By Pat Getz-Gentle

ISBN-10: 029917204X

ISBN-13: 9780299172046

Pat Getz-Gentle presents a transparent and unique survey of the Cycladic interval, an early Bronze Age tradition that thrived on the middle of the Aegean. specifically, she emphasizes the stairs resulting in the enduring, reclining folded-arm determine that uniquely defines the Cycladic period. Getz-Gentle additionally specializes in the non-public aesthetics of fifteen carvers, a number of of whom are pointed out and mentioned during this quantity. New to this paperback variation is an multiplied bibliography besides an addendum that comprises extra works Getz-Gentle has attributed to a few of the fifteen Cycladic sculptors she discusses in her book.

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Pat Getz-Gentle offers a transparent and particular survey of the Cycladic interval, an early Bronze Age tradition that thrived on the middle of the Aegean. particularly, she emphasizes the stairs resulting in the long-lasting, reclining folded-arm determine that uniquely defines the Cycladic period. Getz-Gentle additionally makes a speciality of the private aesthetics of fifteen carvers, numerous of whom are pointed out and mentioned during this quantity.

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The amassing of drawings used to be lengthy the province of artists themselves. The Florentine Vasari shaped one of many first enormous and systematic collections of drawings, and his instance was once by way of Rembrandt, Rubens, Lely, Reynolds, and Lawrence. nice ecu museums—the Uffizi, the Louvre, the Berlin Museum, and the British Museum—have previous and significant collections of drawings.

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Considerable emphasis is placed on the belly, which bulges to denote pregnancy, accented below by a curving groove and above by elongated fingers (which were first incised as a single set of parallel lines, as, for example, on the violin figure in pl. 7b, and then divided by a vertical line into individualized hands). The profile is full of character, its most striking feature being the large, arched feet complete with small protuberances for the ankles. Since the feet are exaggerated only in profile, the intention may have been to stress its erect posture even though the figure is unable to stand on its own.

On the diminutive (and badly worn and pitted) figure, the arms are indicated in the old Plastiras position (pl. 15a). The shoulders are relatively broad, and the upper arms are angled toward the waist to keep the elbows near the body, with the result that the arms are rather short. On the next figure the sculptor straightened and broadened the shoulders and, in order to increase the length of the arms, staggered and slanted them in a tentative folded arrangement in which the left arm is below the right.

The objects had evidently been the contents of nearby graves disturbed during later building activities and redeposited in a specially constructed tomblike structure or cenotaph. Among the figurative images were four reasonably well preserved Plastiras figures. Two of the three males and the lone female have prominent cutouts between the torso and upper arms, while a fifth figure—a female—has similar cutouts. Its arms, however, instead of being opposed, are slanted, separated, and folded, like those of the work illustrated in figure 16a, which also has arm cutouts,42 or, perhaps more to the point, the figure in plate 20, although in that case the arms are reversed.

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Personal Styles in Early Cycladic Sculpture by Pat Getz-Gentle


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