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A.Dumas, son
"The art needs solitude, misery or passion. It is a flower, which needs the rough wind and the hard area."

The Esc

ultura

DIRECTORY

MUSEUM OF SCULPTURE

The sculpture as for typology and materials in Spain.

SINGULAR SCULPTURE

This work of David Cern � is in Prague, Czech Republic, close to the Square of Wenceslao, where the original statue is with the horse correctly installed.

RUM MUECK

A virtual trip for the sculpture in meat and bone.

SUBIRACHS

One of the works most representative of the Spanish contemporary art.

CHILLIDA LEKU

Discover it in a walk along the art and the nature.

MONUMENTAL SCULPTURE

Andr�s Gavilano shows us the process of the achievement of a sculpture of 22 tons of stone.

THE KEYS

The concept

In this sphere of the human expression that we name an artistic creation, the specific activity of the sculpture is the process of representation of a figure in three dimensions. The sculptural object is therefore solid, three-dimensional and it occupies a space.

Set of instruments
The sculpture is comprised better on having known how the work has been realized, on having known the used skill. The result does not take place for hazard, it is the culmination of a procedure. The contemplative one must be curious, and does not have to be content with the consequences extracted from the mere visual appreciation.

Materials
The election of the material is a transcendental fact. It can obey a demand of the client, but also the decision of the artist. There are luxury materials, like the gold and the silver, chosen often with purposes of cult or of political importance. It is possible to do a good sculpture with any with any material, but there is no doubt that the appreciation of the work is determined partly by him.

The place of the sculpture
For the common thing, the sculptural pieces are created to occupy a certain place. Often, walking the time, they are moved to another place, and many end in the museums. Therefore, to value them properly the emplacement is necessary to bear in mind that his authors were destining them. It is necessary to consider first of all the physical distance between the sculpture and the spectator, especially when the approach to the work cannot exceed certain limits. In these cases it is clear that the figure has to assemble certain conditions as regards this distance.

The place of the spectator
If the sculpture occupies a place: which does that of the spectator have to be? In spite of what it happens with the painting, which establishes a fixed place, the sculpture imposes sometimes a displacement. The monumental sculpture and the relief presuppose nevertheless an immobile spectator. Well for the high situation or because the work is inside a niche, the frontal vision prevails in the statutory monumental one.

HISTORICAL SUMMARY

grasp the first sculptures there were coarse figures worked with rudimentary tools of stone.

It would be necessary to step back six thousand years, until the beginning of the Egyptian and Babylonian civilizations, to look for the beginning of the history of the sculpture. It was essential the useful ones and hardware of copper being invented, bronze and, later, of iron.

It was in the Ist century A.D., in the epoch in which Plinio was writing his "Natural history", book in which there is the biggest information about the Greek artists, where the art of the sculpture split in:

FUSORIA: To melt Metals.
IT LAMINATES: To work I Sweep.
SCULTURA: To work Stone

[Very ancient division and that indicates the importance that the modellers of soft materials already had]

THE SCULPTURE IN SPAIN

XIXTH CENTURY
Works of Julio Gonz�lez, Jorge Oteiza y Jaume Plensa In the first half of the XIX.th century in our country, the sculpture continued the classical schemes tinted by a certain romanticism in the election of the topics and for a major realism in finished of the details. Nevertheless, the real sculptural romanticism is represented by Jos� Gragera and Venancio Vallmitjana. As for the naturalism developed in the second half of the XIXth century, his figure more significant they are: Ricardo Bellver, Agust�n Querol, Antonio Susillo, and much especially, Mariano Benlliure and Miguel Blay. The work of the above mentioned developed already entirely in the XXth century.

Between the modernist sculptors, whose work takes place on horseback between two centuries, stand out: Arnau Mascort, Jos� Llimona, Jaime Otero Camps, Ismael Smith and Lamberto Escaler.

XXTH CENTURY.
In the first mital of the XXth century, the Spanish sculpture experienced a powerful renewal. Artists as Jos� Llimona, Manolo Hugu� or Jos� Clar� were anticipated by his plastic innovations to the big figure of Pablo Gargallo, to whom the investigations owe on the possibilities of the iron like vehicle of a new sculptural expressiveness.

The cubist influence allowed to feel in the work of the sculptors of the twenties, although later they evolved towards other currents: Hern�ndez, Barral, Victorio Macho, Angel Ferrant, etc.

Perhaps the biggest personality of the sculpture of the XXth century is Julio Gonz�lez who contributed with his contributions to the development of the international contemporary sculpture and influenced the work of Pablo Picasso. In the middle of century there began to become strong an abstract current that in the Basque Country reached notable levels with Jorge Oteiza, Eduardo Chillida y Besterrechea.

In the Center Rocky area and Amadeo Gabino stand out.

In Canaries: Mart�n Chirino.

In Catalonia: Mart�, Corber� and Subirachs, who later has evolved towards an imagining of Renaissance influence.

Related to the realistic sculpture of Madrid Antonio L�pez and Julio L�pez Hern�ndez appear.

In the eighties the sculpture has experienced a big heyday between the young generations. The Valencian ones stand out especially: Navarrese and Cardells; the Basques: Badiola and Bados, The Galicians: Leiros and basallo; them catalanes:Aguilar, Solano, Plensa and Carr.

THE SCULPTURE IN THE WORLD

In the prehistory (period auri�aciense), approximately 3.000 years B.C., the man sculpted feminine statuettes of wide hips and big expressiveness. In the period magdaleniense I carve figures of animals in flagstaff and ivory of big realism.

The sculpture in strict sense developed in the empires of the Near East from IV millenium, and much especially in Egypt, where already in the ancient empire (2.500 years B.C.). this art reached an extraordinary perfection and survived during several milleniums. Works important developed also in parallel in Mesopotamia, in Sumer (III millenium) and later in Assyria (first half of I millenium B.C.). and also in the nearby peoples hititas and Iranians.Estos last especially in bronze and gold.

In the Europe of the antiquity, Crete first and, later, Greece they created a sculpture that in diverse of his stages (archaic, classic) was characterized by the search of the perfection in the representation of the human body.

In Italy the Etruscans created an interesting sculpture in terracotta and, later, the Romans, heirs of latradici�n sculptural Greek stood out in the portrait and the monumental art. Italy produced the most important figures of the Renaissance: Donatello and Miguel Angel and, later, of the Baroque: Bernini.

In Spain, which medieval art reached a very notable development, with original characteristics that distinguish it from the rest of Europe. it specialized in the Renaissance and in the baroque in the size of images of religious character in polychrome wood.

The sculpture in France presents a big continuity, from the Romanesque stages and Gothic (stone, wood and ivory) until the XIXth century (with Rude, Carpeaux and Rodin) and in the XXth century (Maillol and Bourdelle).

The pre-Columbian America knew especially in Mexico and Central America an original and powerful development of the sculpture: Aztec, Mayan or Olmec art.

Recent is the development of the sculptural art in Africa and Oceania especially in wood, which expressive and decorative qualities are much appreciated by the contemporary artists.

The esthetic revolutions of the XXth century introduced by personalities as Brancusi and Archipenko express themselves by means of the materials search: Metals or plastic matters; and of forms of big diversity that translate the modern worry and the emergence of new conceptions.