Conservators, scientists, and curators tell the story behind the unprecedented conservation of Tullio Lombardo's Adam. The life-size marble statue of Adam, carved by Tullio Lombardo (Italian, ca. 1455–1532), is among the most important works of art from Renaissance Venice to be found outside that city today. Made in the early 1490s for the tomb of Doge Andrea Vendramin, it is the only signed sculpture from that monumental complex. The serene, idealized figure, inspired by ancient sculpture, is deceptively complex. Carefully manipulating composition and finish, Tullio created God's perfect human being, but also the anxious victim of the serpent's wiles. In 2002, Adam was gravely damaged in an accident. Committed to returning it to public view, the Museum undertook a conservation treatment that has restored the sculpture to its original appearance to the fullest extent possible. The exhibition allows Adam to be viewed in the round and explains this unprecedented twelve-year research and conservation project. It also inaugurates a new permanent gallery for Venetian and northern Italian sculpture. The installation of this gallery was made possible by Assunta Sommella Peluso, Ignazio Peluso, Ada Peluso, and Romano I. Peluso.
SPARK tails artists Jim Denevan and Cris Drury as they create large earth works. This Educator Guide is about the history and tradition of artists making work in and about the natural environment.
This course is an exploration of visual art forms and their cultural connections for the student with little experience in the visual arts. It includes a brief study of art history and in depth studies of the elements, media, and methods used in creative processes and thought. Upon successful completion of this course, students will be able to: interpret examples of visual art using a five-step critical process that includes description, analysis, context, meaning, and judgment; identify and describe the elements and principles of art; use analytical skills to connect formal attributes of art with their meaning and expression; explain the role and effect of the visual arts in societies, history, and other world cultures; articulate the political, social, cultural, and aesthetic themes and issues that artists examine in their work; identify the processes and materials involved in art and architectural production; utilize information to locate, evaluate, and communicate information about visual art in its various forms. Note that this course is an alternative to the Saylor FoundationĺÎĺ_ĺĚĺ_s ARTH101A and has been developed through a partnership with the Washington State Board for Community and Technical Colleges; the Saylor Foundation has modified some WSBCTC materials. This free course may be completed online at any time. (Art History 101B)
This lesson could be done with most adults and older kids. It is especially good for
elderly women, as many of them have fond memories of sewing and fabric crafts,
yet they can no longer do those crafts due to vision or fine motor impairments.
This project allows them to make something beautiful with fabric that doesn’t
involve any sewing.
Watch this short video and try to identify the location of the sculptures. Then see how art and these sculptures relate to the science of mathematics.
Students will discuss what is communicated in an ancient statuette by analyzing the size and poses of two figures. They will learn that stories were passed through oral tradition in ancient times. They will create sculptures of themselves, a companion, and a favorite musical instrument using spheres and cylinders, and then recite a story inspired by their sculptures.
Students learn how forces are used in the creation of art. They come to understand that it is not just bridge and airplane designers who are concerned about how forces interact with objects, but artists as well. As "paper engineers," students create their own mobiles and pop-up books, and identify and use the forces (air currents, gravity, hand movement) acting upon them.
This art history video discussion examines Gian Lorenzo Bernini's "Pluto and Proserpina" (also know as the Rape of Proserpina), 1621-22, marble (Galleria Borghese, Rome). Proserpina is the Latin varient of the mythic Greek Persephone.
This art history video discussion looks at Bodhisattva, probably Avalokiteshvara (Guanyin), Northern Qi dynasty, c. 550--60, Shanxi Province, China, sandstone with pigments, 13-3/4 feet / 419.1 cm high (Metropolitan Museum of Art, New York).
Students will analyze the emotions and personality conveyed in an 18th-century sculpture bust of a strong and confident African man and learn that such a portrayal is unique for its time. They will then create an original portrait bust of a strong person who has faced difficult situations.
Students will learn about ancient styles of Roman portraiture and their influence on western European art, research and write a paper that compares Roman and American slavery, and produce an original sketch of a grave relief for a freed slave.
This art history video discussion examines the Buddha of Medicine Bhaishajyaguru (Yaoshi fo), c. 1319, Yuan dynasty, water-based pigments on clay mixed with straw, 24 feet, 8 inches x 49 feet 7 inches / 751.8 cm x 1511.3 cm (Metropolitan Museum of Art, New York).
Students will examine the sculpture "Rearing Horse" by Adriaen de Vries. They will then draw and sculpt animals from life, trying to capture motion frozen in a moment.
Cardboard Automata are a playful way to explore simple machine elements while creating a mechanical sculpture. This activity was inspired by the Cabaret Mechanical Theatre, a group of automata builders based in England. Artists like Paul Spooner, Keith Newstead, and Carlos Zapata build beautiful narrative pieces using elegant mechanisms based on cams, gears, springs, and linkages. Working with simple materials, this activity is easy to get started, and may become as complex as your mechanical sculpture ideas.
Jean-Baptiste Carpeaux, Dance, 1865-69, marble, 420 x 298 cm. (Musée d'Orsay, Paris). Commissioned by Charles Garnier for the facade of L'Opéra. In 1964 it was replaced by a copy executed by Paul Belmondo. Created by Beth Harris and Steven Zucker.
Watch a sculptor demonstrate the use of traditional tools—such as the tooth chisel, the point chisel, the drill, and the rasp—as he creates a finished figure from a block of marble. Created by Getty Museum.
Adriaen de Vries, a 17th century Dutch sculptor, often used "direct lost-wax casting." Because the wax is "lost," each bronze cast is unique. If the casting fails, the sculptor begins again. Created by Getty Museum.
Bronze, a combination of copper, tin, and other metals, has long been prized for its ability to register fine details. Watch indirect lost-wax casting, a technique developed by artists in the 1500s. Created by Getty Museum.
In this art history video Dr. Beth Harris and Dr. Steven Zucker discuss Claus Sluter and Claus de Werve's, "Mourners", Tomb of Philip the Bold, Duke of Burgundy, installed 1410. In the Museum of Fine Arts, Dijon.
By the Victoria & Albert Museum. The Portico de la Gloria is one of the most remarkable monuments of Romanesque art. It is intricately carved with biblical scenes, interspersed with prophets, saints and angles. In 1866, the Museum commissioned the Italian plaster maker, Domenico Brucciani, to journey to Spain to produce a copy of it. This cast is over 17 metres wide. It determined the dimensions of the Cast Courts, which were built in 1873 to display this and other monumental copies of architecture and artworks from around the world. Find out more about our Cast Courts: https://www.vam.ac.uk/collections/cast-collection. Created by Smarthistory.
From the Victoria & Albert Museum. Nigel Bamforth, Senior Conservator, Furniture and Wood Conservation at the Victoria and Albert Museum, describes the condition of Tipu's Tiger and analysis of this unique object. Discover more: https://www.vam.ac.uk/articles/tipus-tiger. Created by Smarthistory.
By the Victoria & Albert Museum. Victor Borges, Senior Sculpture Conservator at the V&A, discusses the V&A collection and the new discoveries which have uncover new information on their materials, techniques, history and provenance. Find out more: https://www.vam.ac.uk/info/conservation. Created by Smarthistory.
Diana Heath, Senior Metals Conservator at the V&A, describes the challenges of treating the Wolsey Angels – rare examples of copper figures created for the English Tudor court at the height of the Renaissance, between 1524 and 1529. The Angels were made by the Italian sculptor, Benedetto da Rovezzano (1474–1554), to adorn a magnificent tomb commissioned by Cardinal Thomas Wolsey. After the English Civil War, the Angels disappeared, and were only recently rediscovered, having stood unrecognised on the gateposts of a stately home in Northamptonshire, perhaps for centuries. Not originally intended for outdoor exposure, their surfaces altered radically over time. The separation of each pair of Angels accounts for their difference in appearance, together with the loss of their wings. Extensive conservation work at the V&A has now enlivened the appearance of the Angels and ensured their future preservation. The Wolsey Angels were purchased with the support of the National Heritage Memorial Fund, the Art Fund, a gift in memory of Melvin R. Seiden, the Friends of the V&A, the Ruddock Foundation for the Arts, the American Friends of the V&A, and many other generous donors thanks to a major public appeal in 2014. Find out more: https://www.vam.ac.uk/info/conservation. Created by Smarthistory.
Latex, chocolate, soap, and video game software are just a few of the non-traditional materials that have inspired contemporary artists. While they embrace the modern, synthetic and technologically advanced world in which we live, some of materials present significant conservation problems for museum conservators. Gwynne Ryan, a conservator at the Smithsonian's Hirshhorn Museum and Sculpture Garden discusses the challenges museums face with this issue: Should we keep art locked away to make it last? Or let it be experienced as it was intended while accelerating its natural degradation? For more information about the Hirshhorn's conservation program, visit: http://hirshhorn.si.edu/educate/page.asp?key=205&subkey=75.
Students use the robot paths they documented during the associated Robots on Ice Engineering Challenge activity to learn about and then make artwork. During the previous activity, students recorded the path of their robots through a maze in order to collect data during a remote research simulation. Now, they take a new look at the robot paths, seeing them from an art perspective as continuous line drawings. Students learn about Picasso’s famous works of art that used the same technique. Then they learn the artistic definition of a line and see examples of how it is used in different art pieces; they practice making continuous line drawings and then create sculptures of their drawings using colorful wire. A PowerPoint® presentation is provided to guide the activity.
Raymond Duchamp-Villon, Horse, 1914, bronze, 39-3/8 x 24 x 36 inches / 99 x 61 x 91.4 cm (Art Institute of Chicago). Created by Beth Harris and Steven Zucker.
This art history video discussion looks at Marcel Duchamp's "Fountain" (1917/1964). Porcelain urinal, paint (San Francisco Museum of Modern Art).
Students will analyze the 20th-century sculpture "Gandydancer's Dream" by Mark di Suvero. They will then use flat shapes and wire to create their own sculpture, which incorporates balance, rhythm, and movement.
Students will examine the bust, "Portrait of Nadine Dumas", and create a portrait bust of a friend to give to the friend as a gift. Students will then discuss the modeling techniques used to communicate likeness and expression in a three-dimensional bust portrait.
This is a very well-produced website with material on a wide range of art-related topics. There are essays on specific artists and on more quirky topics like pop star clothing. The images on individual art historical movements are interactive, click and more information appears. There are embedded videos on certain topics. It is a relatively comprehensive and entertaining website, although the topics have to be searched for - it is not chronologically laid out as a text.
Eva Hesse, Untitled, enamel paint, string, papier-mâché, elastic cord, 1966 (MoMA) Speakers: Dr. Beth Harris, Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.
Eva Hesse, Untitled (Rope Piece), 1970, rope, latex, string, wire, variable dimensions (Whitney Museum of American Art). Created by Beth Harris and Steven Zucker.
Students will examine artworks, research literature, and create study drawings and a 3-D model for a monument to a literary figure.
17th Century Spanish polychrome sculpture can achieve remarkable realism. Learn about the techniques estofado—painting and incising to portray silk fabrics, and encarnaciones—for the hair and skin. Created by Getty Museum.
In this art history video discussion Beth Harris and Steven Zucker consider Michael Pacher's "Saint Wolfgang Altarpiece," 1471-81, polychrome pine, linden, gilding, and oil (sculpture and painting). Parish Church, Sankt Wolfgang, Austria.
The application of engineering principles is explored in the creation of mobiles. As students create their own mobiles, they take into consideration the forces of gravity and convection air currents. They learn how an understanding of balancing forces is important in both art and engineering design.
An ironwork cross almost 3m high was the uppermost feature of a magnificent screen in Salisbury Cathedral, designed by G G Scott and made by Francis Skidmore, erected in about 1870. The screen was taken down in 1959 and mostly sold, but the cross survived. Its surface was rusty and corroded, but small traces of original distinctive red paint and gilding remained. Painstakingly the cross was taken apart and each piece cleaned using dry ice, then repainted and gilded. Replacement parts were made using the latest digital technology. The restored cross was reassembled and is now a dazzling highlight of the ironwork galleries. https://www.vam.ac.uk/collections.
Students will discuss the sculpture "Python Killing a Gnu" by Antoine-Louis Barye. They will use their imagination to visualize a setting for the python depicted in sculpture. Then they will describe their setting, sculpt a clay snake, and create their setting using mixed media.