By Eduard Trier
This booklet isn't really a background of favor, nor a lexicon whose major virtue might be
completeness from A to Z. Its goal is very to plan in notice and picture the typical
features of 20th-century sculpture, bringing out connections and oppositions. Chronology, nationality and club of this or that college play a subordinate function. recognition is directed to the issues of contemporary sculpture and an try is made to lend speech to this silent artwork.
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Extra info for Form and Space - Sculpture of the 20th century
From who how wide is do from incrustation are the variations, ranging as they the application of relief in painting, the of it seems to be bound by tradition much more than Paul Gauguin, Ben Nichol- can be considered as the father is more properly sculpture in the round. of the modern painter-sculptors, consistently translated his style as a painter into three-dimensional terms in his reliefs, cut but the effect from the is one of flatness. But whereas Gauguin's woodblocks intended dimensions, the 'painter-sculptors' 30 for his woodcuts, who followed sculp- reliefs, remained flat, him were above wood which he sometimes with reduced all plastic interested in the movement of solid on the masses.
Has already been mentioned as a practitioner of relief in painting, Bronze Height 88f * Photo: Allegri, Brescia V 14- Naum Gado Column, 1923 Plastic, wood and Height 41 metal " 2 Solomon R. Guggenheim Museum, Photo: New York Museum (left) 15. Nicolas Schoffei Lux 8, sculpturi spatiodynamique, Copper-plated 195! - _ . ' ' ' .. v> J* k! i > * ,\^ ' ' » 1 vj» ) 1 > - » V> »> V V . y»v \ A ' t i6. Antoine Pevsner Construction in Space, 1929 Brass sheet and glass Height 27 1 ',,'' Kunstmuseum, Basle Emanuel Hoffmann Foundation r.
Of modern sculpture will thereby become ap- Within the various iconographic groups the same formal applied as in the first categories will be chapter. In contrast to painting where non-objectivity has been in the ascendant, at least during the Fifties and early of our century, sculpture has preserved an Sixties the appearance of the outside world, in so-called reality. to concern itself with the traditional but may and the inquiry into meaning occupation with man. motionless The by turn figure, years before sculpture 42 human I first both still World War I, specifically, it continues valid task of representing the fittingly begin with examples of to the statue ; that naturalistic More and is, interest in human figure, this artistic to the representation pre- of the abstract in varying degrees.