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Literatura académica sobre el tema "Sculpture"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Sculpture"

Luecking, Stephen. "Sculpture from Patchwise Modules". Mathematics 7, n.º 2 (19 de febrero de 2019): 197. http://dx.doi.org/10.3390/math7020197.

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The sculptor adapts the geometry of spline surfaces commonly used in 3D modeling programs in order to translate some of the topological nature of these virtual surfaces into his sculpture. He realizes the patchwise geometry of such surfaces by gluing square modules of neoprene rubber edge to edge to define the surface which he then torques and bends into sculptures. While limited by the nature of actual materials, the finished sculptures successfully incorporate the expressive tension and flow of forms sought by the sculptor. He presents images of finished works and provides an analysis of the emotive values of a select sculpture.

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Fang, Zhiyu. "Contemporary Chinese Sculpture Promoting the “Idea of China” (the case of Cao Chunsheng and Deng Ke)". Scientific and analytical journal Burganov House. The space of culture 18, n.º 6 (10 de diciembre de 2022): 95–100. http://dx.doi.org/10.36340/10.36340/2071-6818-2022-18-6-95-100.

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Ever since the beginning of the Reform Era, China rapidly and steadily walks the path of socialism with Chinese characteristics. Moving towards the new era, the Chinese government and society do not forget about their values and guidelines, the "Idea of China" is developed in art. Art pieces aim to promote Chinese cultural traditions, patriotism, the fighting spirit of Chinese nation. Sculpture is actively involved in this process as one of the art forms that allows broadcasting ideas about beauty and justice. Over the years, sculptors have persisted in exploring different genres and styles, which has gradually improved the creation of contemporary “China's theme” in sculpture and formed a distinctive diversity. Among the sculptors that contributed to this process, the most representative and prominent artists are Cao Chunsheng and Deng Ke, who both have formed unique and distinctive styles. Cao Chunsheng as a sculptor from older generation, has undergone the influence of the “Soviet school” and has a vast experience in large-scale monument sculpture. In his art he mainly focuses on major historical themes. Deng Ke belongs to the emerging generation of sculptors who grew up in the Reform Era. Most of her works are small and medium-sized easel sculptures, and her favoured topic is life and society in the new times. Both sculptors work in different styles and genres, but together they form the face of contemporary sculpture promoting the “Idea of China” that this paper seeks to explore.

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Putney, Dani. "Sino-Filipino Artistic Collaboration". Athanor 39 (22 de noviembre de 2022): 35–52. http://dx.doi.org/10.33009/fsu_athanor130974.

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The Hispano-Philippine style of ivory sculpture production in colonial Manila is almost synonymous with the growth of Spain’s global empire from the sixteenth century onward. These sculptures have been studied by historians and art critics alike in terms of Latin American consumer demand, marketability, Catholic devotion and conversion, and “Chineseness,” among other veins of inquiry. Common across these investigations is discussion of the significance of Chinese immigrants within the Spanish colony, who have been consistently identified as the creators of these sculptures. One community of artisans important to Philippine sculpture-making, however, has been understudied: the native Filipinos of colonial Manila, by far the largest group in the city. Why has the role of native Filipinos, despite being documented as painters and sculptors contemporaneous with the Chinese immigrants, been disregarded in the art-historical record of ivory sculpture production? In this article, I address these “silences” within the Hispano-Philippine sculptural archive by historicizing the sociocultural milieu of colonial Manila, performing visual analysis informed by postcolonial theory, and interrogating commonly referenced sources and narratives, an endeavor I maintain will enable art historians to contextualize these sculptures within a larger imperial, intercultural, and intersubjective framework of artistic creation.

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Yang, Zeyin. "Interoperability Analysis between Traditional Chinese Sculpture and Painting Modeling from the Perspective of Big Data Management". Mathematical Problems in Engineering 2022 (8 de agosto de 2022): 1–9. http://dx.doi.org/10.1155/2022/3237282.

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Chinese traditional sculpture and painting have strong interoperability in terms of patterns, colors, and lines. Chinese sculpture and painting art are traditional Chinese works of art. The art of painting is often the basis for sculptural art. A good sculptural work of art often requires the pattern and color foundation of the painting. Moreover, Chinese traditional sculpture artworks often reflect certain historical information and humanistic spirit. Traditional artificial methods are often difficult to discover the intercommunication between cultural information between Chinese sculpture and painting. For the interoperability between sculpture and painting artworks, artists only rely on professional knowledge and aesthetic ability to discover some interoperability in patterns, colors, and lines, which is insufficient for understanding Chinese sculpture and painting. This study designs a novel hybrid CNN-LSTM method to study the interoperability of Chinese sculptures and paintings in terms of patterns, colors, lines, and cultural information. CNN can extract patterns, colors, and line features of Chinese paintings and sculptures. The cultural characteristics of Chinese sculptures have obvious temporal characteristics, which can be mined by LSTM technology. The research results show that the hybrid CNN-LSTM method has good feasibility and accuracy in studying the interoperability of traditional Chinese sculpture and painting. In terms of average error, the largest error is only 3.03% and this part of the error comes from the prediction of Chinese sculpture and painting cultural information. All other features of traditional sculpture and painting are predicted to be within 3%. For the prediction of color features, the error is only 1.13%. Prediction errors for patterns, colors, and lines are within acceptable limits.

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Khattri, Om. "Art in nature: Shifting trends in Nepali sculpture". Journal of Fine Arts Campus 3, n.º 1 (31 de diciembre de 2021): 35–43. http://dx.doi.org/10.3126/jfac.v3i1.42494.

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Art has its environment and meaning, and it can exist free from a pedestal. Different approaches have sprung up with current environmental impacts, including other outdoor sculptures in Nepal as a modern movement. This form of activity has given new meaning to local indigenous values, art, and crafts. The transition started after some naturalistic sculptures, including equestrian statues, were brought from Europe and installed in the open environment. Environmental sculpture is a type of public art that creates or changes the spectators' surroundings. Nepalese sculptors have practiced a new genre as an alternative discipline of sculpture. A significant sculpture, Nirmāna, which means construction, was created by Thakur Prasad Mainali in 2024-25 B.S. at Bhirkutimandap, Kathmandu. Hence, two methodological approaches-primary observation and historical connections used to conduct this study. Besides numerous modern sculptures, this investigation focused on the earliest environmental sculptures. The study also explores the historical significance of sculpture in Nepal as it evolved and assimilated into modernity over time. After centuries of artistic and cultural legacy in Nepal, environmental sculpture underwent new changes.

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Friedman, Nat. "An introduction to hyperseeing and hypersculptures". Kybernetes 40, n.º 7/8 (9 de agosto de 2011): 1015–20. http://dx.doi.org/10.1108/03684921111160241.

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PurposeThe purpose of this paper is to introduce the cybernetics audience to the fundamental interdisciplinary concept of hyperseeing and its application to hypersculptures.Design/methodology/approachBriefly, hyperseeing is seeing from multiple viewpoints in a very general sense. In particular, the author first discusses hyperseeing a sculpture. A sculpture is defined as an object in a fixed position relative to a horizontal plane (base, ground). Two sculptures are congruent if they consist of the same object. A hypersculpture is a set of congruent sculptures. A hypersculpture is a more complete presentation of the sculptural possibilities of an object.FindingsA specific example is given of hyperseeing a knot sculpture made of copper tubing.Originality/valueThe paper demonstrates how the study of hypersculptures facilitates gaining a deeper understanding and appreciation of sculpture.

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Sazonov, Vadim V. "THE UNITY OF MONUMENTAL SCULPTURE AND THE ENVIRONMENT IN THE MONUMENT “TO THE FIRST BUILDERS OF KOMSOMOLSK-ON-AMUR”: TO THE QUESTION OF THE PROBLEMS OF THE EARLY WORK OF V.E. GOREVOY". Articult, n.º 1 (2022): 18–24. http://dx.doi.org/10.28995/2227-6165-2022-1-18-24.

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The article deals with the problem of synthesis of sculpture with natural and architectural spaces. Attention is drawn to the peculiarities of human perception of this cultural phenomenon. Already in the 1960s, there was considerable interest in the effect of including the surrounding landscape in the figurative structure of an architectural and sculptural ensemble. The author reveals how the creative method of V.E. Gorevoy, one of the largest sculptors of Leningrad-St. Petersburg over the past fifty years, was formed against the background of a powerful rise in monumental sculpture and memorial architecture. His early work reflected the artistic problems of the era in the history of Soviet monumental art. The sculptor was involved in the process of solving complex creative tasks, mainly the task of creating a special environment by means of sculpture that affects the emotions and patriotic feelings of the viewer.

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الاء عيسى كريم y علي عبدالله عبود. "Fashion Aesthetics in Contemporary Arab Sculpture". Basrah Arts Journal, n.º 27 (30 de noviembre de 2023): 136–42. http://dx.doi.org/10.59767/2023.11/27.10.

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The art of sculpture in the Arab world formed a solid foundation in the field of art through the various sculptural products presented by Arab sculptors in employing art through which they contributed to the reflection of the cultural heritage due to the forms, symbols, images, forms of clothing and their external formal influences that were included in their works, which reflected the aesthetics of fashion in Arab sculpture. Contemporary, which necessitated highlighting the knowledge of its aspects from the cognitive, social, artistic and cultural aspects, and the connotations expressed by the Arab sculptor in dress, and to know the cultural value and employ it in the sculptural work, through which it is possible to differentiate between one country and another in terms of culture, traditions, and knowledge of the segments of society that were the basis for the variation in people's daily lives. The current research includes four chapters, the first chapter of which includes the research problem, which becomes clear through the following question: What are the aesthetic values achieved by fashion in contemporary Arab sculptural work, as well as the importance of research and the need for it, which lies in the fact that it represents a reflection of the aspects of traditional Arab life. The current research aims to identify the aesthetics of fashion in contemporary Arab sculpture. The research is limited spatially to sculptural works in the Arab world, temporally from 1950 to 2020, and objectively by studying sculptural works that reflect the aesthetics of contemporary Arab fashion.

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MARTIROSYAN, MADONA. "THE CHARACTER OF TIGRAN THE GREAT IN COINS AND SCULPTURE". Scientific bulletin 1, n.º 44 (28 de abril de 2023): 170–85. http://dx.doi.org/10.24234/scientific.v1i44.54.

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The well-known image of Tigran the Great of modern drams occupies a central place in monumental sculpture as well as high-sculpture iconography. While creating round statues, sculptors-engravers depicted Tigran the Great in their own way, dressing him in imitation of the clothes of the famous Roman rulers of the time. The sculptors did not even protect the well-known portrait from the dram: they were guided by their own ideas. In that sense, the episodes are more conservative. In their high sculptures, Tigran the Great has a recognizable image and repeats the image on the drams. Among the Armenian artists, the statues of Tigran the Great were created by the Tokmajian family. In their works, the image of the king is more symbolic than concrete. The statue "Tigran, King of Armenia" created by Matteos Lespagnandelli (17th century), differs in form and content. The high-value sculptures of the Armenian king depicted on the obverse of Tigran the Great drams are original works of art. The article discusses the image of Tigran the Great in sculptural art. Based on the historical and chronological comparative analysis of the works, an attempt was made to understand the features of the works depicting Tigran the Great.

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खत्री Khatri, ओम Om. "आधुनिक नेपाली मूर्तिकला : सन्दर्भ ऐतिहासिक सैनिक स्मारक मूर्तिहरू {Modern Nepali Sculpture: Reference Historical Military Memorial Statues}". SIRJANĀ – A Journal on Arts and Art Education 4, n.º 1 (1 de diciembre de 2017): 98–107. http://dx.doi.org/10.3126/sirjana.v4i1.44520.

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नेपालमा मूर्तिकलाको समृद्ध र उत्कृष्ट परम्परा रहि आएको छ । हामीसंग शास्त्रीय परम्परामा आधारितमूर्तिकलाको गौरवशाली इतिहास रहेको छ भने समसामयिक मूर्तिकलाको क्षेत्रमा पनि नेपालीमूर्तिकारहरूले उल्लेखनीय योगदान पुर्याउंदै आएका छन् । प्रस्तुत लेख आधुनिक नेपाली मूर्तिकलाकाप्रकरणमा ऐतिहासिक दृष्टिले महत्त्वपूर्ण सैनिक स्मारक मूर्ति रचनाहरूबारे केन्द्रित रहेको छ । {Nepal has a rich and excellent tradition of sculpture. Based on the classical tradition we have. There is a glorious history of sculpture and Nepali in the field of contemporary sculpture. Sculptors have made significant contributions. This article is about modern Nepali sculpture. The episode focuses on historically important military memorial sculptures.}

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Tesis sobre el tema "Sculpture"

Lindberg, Siri. "Embodied sequences : Sculptural architecture, architecture for sculpture". Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223745.

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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.

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Dubrion, Véronique. "Sculptures membranes : de la sculpture comme objet de désir". Paris 1, 2008. http://www.theses.fr/2008PA010705.

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Cette recherche allie pratique artistique et réflexion théorique. Elle concerne un ensemble de sculptures en matériaux souples assembles par couture, s'insérant dans une perspective ouverte par les avatars de la sculpture contemporaine. La diversité des suspensions pour les accrochages, souvent en extérieur, favorise le déploiement des sculptures durant un court instant. Le recours au médium photographique intervient en contrepoint de cette recherche, comme continuum, capture, suspension de la furtivité des formes. Les matériaux, le rituel de création et de mise en scène photographique, la suspension dans l'espace et l'anxiété qui prépare à l'acte artistique constituent des allusions au fétichisme. Les opérations mentales, d' association et de renversement anthropomorphique lors de la conception des oeuvres évoquent les mécanismes de condensation et de déplacement de la dynamique du rêve. Ces échanges de dans/dehors, intérieur/extérieur, proximité/éloignement, conduisent à l'étrange, à la confusion, à l'absurde et à l'improbable. L'exploration de l'idée de métis transposée du monde animal au monde humain, de l'instinct de survie à l'effet sophistique, ainsi que le parangon de Baubô, permettraient à l'artiste d'accéder à de nouvelles machinations (jeux malicieux, fictions, feintes, palinodies et procédés captieux) aussi bien dans ses intentions que dans ses inventions.

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Perotto, Émilie. "La sculpture contemporaine envisagée comme une situation : modes de production, usages et objets". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3052.

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Ce travail de recherche doctorale tend à définir précisément ce que j’appelle une situation sculpturale, en envisageant le médium de la sculpture, historiquement immobile et pérenne, comme le médium de la rencontre tributaire de temporalités diverses. Pour ce faire, ma pratique plastique a été mon terrain premier d’investigation, au sein duquel j’ai pu tester un certain nombre d’hypothèses, dont certaines se sont concrétisées dans mes sculptures les plus récentes, citées dans ce texte. Aussi, une attention particulière à la sculpture contemporaine m’a permis d’ouvrir plus largement mes prospections, qui se sont aussi nourries de pratiques d’artistes et de pensées théoriques historiques. Mes recherches se sont appuyées sur l’étude du rapport que la sculpture peut entretenir avec la vie quotidienne, et les rapports particuliers au temps que cela peut engendrer, aussi bien dans la conception des œuvres, que dans leur perception. Cette réflexion m’a permise d’aborder la sculpture dans son rapport aux objets du quotidien, que ce soit dans leur introduction directe dans les sculptures, dans leur reproduction, mais aussi dans l’usage. En effet, ce dernier point m’a amenée à établir une typologie de ce que je nomme la sculpture d’usage, dont la fonctionnalité n’est pas la finalité, mais une appréhension possible de l’œuvre
This doctorate research tries to define precisely what I term a sculptural situation considering sculpture – ie historically still & perennial – as the meeting point of multiple temporalities. To elaborate this research I took my artistic pratice as a ground to inquire into. I did test several assumptions which have informed my latest works thereafter described. Furthermore, a greater attention was given to contemporary sculpture so as to open wider perspectives drawn from historical artistic practives & theories. I studied the relationship between sculpture & daily life and most specifically their being time-based experiences, as much during the making of the works as when perceived by a spectator. I was then able to study sculpture in relation to everyday objects : either through the introduction of the later in sculptures themselves or their possible reproduction or even the use that can be made of them. I thus established a typology of what I name usable sculpture, whose functionality is not an end in itself but is nevertheless a possible way of experiencing the work of art

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Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080064.

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Les sculptures d’ombres sont des œuvres pour lesquelles les artistes font un usage conscient de l’ombre projetée comme d’un matériau essentiel de l’œuvre, par la mise en place de dispositifs de projection. Ces derniers se composent au minimum d’un projecteur lumineux et d’un écran sur lequel apparaissent les ombres, fixes ou en mouvement, créées par l’interception de la lumière par un objet central. On observe à partir des années 1980, une multiplication de l’usage des ombres projetées dans la sculpture, qui va de pair avec un usage renouvelé de celles-ci pour leur qualité d’images. Inspirées par les œuvres du début du XXe siècle (dont celles de László Moholy-Nagy), les sculptures d’ombres trouvent leur existence entre la photographie, le cinéma et la sculpture ; entre la sculpture et l’image ; entre la sculpture et la projection, dont elles reprennent le vocabulaire technique ainsi que les modalités de vision. Cette particularité des sculptures d’ombres les différencie d’une part des sculptures des décennies précédentes qui ont préféré aux images, les effets perceptifs et sensoriels des ombres. Elle permet d’autre part d’interroger le médium sculpture, a priori étranger à l’image. Elle permet enfin d’inscrire les sculptures d’ombres dans un contexte, celui des années 1980, qu’elles interrogent et dont elles sont le reflet. Analyse d’œuvres singulières, définition du médium sculpture, étude de la période historique qui s’étend depuis les années 1980 et exploration de la nature polysémique des ombres sont les quatre grands projets entrepris dans la présente thèse qui nous ont permis, à partir de l’expression « sculptures d’ombres », de dessiner un médium singulier
“Shadow sculptures” are works of art where artists use projected shadows as a material. All works are composed with a basic projection device, and comprised of at least, a light source, a screen and an object. The shadow-pictures, still or moving, appear by the object’s interception of light. Since the 80’s, projected shadows have multiplied in sculpture. In addition, artists use them to enhance their picture quality. Inspired by the works from the beginning of the 20th century (such as László Moholy-Nagy’s Light-Space Modulator (1922-1930)), shadow sculptures stand between photography, cinema and sculpture, between sculpture and picture and between sculpture and projection. They use their technical vocabulary and their vision modality. This specificity distinguishes shadow sculptures from sculptures in the past few decades that preferred the sensorial quality of light and shadows. It also gives the opportunity to question the medium sculpture, which has been constantly (re-)defined since the late 60’s. Lastly, this specificity of shadow sculptures positions them in the context of the 80’s that they question and reflect. Artwork analyses, the definition of the medium sculpture, the study of the historical period beginning in the 80’s and the exploration of the shadows’ polysemy are the four principal elements investigated in the following PhD. They all participate to define shadow sculptures as a singular medium

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Kueny, Claire. "Sculptures d’ombres : l’ombre projetée dans la sculpture à partir des années 1980". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080064.

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Charvet, Célia. "Sculpter l'habitat : les dimensions de l'habiter dans la sculpture contemporaine". Besançon, 2010. http://www.theses.fr/2010BESA1010.

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Penser l’habiter du point de vue de l’art contemporain – et plus précisément de la sculpture contemporaine – c’est engager la réflexion dans une analyse des formes tridimensionnelles. C’est donc envisager l’habiter dans ses dimensions visibles et tangibles, dans une concrétisation de ses implications et dans une cristallisation des notions de corps, d’espace et de temps. Donner forme(s) à l’habiter, ce n’est pas seulement mettre au jour les phénomènes de l’habiter, c’est également en fabriquer les dimensions spatio-temporelles à la mesure de l’existence humaine. C’est structurer, orienter, qualifier les multiples relations que l’individu entretient avec ses différents lieux d’existence, que ceux-ci soient d’ordre privé ou public. C’est considérer l’habiter comme un acte – et particulièrement comme un acte de résistance – et non simplement comme un fait. C’est enfin définir des territoires de l’habiter dans lesquels les portions d’espace-temps convoquent l’habitance de l’homme, c’est-à-dire sa potentialité d’habiter. À partir des œuvres des sculpteurs d’habiter – tel est le terme générique que nous proposons pour définir les artistes étudiés –, il s’agit de repérer ce qui façonne, révèle et questionne les dimensions de l’habiter. Articulée en quatre moments définissant la nature de ces dimensions, la réflexion fait percevoir tout à la fois les spécificités sculpturales de l’habiter et ses enjeux dans le champ de l’existence. Ainsi, l’art est-il non seulement le point de départ d’une pensée de l’habiter mais une ouverture signifiante permettant de réévaluer les définitions communes. La dichotomie de l'intime et du public est ainsi remise en question dans ces œuvres qui font se rejoindre les données essentielles et existentielles. La mesure humaine détermine les dimensions de l’œuvre – physiquement, mais aussi symboliquement et idéologiquement. Cette mesure est définie par le corps – celui de l’artiste, celui du spectateur – , et par le mur, envisagé comme un référent, comme un point d’articulation entre corps et architecture. Mais au-delà du corps et au-delà des catégories, c'est l'individu qui est en question(s) – et particulièrement l’individu dans son être intime. Les espacements ménagés par le mur pour le corps, par l’œuvre pour l’individu, traduisent les diverses signifiances de l’habiter et indiquent que celles-ci relèvent davantage de la hantise que de l’habitabilité. Sculpter l’habiter, c’est non seulement lui donner une visibilité, une corporéité, mais c’est aussi résister, pour affirmer des singularités, donner du sens à l’existence et ne pas oublier que l’habiter conjugue identité et dignité
Thinking about "inhabiting" from the viewpoint of contemporary art – contemporary sculpture, to be precise – means engaging in an analysis of three-dimensional forms, and thus looking at inhabiting in its visible, tangible dimensions, in a concrete instantiation of its implications, and crystallising the concepts of body, space and time. Giving form(s) to inhabiting does not only mean elucidating the phenomena associated with it, but also generating its spatio-temporal dimensions on the scale of human existence. It means structuring, orientating, qualifying the multiple relationships between individuals and their different places of existence, whether in the private or the public sphere. It means looking at inhabiting as an act – and an act of resistance – rather than simply a fact. It means, finally, defining territories of inhabiting, where the different parts of space-time induce the inhabitance of human beings, in other words their potentiality to inhabit. Starting with works by sculptors of inhabiting (this being the generic term we will use to define those whose work we discuss), the aim is to identify that which fashions, reveals and probes the dimensions of inhabiting. Centred on four aspects of space-time that define the nature of these dimensions, the analysis brings out the sculptural specificities of inhabiting, and its consequences in the field of existence. In this respect, besides constituting a point of departure for an analysis of inhabiting, art can provide a way of reassessing commonly-held definitions. The dichotomy between private and public is called into question by these works, which syncretise essential and existential elements. The human scale determines the dimensions of sculpture, not only physically but also symbolically and ideologically, in that it is dictated by the body – that of the artist, that of the viewer – and by the wall qua referent and point of articulation between body and architecture. But beyond the body, and beyond categories, it is the individual who is in question(s); and particularly the individual's innermost being. The spacings reserved by the wall for the body, and by the work for the individual, express the different significances of inhabiting, which have more to do with haunting than with inhabiting. In the end, sculpting inhabiting does not just mean giving it visibility or corporality, but also resisting, so as to assert its singularities, confer sense on existence and remain aware that inhabiting combines identity and dignity

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Ferley, Eric. "Sculpture virtuelle". Phd thesis, Grenoble INPG, 2002. http://tel.archives-ouvertes.fr/tel-00004393.

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Cette thèse concerne la construction de formes tridimensionnelles. Nous utilisons une métaphore de sculpture virtuelle, c'est à dire une manipulation directe de la surface, sans structure de contrôle et où la représentation utilisée pour la surface demeure invisible. Notre travail est basé sur une représentation volumique. La surface modelée est représentée comme l'iso-surface d'un champ potentiel scalaire tridimensionnel échantillonné, qui permet de gérer de manière transparente les connexions et déconnexions. Un premier prototype, utilisant un échantillonnage régulier, nous a permis de valider les concepts d'interaction directe avec la surface via un outil contrôlé avec un périphérique d'entrée 3d. La surface évolue de manière indirecte à travers les modifications du champ potentiel induites par l'outil, mais du point de vue utilisateur, l'outil dépose ou repousse de la matière librement dans l'espace. Via la sélection et les opérations de copier/coller, il est possible de construire des outils de formes quelconques. Nous nous sommes également intéressés aux aspects importants de visualisation (stéréovision, reflets) et de retour haptique pour améliorer la perception, donc l'évaluation de la surface en cours de construction. Notre second prototype utilise une représentation hiérarchique adaptative permettant la construction de détails à différentes échelles et assurant l'interactivité de la mise à jour et de l'affichage. L'échantillonnage se raffine ou se simplifie dynamiquement et automatiquement, guidé par l'outil utilisé. La gestion proposée par file d'attente avec priorités autorise des extensions à plusieurs outils simultanés, éventuellement distribués sur des machines distantes.

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Moulton, Marc. "Making sculpture". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303236154.

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Teneul, Thierry. "La sculpture intouchable : méditation sur la sculpture "ennemie" du toucher !" Paris 1, 1995. http://www.theses.fr/1995PA010606.

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Le but de cette these est de reflechir au statut du toucher dans ma pratique de la sculpture. Dans un premier temps, j'ai repere en quelles circonstances il se manifestait dans ma production et dans celle de quelques sculpteurs. J'ai egalement analyse le fonctionnement physiologique du toucher et propose d'echapper a son pouvoir par le regard. La nature et le vegetal etant a l'origine de mes sculptures, celles-ci ne sont plus destinees a etre vues pour elles-memes mais a faire voir ce qui en est la cause. Apres des recherches sur l'interdit virtuel du toucher, j'ai ensuite explore les ressources de l'interdit psychologique. Ce qui m'a conduit a analyser comment la sculpture communique avec le sacre et devient un objet tabou. Une explication sur mes rapports au "primitivisme" s'est alors imposee. Enfin, reperant les limites de l'existence materielle de la sculpture, j'ai propose quelques moyens pour la rencontrer sans la toucher. J'ai aussi montre comment son image ou son souvenir peut suffire a la rendre presente. . .

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Hannold, Allan. "Sculpture and environment". Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/724982.

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The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated on abstract designs that resembled animal or personages with gestural and emotional content. The artist's exhibition displayed a direction of style that is distinctive. The style has a complexity within its asymmetrical design that simplifies gestural and emotional content. From this work the artist has drawn conclusions about found objects and constructivism. He will utilize this working knowledge in future projects.
Department of Art

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Libros sobre el tema "Sculpture"

Helen, Shiner y Kunsthal Rotterdam, eds. André Derain: Sculpture = sculptuur. Warnsveld: Terra, 2004.

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Geelen, Guido. Sculptuur = sculpture: 1986-2000. Rotterdam: NAi Publishers, 2003.

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Jooren, Marieke y Eva van Diggelen. Hyperrealisme sculptuur: Hyperrealism sculpture. Zwolle: Waanders Uitgevers, 2018.

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Dupré, Michel. Sculptures, sculpture: Rodin, Giacometti, Picasso. Campagnan: EC, 2006.

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1957-, Sander Karin y Museion (Bolzano, Trentino-Alto Adige, Italy), eds. Karin Sander: Skulptur = Sculpture = Sculptura. Bozen: Museion Bozen, 2020.

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Isacker, Philip van. De sculptura: Reflections on sculpture. Ghent: Mer. B&L, imprint of Borgerhoff & Lamberigts, 2021.

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Ioan, Florica. Florica Ioan: Sculptură, desen = sculpture, drawing. București: Muzeul Național de Artă al României, 1998.

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Lefftz, Michel. Sculpture en Belgique = Sculptuur in Belgi = Sculpture in Belgium: 1000-1800. Bruxelles: Racine, 2001.

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ICOM Congress. (1993 Washington, D.C.). Polychrome sculpture = Sculpture polychrome. [Washington, D.C.?: ICOM, 1993.

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Cornel, Bierens, Hefting Paul y Amsterdam (Netherlands) Stedelijk Museum, eds. Guido Geelen: Sculptuur = sculpture 1986/2000. Rotterdam: NAi Uitg., 2000.

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Capítulos de libros sobre el tema "Sculpture"

Hartwig, Melinda K. "Sculpture". En A Companion to Ancient Egyptian Art, 189–218. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118325070.ch11.

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Heppner, John B., David B. Richman, Steven E. Naranjo, Dale Habeck, Christopher Asaro, Jean-Luc Boevé, Johann Baumgärtner et al. "Sculpture". En Encyclopedia of Entomology, 3320. Dordrecht: Springer Netherlands, 2008. http://dx.doi.org/10.1007/978-1-4020-6359-6_4089.

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Sherwood, Andrew N., Milorad Nikolic, John W. Humphrey y John P. Oleson. "Sculpture". En Greek and Roman Technology, 252–65. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge sourcebooks for the ancient world: Routledge, 2019. http://dx.doi.org/10.4324/9781315682181-8.

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Bährle-Rapp, Marina. "sculpture". En Springer Lexikon Kosmetik und Körperpflege, 496. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71095-0_9218.

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Green, Susan L. "Sculpture". En An Introduction to the Making of Western Art, 65–99. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003354840-4.

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Xingbo, Luo. "Sculpture". En Chinese Handicrafts, 637–92. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-5379-8_7.

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Davies, David. "Sculpture". En The Routledge Companion to the Philosophies of Painting and Sculpture, 17–27. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003312727-4.

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Snider, Arthur David. "Sculpture". En From STEM to STEAM, 7–80. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57316-3_2.

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Palladino, Leo y June Hunt. "Nail Sculpture". En The Nail File, 75–82. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-11634-8_12.

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Wood, Robert E. "On Sculpture". En Nature, Artforms, and the World Around Us, 75–94. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57090-7_5.

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Actas de conferencias sobre el tema "Sculpture"

Marian, Ana. "Anatomical constructions in the making of the nude moldovan sculpture. Approaches in the realm of realism". En Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.07.

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In Moldovan sculpture, there are two types of the introduction of anatomical structures in the creation of sculptural nudity: based on realism and stylized ones. The pioneer in the study of sculptural nudity was Alexander Plamadeala. Although his studies at the Imperial Academy of Art, Sculpture and Architecture allowed him to comprehensively approach the depiction of sculptural nude, the sculptor still continued to experiment and seek new ways in the description of nude. “Nude” in Yuri Kanashin’s interpretation is an integral part of thematic compositions and has a separate logic, subordinated to the author’s sensitivity. Anatomical interpretation in Ion Zderciuk’s works is the starting point for realistic forms which transform into stylized ones, where metaphor takes the leading place and the solutions are innovative. Interpretations of sculptural nudity involve long-term training, knowledge of the anatomy of the skeleton and musculature, the proportions of the human body. Based on this, the sculptors practiced stylization, always different in artistic manners, but which represented a new vision of the interpretation of sculptural nudity in Moldovan plastic art.

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Marian, Ana. "Female images in Moldovan sculpture". En Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.11.

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Alexander Plamadeala was the first who created sculptural female images, among which were not only members of the sculptor's family and his colleagues in the workshop, but also other modern women that attracted his attention with the beauty of their external forms. The female sculptural portrait performed by Lazar Dubinovsky contains romantic, harmonious and gentle images. The women’s sculptural portrait in the work of Klavdia Kobizeva focuses on everyday life and the images created by her are deep ones. The sculptor Brunghilda Epelbaum-Marchenko makes portraits in color, opening a new approach to creating sculptural likenesses. The sculptor Alexandra Pikunova-Tyrtseu conveys the images laconically, thereby creating a balance between the feelings and thoughts of the characters. Female images in Moldovan sculpture are always convincing, as the representatives of the epoch, contain such a proportion of tenderness, which especially attracts the audience.

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Zhu, Jie. "Integrating Urban Sculptures into the Urban Planning System in China: Origin, Transition and Breakthrough, 1982-2003". En The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5051pspxz.

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The integration of urban sculptures into the urban planning system requires cross-disciplinary cooperation. Since 2003, many cities in China have mapped out all urban sculptures and formulated related regulations and overall urban plans. In fact, as early as 1982, the government established the Urban Sculpture Planning Group (USPG) to guide the development of urban sculptures. So why did it take so long to integrate urban sculptures into the urban planning system? Through analysing the changes in the USPG as well as related policies and regulations, this research shows that the development of urban sculpture planning in China has three critical moments: 1982 (origin), 1992 (transition) and 2003 (breakthrough). Also, the paper reveals that the changing ownership, responsibility and leadership of the USPG, the unclear definition of urban sculpture planning and many uncertain elements of urban planning are the primary factors slowing down the development of urban sculpture planning in China. The transition from urban sculpture to urban sculpture planning is not only a cross-disciplinary process but also a struggle between urban planning and sculpture. The paper argues that the essence of the transition is an antagonism between planning ideology under authoritarianism and the free expression of artistic thought. The research results benefit scholars in understanding the historical trends of urban sculpture practice in China. In addition, the history of urban sculpture planning reveals the problem of transition from small-scale objects to large-scale planning, which provides a prediction for the cross-field development of similar objects.

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Dobrovolschi, Oleg y Teodora Hubenco. "Materials specific to sculpture and methods of processing them". En International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.30.

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The content of the article refers to the materials used in sculpture overtime. The material of the sculpture stimulates the artist's imagination, suggesting certain forms created by nature. That is why artistic determination in sculpture is linked to the choice of the material that rediscovers natural beauty. In many cases, the originality of expression of the sculpture depends on the correspondence of the idea and the material. Therefore, each material for sculpture has its own qualities and unique processing possibilities. Due to the specific characteristics of the materials used in sculpture, the creator intuitively chooses the one that best suits what he aims to achieve. In this article, are described the properties, qualities, plastic characteristics, preservation, and the patination of the sculptural materials.

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Jaurégui, Léa. "La sculpture chimérique, la sculpture confisquée". En Les chefs-d'œuvre inconnus au XIXe siècle. Fabula, 2021. http://dx.doi.org/10.58282/colloques.6912.

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MARIAN, Ana. "Lion statues – the manifestation of the animalistic sculptural genre during the interwar period". En Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p184-187.

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The lion’s appearance as an animal-king was attested in the sculpture of ancient civilizations in Ancient Egypt and Anatolia, in Ancient Greece. The image of lions is also certified in the field of heraldry and occasionally appeared in the creativity of artists of the Renaissance and Classicism. Many figures of sculptural lions are in the modern St. Petersburg. In the art of interwar Bessarabia, the most significant lion sculptures are located at the entrance to the Organ Hall of Chisinau. These lions amaze with calmness and elegance. The sculptures of these animals are also on the facade of the City hall, meaning strength and consequence; on the facades of the city boyar house Ryshkanu-Derozhinsky, denoting a high social status; on the facade of the Herts’s House, creating an exquisite atmosphere with their external decorative appearance, as well as figures of lions are on the gates of the St. Panteleimon’s Church, reminding of their greatness.

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Misawa, Daichi. "Transparent sculpture". En the 7th International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2460625.2460707.

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Hashida, Tomoko, Yasuaki Kakehi y Takeshi Naemura. "Photochromic sculpture". En ACM SIGGRAPH 2011 Emerging Technologies. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2048259.2048270.

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Passa, Chiara. "Live Sculpture". En Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.76.

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Arpa, Sami, Sabine Süsstrunk y Roger D. Hersch. "Sculpture paintings". En Expressive '18: Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3229147.3229156.

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Informes sobre el tema "Sculpture"

Ikeda, Kanetaka. Construction-sculpture. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.2740.

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Bogdan, Laura. Stone sculpture. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.5373.

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Rottle, Nancy, Pam Emerson y Delia Lacson. Olympic Sculpture Park. Landscape Architecture Foundation, 2012. http://dx.doi.org/10.31353/cs0380.

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Franz, Evelyn. Three-Dimensional Wall Sculpture. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.2345.

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Helzer, Richard. Teaching Sculpture in High Schools. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.1501.

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Peekema, Joanne. Sculpture for the Secondary Level. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.1762.

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Gallegos de Donoso, Magdalena. The Development of Sculpture in the Quito School. Inter-American Development Bank, octubre de 1994. http://dx.doi.org/10.18235/0007914.

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Buell, Krista. Aphrodite of Knidos, Trendsetter: Depictions of the Female Nude and Sexuality in Ancient Greek Sculpture. Portland State University Library, enero de 2016. http://dx.doi.org/10.15760/honors.265.

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Turner, B., M. Quat, M. Boiridy, R. Debicki y P. Thurston. Dynamic Earth, Greater Sudbury: ancient seafloor, meteorite-blasted rock, ice age sculpture and Greater Sudbury's smelter. Natural Resources Canada/CMSS/Information Management, 2015. http://dx.doi.org/10.4095/329900.

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Healey, Patrick. The Social Sculpture in Practice: Joseph Beuys, Waldo Bien and the Free International University World Art Collection, A Report. Editado por Gerhard Bruyns. FIUWAC, octubre de 2020. http://dx.doi.org/10.31182/001.

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