Results for 'sculpture'

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Bibliography: Sculpture in Aesthetics
  1.  39
    Sculpture in the first century..Hellenistic Sculpture Iii - 2004 - The Classical Review 54 (1).
  2. Facs facs facs facs facs facs stimulus.Animal Car Sculpture & Face Animal Car Sculpture - 2010 - In Stephen José Hanson & Martin Bunzl, Foundational Issues in Human Brain Mapping. Bradford.
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  3.  10
    La Sculpture au défi. Surréalisme et matérialisme.Didier Ottinger - 2017 - Contrastes: Revista Internacional de Filosofía 21 (3).
    En prenant comme point de départ la proposition d’André Breton d’une « physique de la poésie », nous analyserons ici les conditions de surgissement de diverses variations qui pris forme dans la pratique surréaliste de l’objet surréaliste, depuis la Boule suspendue (1930) de Giacometti aux sculptures crées par Miró dans les années cinquante, en prenant compte de la construction des objets à fonctionnements symboliques de Dalí, à l’« Équation de l’objet trouvé», écrit fondamental de Breton, et à la célébration, en (...)
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  4. Sculpture.Sherri Irvin - 2013 - In Berys Gaut & Dominic Lopes, The Routledge Companion to Aesthetics Third Edition. Routledge. pp. 606-615.
    This reference essay addresses how sculpture may be defined, the nature of sculptural representation and content, the distinctive forms of tactile and bodily experience to which sculpture can give rise, and the ontology of sculpture. It addresses both sculptures whose form is largely fixed and contemporary sculptural practices incorporating found objects and variable presentation.
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  5. Sculpture and Space.Robert Hopkins - 2003 - In Matthew Kieran & Dominic McIver Lopes, Imagination, Philosophy and the Arts. New York: Routledge. pp. 272-290.
    What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.
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  6.  57
    Sculpture: some observations on shape and form from Pygmalion's creative dream.Johann Gottfried Herder - 2002 - Chicago: University of Chicago Press. Edited by Jason Gaiger.
    "The eye that gathers impressions is no longer the eye that sees a depiction on a surface it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."-Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought (...)
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  7.  25
    Archaic sculptures from Delos: two lions, a siren and two birds.Antoine Hermary - 2020 - Bulletin de Correspondance Hellénique 144.
    Certaines sculptures d’époque archaïque trouvées dans les fouilles de l’École française d’Athènes à Délos sont encore très peu connues : c’est le cas des œuvres étudiées dans cet article, qui datent toutes de la fin de la période considérée. La paire de lions A 4103 et A 4104, trouvée par Homolle en 1878 dans l’Artémision (voir, en appendice, un bilan sur les sculptures archaïques découvertes à cette occasion), appartient à une série de fauves figurés dans une attitude menaçante qui est (...)
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  8.  22
    Sculptural Plasticity.Rowan Bailey - 2019 - Philosophy Today 63 (4):1093-1109.
    This essay explores “sculptural plasticity” through neuronal matterings of the brainbody in philosophy, literature, and art. It focuses on Socrates’s cataleptic condition as evidenced in Plato’s Symposium, the plasticities at work in Jean-Paul Sartre’s Nausea, and morphogenetic acts of cell formation in the sculptural installation of Pierre Huyghe’s After ALife Ahead.
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  9. Sculpture.Robert Hopkins - 2003 - In Jerrold Levinson, The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 572-582.
    What, if anything, is aesthetically distinctive about sculpture? Some think that sculpture differs from painting in being a specially tactile art. Different things might be meant by this, but it is anyway unhelpful to focus on our means of access to sculpture’s aesthetic properties, rather than those properties themselves. A more promising idea is that, while painting provides its own space, sculpture exists in the space of the gallery. To pursue this thought, I expound and develop (...)
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  10.  37
    Photographing Sculpture: Aesthetic and Semiotic Issues.Francesca Polacci - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):129-143.
    The essay aims to outline an epistemology of photography through the critical issues that arise from the encounter between photography and sculpture. In particular, it investigates the aesthetic and semiotic constraints that define the specificity of the photographic look with respect to a sculptural three-dimensional vision. The relationship between documentary and art photographs is the main area of research; specifically, the essay tries to highlight the interpretative value that can also be attributed to documentary photography, underlining the boundaries of (...)
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  11.  41
    Sculpture and Enlivened Space: Aesthetics and History.Rudolf Arnheim - 1982 - Journal of Aesthetics and Art Criticism 40 (4):435-436.
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  12.  18
    Sculptural rhymes of Art Nouveau: on the visual poetics of symbolism.Olga Sergeevna Davydova - 2022 - Философия И Культура 2:1-12.
    This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of the (...)
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  13.  95
    Sculpture and Touch: Herder's Aesthetics of Sculpture.Rachel Zuckert - 2009 - Journal of Aesthetics and Art Criticism 67 (3):285-299.
    I present and analyze J.G. Herder’s aesthetics of sculpture, as an art form directed toward and appreciated by the sense of touch. I argue that Herder is unsuccessful in his attempt so to define sculpture, but his account is nonetheless fruitful, both in making salient and explaining signal aspects of sculptural appreciation and criticism and, more broadly and quite innovatively, in proposing an aesthetics of touch, even an embodied aesthetics.
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  14.  18
    Sculpture 3D Modeling Method Based on Image Sequence.Xiaofei Liu - 2021 - Complexity 2021:1-13.
    This thesis first introduces the basic principles of model-based image sequence coding technology, then discusses in detail the specific steps in various implementation algorithms, and proposes a basic feature point calibration required in three-dimensional motion and structure estimation. This is a simple and effective solution. Aiming at the monocular video image sequence obtained by only one camera, this paper introduces the 3D model of the sculpture building into the pose tracking framework to provide initial depth information. The whole posture (...)
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  15.  22
    Philosophy of Sculpture: Historical Problems, Contemporary Approaches.Claire Anscomb - 2024 - British Journal of Aesthetics 64 (4):693-696.
    Sculpture has ancient origins and features prominently in virtually every art culture. In their introduction to this collective volume, the editors Kristin Gjes.
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  16.  16
    Sculptures nouvelles à l'Agora de Thasos.Claude Rolley - 1964 - Bulletin de Correspondance Hellénique 88 (2):496-524.
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  17. Network Sculpture.Jane Tingley - forthcoming - Mind and Matter: Comparative Approaches Towards Complexity;[... Based on the Symposium... Which Took Place 2010 in the Context of the Paraflows Festival in Vienna].
     
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  18.  53
    The Public as Sculpture: From Heavenly City to Mass Ornament.Michael North - 1990 - Critical Inquiry 16 (4):860-879.
    The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be (...)
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  19. Sculpture, Diagram, and Language in the Artwork of Joseph Beuys.Wolfgang Wildgen - 2015 - In Peer F. Bundgaard & Frederik Stjernfelt, Investigations Into the Phenomenology and the Ontology of the Work of Art: What are Artworks and How Do We Experience Them? Cham: Springer Verlag.
    Abstract The artwork of Joseph Beuys was provocative in his time. Although he was very successful on the international art scene and on the art market, the larger The public is still bewildered by his Fat Chair or his installations and his performances. The article shows the evolution of his artwork from classical materials (stone, steel) to soft materials (animals, products of animals) and further to his concept of “social sculpture” and to programmatic diagrams (with words and graphics). A (...)
     
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  20.  23
    Buddhist Sculptures from a Stupa near Goli Village, Guntur District.W. Norman Brown & T. N. Ramachandran - 1932 - Journal of the American Oriental Society 52 (1):90.
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  21. Sculpture and Enlivened Space Aesthetics and History /F. David Martin. --. --.F. David Martin - 1980 - University Press of Kentucky, C1981.
     
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  22. Sculpture installation : Garden of small nuptials.Elizabeth Presa - 2019 - In Paulo de Assis & Paolo Giudici, Aberrant nuptials: Deleuze and artistic research 2. Leuven (Belgium): Leuven University Press.
     
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  23.  21
    Gupta Sculpture.Walter Spink & J. C. Harle - 1976 - Journal of the American Oriental Society 96 (2):328.
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  24. Sculpture and Perspective.R. Hopkins - 2010 - British Journal of Aesthetics 50 (4):357-373.
    In every picture there is a perspective: the picture represents its object from a point (or points) of view. Is the same true of sculpture, and in particular is it true of the purest form of sculpture, sculpture in the round? I address this issue in two ways. First, I explore the prospects for reasoning that perspective forms part of the content of some sculptures by adapting an argument from M. G. F. Martin for the parallel claim (...)
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  25.  21
    Sculptures de Delphes.Hélène Aurigny, Danièle Braunstein & Jean-Luc Martinez - 2016 - Bulletin de Correspondance Hellénique 139:784-794.
    Introduction Commencé à la demande de l’éphorie de Delphes aux lendemains des festivités du centenaire des débuts de la Grande Fouille par A. Peignard et Ph. Jockey, le récolement des sculptures de pierre conservées à Delphes, conduit par J.‑L. Martinez à partir de 1996 et H. Aurigny à partir de 2006, s’achève et s’est accompagné de l’aménagement d’une réserve dédiée, imaginée et mise en œuvre par D. Braunstein de 2006 à 2009. La base de données créée et alimentée depuis vingt (...)
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  26.  31
    Sculpture and the Sense of Place.Jakob Due Lorentzen - 2019 - Open Philosophy 2 (1):629-639.
    This article proposes a direction—inspired by a reading of Heidegger’s reflections on sculpture— in which thinking enriched by artistic experience can unfold an alternative mode of being-in-the-world. Heidegger points out that, in contrast to a scientific understanding of space as an empty container, the special character of space in sculpture is characterized by a clearing-away (Räumen), which presupposes and points to an open, receptive attitude toward experience that is necessary for dwelling to take place. From Heidegger this article (...)
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  27.  43
    Sculpture in Herder’s Naturalist Aesthetics.Whitney Davis - 2022 - Journal of Aesthetics and Art Criticism 80 (2):239-243.
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  28. Painting, sculpture, sight, and touch.Robert Hopkins - 2004 - British Journal of Aesthetics 44 (2):149-166.
    I raise two questions that bear on the aesthetics of painting and sculpture. First, painting involves perspective, in the sense that everything represented in a painting is represented from a point, or points, within represented space; is sculpture also perspectival? Second, painting is specially linked to vision; is sculpture linked in this way either to vision or to touch? To clarify the link between painting and vision, I describe the perspectival structure of vision. Since this is the (...)
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  29.  16
    La sculpture architecturale du katholikon d'Hosios Meletios et l'émergence d'un style nouveau au début du XIIe siècle.Catherine Vanderheyde - 1994 - Byzantion 64:391-407.
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  30. Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini.Erwin Panofsky & H. W. Janson - 1967 - Journal of Aesthetics and Art Criticism 26 (2):260-261.
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  31. An Exploration of the Sculptures of Greyfriars Bobby, Edinburgh, Scotland, and the Brown Dog, Battersea, South London, England.Hilda Kean - 2003 - Society and Animals 11 (4):353-373.
    This article analyzes the sculptural depiction of two nonhuman animals, Greyfriars Bobby in Edinburgh, Scotland and the Brown Dog in Battersea, South London, England. It explores the ways in which both these cultural depictions transgress the norm of nineteenth century dog sculpture. It also raises questions about the nature of these constructions and the way in which the memorials became incorporated within particular human political spaces. The article concludes by analyzing the modern "replacement" of the destroyed early twentieth century (...)
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  32.  26
    Sculpture immersive.Jonathan Chauveau - 2011 - Rue Descartes 71 (1):15.
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  33. Jaina Sculptures of Ancient Bengal.Gourisankar de - 2001 - In Haripriya Rangarajan, G. Kamalakar, A. K. V. S. Reddy, M. Veerender & K. Venkatachalam, Jainism: art, architecture, literature & philosophy. Delhi: Sharada Pub. House. pp. 53.
     
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  34.  20
    La Sculpture Indonésienne au Musée Guimet: Catalogue et étude iconographiqueLa Sculpture Indonesienne au Musee Guimet: Catalogue et etude iconographique.Hermann Goetz & Albert Le Bonheur - 1972 - Journal of the American Oriental Society 92 (4):574.
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  35.  13
    (1 other version)Sculptures de Philippes.Étienne Lapalus - 1933 - Bulletin de Correspondance Hellénique 57 (1):438-466.
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  36.  21
    Erotic Sculpture of India.Umakant P. Shah, Max-Pol Fouchet & Brian Rhys - 1962 - Journal of the American Oriental Society 82 (1):99.
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  37.  17
    Sculptures décoratives provenant des frontons d'un temple (pl. X, XI, XII).Théophile Homolle - 1879 - Bulletin de Correspondance Hellénique 3 (1):515-526.
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  38.  18
    The Sculptural Moment in Pindar.Paolo Vivante - 2005 - Arion 13 (2).
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  39. Homeless sculpture.Guenther Stern - 1944 - Philosophy and Phenomenological Research 5 (2):293-307.
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  40.  20
    Approaching Carl Andre’s Sculpture with Regard to a Phenomenology of Space and Place.Jérôme Dussuchalle - 2020 - Iris 40.
    Il s’agira d’aborder dans cette contribution l’œuvre de Carl Andre en tant qu’arrangement de pièces combinatoires, selon des ensembles minimaux qui se parcourent, dont l’expérience et littéralement la compréhension ne peuvent se faire qu’à partir du déplacement physique du visiteur. Un déplacement qui prend son impulsion à partir du sol, départ de la sculpture mais aussi plan selon lequel la plus existentielle des dimensions se donne, condition fondatrice de l’habiter humain. Si l’installation a souvent été considérée comme une extension (...)
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  41. Greek Sculpture. A Critical Review.Rhys Carpenter - 1962 - Journal of Aesthetics and Art Criticism 20 (3):331-331.
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  42.  18
    Chinese Sculpture, Bronzes, and Jades in Japanese Collections.Sherman E. Lee & Yuzo Sigimura - 1967 - Journal of Aesthetics and Art Criticism 26 (1):148.
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  43.  27
    Sculptures argiennes ( II ).Éliane G. Raftopoulou - 1963 - Bulletin de Correspondance Hellénique 87 (1):33-187.
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  44.  15
    Sculpture and "Truth to Things".F. David Martin - 1979 - The Journal of Aesthetic Education 13 (2):11.
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  45.  22
    Sculptures du musée de Nauplie.Jean Marcadé - 1962 - Bulletin de Correspondance Hellénique 86 (2):612-627.
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  46.  26
    Olmec sculptures of the human fetus.Carolyn Tate & Gordon Bendersky - 1998 - Perspectives in Biology and Medicine 42 (3):303-332.
  47.  10
    Sculpture, Painting, and Damage.F. David Mar Tin - 1978 - Journal of Aesthetics and Art Criticism 37 (1):47-52.
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  48. Materials and Meaning in Contemporary Sculpture.Sherri Irvin - 2020 - In Fred Rush, Ingvild Torsen & Kristin Gjesdal, Philosophy of Sculpture: Historical Problems, Contemporary Approaches. Routledge. pp. 165-186.
    An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles (...)
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  49.  33
    Sculpture as a Public Art.Curtis L. Carter - unknown
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  50. Chaumukha Sculptures in Andhradesa.Drmsv Sakunthala - 2001 - In Haripriya Rangarajan, G. Kamalakar, A. K. V. S. Reddy, M. Veerender & K. Venkatachalam, Jainism: art, architecture, literature & philosophy. Delhi: Sharada Pub. House. pp. 265.
     
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