of Postminimalist sculpture.
Also during the 1960s and 1970s artists as diverse as Stephen Antonakis, Chryssa, Walter De Maria, Dan Flavin, Robert Smithson, Robert Irwin, Claes Oldenburg, George Segal, Edward Kienholz, Duane Hanson, and John DeAndrea explored abstraction, imagery and figuration through Light sculpture, and installation art in new ways.
Modernist sculpture movements include Geometric abstraction, De Stijl, Suprematism, Constructivism, Dadaism, Cubism, Surrealism, Futurism, Minimalism, Formalism Abstract expressionism, Pop-Art, and Installation art among others.
Krauss' concern was creating a theoretical explanation that could adequately fit the developments of Land art, Minimalist sculpture, and Site-specific art into the category of sculpture. To do this, her explanation created a series of oppositions around the work's relationship to its environment.
Some modern sculpture forms are now practiced outdoors, and often in full view of spectators, thus giving them kinship to performance art in the eyes of some. Ice sculpture is a form of sculpture that uses ice as the raw material. It's popular in China, Japan, Canada, Sweden, and Russia. Ice sculptures feature decoratively in some cuisines, especially in Asia. Kinetic sculptures are sculptures that are designed to move, which include Mobiles. Snow sculptures are usually carved out of a single block of snow about 6 to on each side and weighing about 20 - 30 tons. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall. Sound sculptures take the form of indoor sound installations, outdoor installations such as aeolian harps, automatons, or be more or less near conventional musical instruments. Sound sculpture is often site-specific. A Sand castle can be regarded as a sand sculpture. Weightless Sculpture (in outer space) as a concept is created in 1985 by the Dutch artist Martin Sjardijn. Lego brick sculpting involves the use of common Lego bricks to build realistic or artistic sculptures sometimes using hundreds of thousands of bricks.
Worldwide, sculptors have usually been tradesmen whose work is unsigned. But in the Classical world, many Ancient Greek sculptors like Phidias began to receive individual recognition in Periclean Athens, and became famous and presumably wealthy. In the Middle Ages, artists like the 12th century Gislebertus sometimes signed their work, and were sought after by different cities, especially from the Trecento onwards in Italy, with figures like Arnolfo di Cambio, Nicola Pisano and his son Giovanni. Many sculptors also practised in other arts, sometimes painting, like Andrea del Verrocchio, or architecture, like Giovanni Pisano, Michelangelo, or Jacopo Sansovino, and maintained large workshops.
From the High Renaissance artists like Michelangelo, Leone Leoni and Giambologna could become wealthy, and ennobled, and enter the circle of princes. Much decorative sculpture on buildings remained a trade, but sculptors producing individual pieces were recognised on a level with painters. From at least the 18th century, sculpture also attracted middle-class students, although it was slower to do so than painting. Equally women sculptors took longer to appear than women painters, and have generally been less prominent until the 20th century at least.
Wood carving is a form of working wood by means of a cutting tool held in the hand (this may be a power tool), resulting in a wooden figure or figurine (this may be abstract in nature) or in the sculptural ornamentation of a wooden object.
Casting is a 6000 year old process. The oldest surviving casting is a copper frog from 3200 BC. The casting process is subdivided into two distinct subgroups: expendable and non-expendable mold casting.