#rinehart sculpture

[sarafangirlart]

yes I know what Apollo and Artemis did to Niobe was wrong but the sculpture Latona and Her Children, Apollo and Diana by William Henry Rinehart is so cute that I have to forgive them for what have they done 🥹

How I sleep after murdering my mom’s ex friend’s children:

[life-imitates-art-far-more]

William Henry Rinehart (1825-1874) "The Woman of Samaria" (1859-1862) Marble Located in the Walters Art Museum, Baltimore, Maryland, United States

[crescentmoons-and-stardust]

Clytie by William Henry Rinehart, ca. 1872

[la-scigghiu]

🔸W. Henry Rinehart ~ 1869🔸

.🦋.

"Bambini che dormono" Scultura in marmo di Carrara Smithsonian Museum Washington.

[partialto]

William Henry Rinehart (American, 1825-1874) Latona and Her Children, Apollo and Diana, 1870; carved 1874

[starofmithras]

"Leto, sweet as the dusk air,

sings to her children.

Precocious things, they coo

back to her: voices of love.

Daughter of Light,

and mother as well to light,

may virtuous Leto bless us

with peace and tenderness."

-- Mari Shahrizai, "Laureate: Poems and Prayers"

Sculpture: "Latona and Her Children, Apollo and Diana" (1874) by William Henry Rinehart

[mybeingthere]

Elizabeth Turk (b. 1961, California, USA)

1994 M.F.A., Rinehart School of Sculpture, Maryland Institute College of Art, Baltimore, MD.

A native Californian, Elizabeth Turk is an artist, known for marble sculpture. She loves the words of Isamu Noguchi “It is weight that gives meaning to weightlessness”.

[daliaberlinartist]

National Portfolio Day

*Maryland Institute College of Art

Rinehart school of Sculpture

*Maine College of Art & Design

Low residency program

*Boston University School of Visual Arts

*Massachusetts College of Art and Design

MFA low residency

*Virginia Commonwealth University (VCUarts)

MFA ceramics

[arinewman7]

Morning, c. 1856

Sculpture by William Henry Rinehart (1825-1874)

[x-heesy]

Clytie (detail), by William Henry Rinehart.

[met-american-paintings]

Latona and Her Children, Apollo and Diana, William Henry Rinehart, 1870; carved 1874, American Paintings and Sculpture

Rogers Fund, 1905 Size: 46 1/8 x 65 3/4 x 31 in., 2795lb. (117.2 x 167 x 78.7 cm, 1267.8kg) Medium: Marble

https://www.metmuseum.org/art/collection/search/11923

[acrosscenturiesandgenerations]

▪The Woman of Samaria. Artist: William Henry Rinehart (American, 1825-1874) Date: 1859-1862 Place of origin: Rome, Italy Medium: Marble

[meteoradominic]

Pantheon of Influence

The fate that awaits Elizabeth as the daughter of a media entrepreneur turns out to be a heavy burden. Left with an Empire of «old fashioned» media, that is on the edge of abyss. (…) times change and the Empire is no longer what it was. [1] The newspaper of the day, fashion, both go out of fashion, the news quickly becomes outdated. [2] The heritage in danger, it requires an effort to adapt to the changing conditions. She (…)felt a thread of a sense of personal responsibility associated with the deep, deep fear of loss. [1]

The solution for preserving new media culture lies not in attempting to circumvent its variability with outdated notions of fixity, but rather in embracing the essential nature of the medium and transforming its greatest challenge into a defense against obsolescence. [3] While “old” media such as print, film, and television traffic in immaterial representations that can be reproduced endlessly for any number of viewers, the interactivity of “new” media draws it closer to live performance. [4] As the secular empire faded, a new idea of spiritual domination that had been growing quietly and slowly in seclusion slipped into the great house of the dying world giant. [5] Moreover, the motive behind the writing of history was not objective curiosity, but a desire to influence contemporaries, to stimulate and uplift them, or to hold a mirror up to them. [6]

The new Brand of Elizabeth Murdoch stands above the chaotic noise of information and

media. From the elevated platform vision is unobstructed. [7] At that height one could look into the top rooms from the elevated pathway. [8]

In all of these media we see a number of consistent patterns. [9]

That assemblage is the “ megamachine,” or the apparatus of capture, the archaic empire. [10] (…) Elizabeth always tried to talk as though there were lots of people in it with her. [1] Her new brand is not defined by its clear agenda but the appropriation of viral phenomenons. Consisting of Influencers, attracted by their striving for fame and recognition.

The gods have entered the “cultivated” world; they no longer speak through the moving figures of animals and natural elements but through those of a sedentary pantheon that takes charge of society and supports the activity of transforming the world. [11] The image (…) shifted from social crusader and aesthetic puritan to trendsetter and media star. [12] But they somehow function together in structuring the social life process, as complementary media, each with its own specific affordances and limitations. [13] The crowd, a compact mass, a locus of multiple exchanges, individualities merging together, a collective effect, is abolished and replaced by a collection of separated individualities. [14] The media become the messengers, rather than the message. [15] The type of frame used to present information dramatically affects how people make decisions and judgments, and is consequently a powerful influencer of behaviour. [16]

Therefore, this new type of Pantheon is created by Elizabeth. Gathering selected contemporary influencers under her roof.

Influencers such as: Owners of different Media outlets, Presidents like Donald Trump, Vladimir Putin, modern industrialist entrepreneur like Steve Jobs or Bill Gates. [17] very bright people, like Stephen Hawking and Elon Musk. [18] CEO of Social media Mark Zuckerberg, CEO of Search engines Sundai Pichai, Environmental activists like Greta Thunberg, Sport Stars like Roger Federer or Cristiano Ronaldo, Or trash media stars like the Kardashians.

The overall effect of the display (…) is create an exotic display; a sort of cabinet of curiosities. [19]Contradicting and supplementing each other. Her palace a place to collect them all.

The facade was well constructed, composed of bricks, glass walls and windows. [20] The field of glass bricks is ordered in a raster of a thin solid framework made of white granite with black frames and stripes indicating the main direction. [21]

Hall of Fame

The entrance was discreet, with a rounded metal railing. [22] Leading into the Hall of Fame. Inside, you confront a wall of glass bricks set in concrete in a black steel frame at the back of a standard Paris type courtyard, with two steel ladders flying up on either side, and some massive floodlamps carried on clever steel brackets. [23] Self reconfiguring building skins (…)filter both urban noise and airborne toxins.[24] Creating a place which was quiet, well lit (…). [25] Only selected and high-quality materials are used. The atmosphere was perfect, the moment sweet for something sacred. [26]

It’s is the Place Elizabeth welcomes her guests. Start with a house cocktail—say, L’Alsacien, in which the aperitif Belle de Brillet meets cognac, pear, and fresh lemon in a happy union. [27] Everyone shouts and has an alcoholic smile(…) A French aperitif is taken when you are seated around a table. There are two, three, four persons. You have chosen your companions. You drink slowly. [28]

Chamber of Feasts

In the dining room, meals were served family style at long tables that could seat 150 guests. [29] Only the finest dishes made by world class chefs are served. This dinner the place for debate and disputes. This performance, itself enough to win great fame,(…) [30]  It resembles a Sensation drama: play that intends to create strong effects. [31] Harmony and dissonance of ideas create a rough and interesting music. [32] The principal requirements of a summer dining room are water and greenery; of a winter one, the warmth of a hearth.[33] Both should preferably be spacious, cheery, and splendid. [33] For this reason, distribute more spacious intercolumniations around the performance space. [34] (…) the walls of the ceremonial chamber were covered with purple tapestries embroidered in gold, specially made for this feast. [5]

Oracle of Artificial Intelligent

In the middle, as in the center of a house, there is an Capsule, roofed, spacious, and majestic; (…) their lineaments taken from the Etruscan temple, as we have described it. [33] Enter the oracle. [35] Intensifying the color, lights, and excitement of Broadway by translating the commercial message into form and color, a wordless interpretation of New York. [33] The “Oracle (…)” presented a head that seemed to float in space. [36] Commercial constructions such as Apple’s Siri and more recently Microsoft’s Cortana are quite literal but archetypal examples of “the guide” or “concierge,” elsewhere manifested as the guide, oracle, or personal secretary. [37] There is no knowing how far a real image may lead: the importance of becoming visionary or seer. [38] Is it Illusionism, confusion, or manipulation? [39]

Paris

Paris. [40] Facing Notre Dame, a church for one god.   In close Proximity to the existing Panthéon, a symbol of glory and a burial place of famous French personalities.

Elizabeth's palace does not require the physical size of those buildings of past times. It is not dependent on its rigidity but flexibility to accomodate as much power as possible. In the digital age, power is no longer seen through its built image in stone, but through the power of those present. The once powerful institutions have lost their power. Today, the influence changes rapidly from person to person, from ideology to ideology, from institution to institution.

Elizabeth's pantheon is a machine to capture those all new and constantly changing influence.

Bibliography: [1]Asimov, Complete Robot Anthology.[2]Serres, Biogea.[3]Rinehart, ReCollection Art New Media and Social Memory.[4]Siemens, A Companion to Digital Literary Studies.[5]Semper, Style in the Technical and Tectonic Arts or Practical Aesthetics.[6]Freud, The Uncanny.[7]Alexander, A Pattern Language.[8]Hollis, Cities Are Good For You.[9]Tuck, A History of Roman Art.[10]D. Guattari, A Thousand Plateaus.[11]Henaff, The Price of Truth.[12]Hays, Architecture Theory since 1968.[13]Schumacher, The Autopoiesis of Architecture Vol 2.[14]Foucault, Discipline and Punish.[15]H. Buehlmann, Quantum City.[16]Holden, Universal Principles of Design.[17]Heskett, Design and the Creation of Value.[18]Green, Architectural Robotics Ecosystems of Bits Bytes.[19]Tythacott, Collecting and Displaying Chinas Summer Palace in.[20]Bill, Form Function Beauty Gestalt.[21]L. Eisenschmidt, Twentieth Century Architecture.[22]Goldsmith, Capital New York Capital of the 20th Century.[23]Banham, Critic Writes.[24]Bureaud, MetaLife Biotechnologies Synthetic Biology ALi.[25]Jerram, Streetlife The Untold History of Europes Twentie.[26]Goldsmith, Capital New York Capital of the 20th Century.[27]F. Travel, Fodors New York City 2015.[28]L. Corbusier, When the Cathedrals Were White.[29]H. Lawson, Gastropolis Food and New York City.[30]Serres, History of Scientific Thought.[31]Gaudreault, A Companion to Early Cinema.[32]Alberti, The Family in Renaissance Florence.[33]Alberti, On the Art of Building in Ten Books 1988.[34]Vitruvius, Ten Books on Architecture 1999.[35]Serres, The Five Senses.[36] Gaudreault, A Companion to Early Cinema.[37]Clarke, Design Anthropology Object Culture in the 21st Ce.[38]Deleuze, Cinema 2 The Time Image.[39]Derrida, Signature.[40]Naginski, Sculpture and Enlightenment.

[rebelpetticoat]

[micagradstudies]

https://www.noa-heyne.com/ 

Noa Heyne, Rinehart School of Sculpture graduate, 2017