Sculpture Art

La escultura románica, que es, como la pintura, un producto anticlásico, tiene en principio, un valor funcional. Los "Libri Carolini", redactados en tiempos y por orden de Carlomagno, asignan a las imágenes de los templos dos finalidades concretas:1)-Deben utilizarse para que sirvan de adorno, y en consecuencia no debe atribuírseles ningún valor de santidad.2)-Deben servir para mantener el recuerdo de los acontecimientos sagrados y de los hombres santos.

Los últimos años del siglo XIX y los primeros del XX no dejaban adivinar con facilidad cuál iba a ser la evolución inmediata de la escultura española, a causa de la carencia total de un orden estético y de la proliferación de monumentos conmemorativos de un extremado detallismo, pero faltos de inventiva y valía artística. Pero muy pronto, a medida que se iba penetrando en el siglo XX, la escultura volvió a recuperar su antigua consideración.

When Angela Haseltine Pozzi found plastic trash polluting the beach near her home, she took action. She formed an organization called Washed Ashore and started gathering trash from beaches and using it to create incredible sculptures of wildlife. These sculptures travel the country to teach people about the importance of these animals—and the problems caused by plastic pollution. Kelly Crull highlights fourteen spectacular sculptures, along with hints to find common objects hidden among the debris. Be inspired to get creative in protecting the world’s oceans!

This book will focus on the activity of two leading artists of their generations: Anthony Caro and Alison Wilding, both of international standing and influential figures for succeeding artists. The book also considers their relationship to their immediate contemporaries, and touches on the diverse forces at play in shaping the art and culture of our time.

An interview with leading British sculptor Sir Anthony Caro (1924-2016) recorded by Nicholas James at his Barford Street sculpture studio Camden Town in 1994, used as a basis for a feature in Art Monthly 1994. Also includes the essay "Caro to Wilding: Shifts in Modern British Sculpture", comparing the work of Caro with Alison Wilding.