is a place to share and follow research. For Argan, the crisis in contemporary Italian sculpture derived from .. Argan, G. C. “Arte Moderna in Inghilterra: Henry Moore” (Modern Art in. Argan, Giulio Carlo, L’Arte Moderno , Sansoni, Firenze. Argan, G. C., Arte e Crítica de Arte, ed. portuguesa Estampa, Lisboa.

Author: Gokus Akishura
Country: Bulgaria
Language: English (Spanish)
Genre: Literature
Published (Last): 10 October 2005
Pages: 133
PDF File Size: 2.81 Mb
ePub File Size: 12.67 Mb
ISBN: 159-2-99640-266-6
Downloads: 37879
Price: Free* [*Free Regsitration Required]
Uploader: Netaur

British mlderna gained an international reputation thanks to the exposure it was given at the Venice Biennale from toand proved capable of influencing sculptural developments throughout the s.

Secondly, the works of the British sculptors acted as a filter for a variety of vaguely expressionist stylistic traits, such as the eroded, pitted, and textured argam that were part of a more generalized sculptural lexicon that had already gained common currency in the rest of Europe, but had been slow to become established in Italy.

The antique fragment was thus used as an allusive device, or a metaphor through which to address, indirectly, the horrors of the Second World War and the tensions generated by the Cold War. Weighted average of the elements described above. DOI The sculptors of the s gave further accretions of meaning to the existing repertoire of myths and archaic and primitive forms, which could serve as metaphors for the condition of mankind, afflicted by the ravages of the Second World War.

FBAUP – Teoria e Crítica da Arte I

For the Italian sculptors, the undeniable international success of the new British avant-garde created an illustrious precedent for them to abandon their outworn linguistic conventions, in favour of a sculptural idiom that was neither traditional nor thought through in terms of volume and mass.

These works were at the root of his representation of the human figure, vulnerable but undefeated for all that, and opened up new perspectives for the sculptural treatment of heads and the nude male body.

By using this website you agree to our Cookie policy. Recommend this page Top. At the very least, Cappello learned from Moore the principles of direct carving and truth to materials and began to handle his materials with due respect for their physical properties, such as their elasticity, strength, veining, cracks, and irregularities—at the same time, opting for a broad range of different materials, such as a variety of alabasters, stones, marbles, and woods.


DOI For the Italian sculptors, the undeniable international success of the new British avant-garde created an illustrious precedent for them to abandon their outworn linguistic conventions, in favour of a sculptural idiom that was neither traditional nor thought through in terms of volume and mass. Minguzzi worked pictorial effects into the surfaces of his bronze heads, by drawing attention to all the bumps, perforations, and contrasting volumes, as a way of imbuing elements taken from antiquity with the tortured qualities of the informel.

Around this time, Mascherini had begun to make sculptures with the aid of plastine moulds taken from the limestone g.c.afte of rocks in the Karst region of G.c.agte, which produced the characteristically lacerated, contorted effects of the informel. Henry Moore Institute,— For a number of Italian figurative sculptors, the works that Butler exhibited at the Biennale mmoderna reconstruction of the prize-winning model for the Unknown Political Prisoner Competition and Study for Two Watchersofwith their depersonalized, heroic, even hieratic representations of the human figure, exercised a strong appeal.

Content tecla de atalho: Her recent publications are about the sculptor Alberto Viani and his teaching at the Venice Academia di Belle Arti, Dino Basaldella, Marcello Mascherini and his reliefs, and essays on sculpture of the s and s, art, and philosophy.

Teoria e Crítica da Arte I

Along make half Performs If hum Shorter order to evaluate the acquired competence. At the same timethrough concrete and incisive examplesshow them the essential relationship and founder throughout the twentieth century between criticism and artistic productionoften through the artists texts. This essay will examine various aspects of the crucial impact it made on Italian sculpture, at a time when this had fallen badly behind the international field.

Comuta visibilidade da coluna esquerda. Henry MooreLetteratura 8, no. Moore and the Validity of Figurative Sculpture DOI Inthe critic Giulio Carlo Argan asserted that Henry Moore was the most important sculptor in Europe, above all for his exquisitely English capacity for not shutting himself away within the confines of his own artistic tradition, but remaining open to innovations from the Continent, as a means of nurturing his own autonomous development.


His Warrior took from Moore, not only the theme of the wounded and suffering male nude, proudly brandishing a huge shield, but his monumentality.

Myth, archaism, and primitivism were endowed with new attributes in s sculpture. He did not abandon figuration, but he achieved a radical departure from the Italian sculptural tradition.

The British sculptor who made the greatest impact on progressive Italian sculptors was Chadwick.

Unibh | História –

Italian sculptors learned two valuable lessons from the works that Moore exhibited in Venice: Marcello Mascherini, Guerriero Warrior, bronze, x x cm, Trieste. Intstitutions that have provided invaluable assistance inlcude: After studying Modern Literature at the University of Udine Italyshe followed a post-degree Diploma in history of art at the same university.

The objective of this course is to familiarize students with the discourses of History, Theory and Art Criticism that since modernity to date have been generating the conceptual underpinnings of a critical discourse. Reg Butler and Lynn Chadwick. He grasped the fact that the voids inserted into the interior of the material imparted a greater dynamism to the work and triggered a new relationship to the surrounding space.

Butler presented the nude figure as degraded, mutilated, and inert and, like Francis Bacon in his paintings, presented a tormented image of humanity, as being self-obsessed and ridden with Angst. For an Italian sculptor, it would have been risky to become attached to this new vocabulary of forms, because he or she would not have been understood, would not have been able to exhibit, and would have been prevented from entering into the commercial circuit.

DOI AfterMoore consolidated his reputation as one of the leading figures in the revival of monumental sculpture, both in theory and in practice, and in giving myth a new lease of life via the innumerable articles devoted to him in Italian magazines.

Author: admin