#sculptors

[illustratus]

[copperbadge]

I've begun collecting Bugattis.

They pop up in the wildest places, to be honest. The whole Bugatti family were artists of one kind or another and they had wildly varying interests outside of a kind of unifying fascination with three-dimensional design.

Top left is what I refer to as the Fastest Rocking Chair In The World, because it's a cool rocking chair but then you find out yep...it's a Bugatti (dad Carlo).

Of course Bugatti (older son Ettore) is most well-known as a car manufacturer, and I recently encountered one of six existing Royales (only seven were made) at the Henry Ford Museum. Top middle is a photo I took of this gorgeous long-hooded touring car. It was produced by Ettore, but apparently most of the design was by his son Jean.

When I was at the Musee D'Orsay in Paris I found two Bugattis, although there are many more; top right is Carlo again with a sinuous armless "Cobra Chair". I took this photo when I was there, but I didn't realize it was Carlo until I was searching the Art Institute museum's website to see if THEY had any Bugattis and realized they had a Bugatti Cobra Chair too. And under the first three is a photo I took in the Orsay of a sculpture of two llamas, which I liked before I looked at the plaque and saw it was by the best named man in the universe (younger son Rembrandt).

Now every museum I go to, I'm going to look for a Bugatti.

[choshasan]

Why do we find it okay as artists to redo "the greats" arts, to make 1:1 of them, to use them as practice, to refference them in our own works,

But then if you did the same with a small artist's work, you're suddenly an art theif, a cheater, a liar, a terrible person??

Why is it acceptable for me to make fanart of any anime character I so please, but if I come across someone's OCs online I'm expected to ask their concent if I wanna make fanart?

Small artists and "the greats" are the same, we're all just artists.

I genuinly don't understand it. If I want to paint a 1:1 of The desperate Man (Gustave Courbet), or if I wanna make a thousand fanarts of Deadpool that's fully okay, but if I even think of doing that with a small artist, it's suddenly one of the worst treasons I could have ever commited on art and I get stripped of my title of artist??

That's the thing I hate the most of the art community too, you're expected to know from the beginning all these sets of "rules" and are never given an explanation to them

Like, I remember getting fucking torn to shreads on instagram once, when I was fucking 11-12 years old, because I found a drawing I liked on google, decided to redraw it in the exact style with different colors for the characters, like?? Sorry, I am a *child* who doesn't know shit about the internet and tried to do something I thought was nice and neat???

And the worst part is, deppending where your art lands? Some artists will tell you it's okay, there's no rules to art, do as you want!

And others will send you death threats for so much as existing bruh.

To me personally, I fall in the category of art has one rule; don't claim another person's work as your own. Don't just screenshot someone's art, post it and say you made it.

(Obv with the new age, don't use A.I., but that'll never be art so.. 💀)

For everything else, there are no rules. Trace, copy, make a 1:1, build upon pre-existing works, draw someone's OCs, share your own OCs, inspire yourself of different works and mediums, do as you wish, share what you want, art is not something to be gatekept, it's the most human thing there is. Music, drawing, painting, writing, feeling inspired, Creating. it all comes to us naturally as humans. We all love beauty and creating it. Let's not stop eachother from experiencing the beauty of creation. ♡

Also, never try to ruin someone else's work or tear them down, but that mostly applies to everything in life, not art specifically..

Lets build a beautiful community together and nurture eachother's talents with love and appreciation ♡

Feel free to reblog & add any tags to this! I tried to tag as many art forms / communities as I could think right now ♡

[newyorkthegoldenage]

Isamu Noguchi working on the Associated Press Building plaque in Rockefeller Center, 1940. It was carved in plaster and cast in stainless steel—then the largest-ever stainless-steel casting.

Photo: Underwood Archives/Getty Images via Christie's

[dontforgetukraine]

War veterans & sculptors in Lviv are working together under guidance of artist Yaroslav Motyka on "The Abduction of Europa," a reinterpretation of Rembrandt’s painting. Part of UNBROKEN Art program, the project also serves as art therapy for veterans. —Euromaidan Press

Source: Lviv City Council FB

[slack-wise]

Reinhard Mucha

[zurich-snows]

Estonian sculptor Dora Gordine on the stairs of Dorich House, London, around 1936

[abwwia]

The 1931 passport photograph of the sculptor Augusta Savage.

Credit: Schomburg Center for Research in Black Culture, Photographs and Prints Division, the New York Public Library

[importantwomensbirthdays]

Selma Burke

Selma Burke was born in 1900 in Mooresville, North Carolina. Art historians believe that Burke's bronze relief sculpture of Franklin Delano Roosevelt was the basis for his image on the dime. This sculpture, however, was just part of a long and distinguished artistic career. Burke, who described herself as "a people's sculptor", created sculptures of notable African-Americans such as A. Philip Randolph and Duke Ellington. She completed her final piece, a sculpture of Martin Luther King, Jr., in 1980.

Selma Burke died in 1995 at the age of 94.

[blueeyeddarkknight]

A behind the scenes look at the sculpture and final product for Jim Morrison's headstone for the biographical film "The Doors" starring Val Kilmer and directed by Oliver Stone Sculpted at Alterian by John Blake.

Credit : alterianinc on Instagram

Ps : This sculpture is modeled after Val not Jim.. The real sculpture was stolen in the 80s.. This statue is in Oliver stone's office currently 😊

The real bust vs the movie prop

[postcard-from-the-past]

Arab sculptors from Egypt

French vintage postcard

[arthistoriansdiary]

Ophelia

Sarah Bernhardt, Ophelia (n.d.). White marble in a wood frame, 70 x 59 cm. Private collection, Normandy, France.

In the realm of art and literature, few scenes are as hauntingly captivating as Ophelia's tragic demise in William Shakespeare's Hamlet. Sarah Bernhardt, celebrated for her unparalleled prowess on the stage, extends her artistic expression into the medium of sculpture with her rendition of Ophelia. This piece, a rare surviving work signed by Bernhardt, offers a unique visual exploration of one of literature's most poignant figures.

A Fusion of Art and Tragedy:

Bernhardt's Ophelia is not merely a sculptural representation; it is a narrative frozen in marble. Inspired by Shakespeare's vivid depiction of Ophelia's final moments, Bernhardt captures the essence of the character's tragic end through the medium of high relief. The sculpture portrays Ophelia in a bust form, her head elegantly turned, eyes closed, as if in peaceful resignation to her fate.

The Garland of Flowers:

Adorned with a garland of flowers, the sculpture's Ophelia is enveloped by water that seamlessly merges with her tresses. Bernhardt’s attention to detail is manifest in the intricately carved flowers and the delicate waves of the 'glassy stream', creating a texture that contrasts strikingly with the smooth, bulging form of Ophelia's exposed breast. This duality of texture highlights the sculpture's technical mastery and artistic depth.

A Moment Between Life and Death:

Though depicted at the moment of her death, Bernhardt's Ophelia exudes an undeniable eroticism through her sensuous open-mouthed expression, overt nudity, and languid pose. This portrayal suggests not despair but an ecstatic consummation, presenting death not as a moment of loss but as a profound, albeit tragic, fulfillment. It's a bold interpretation that challenges traditional readings of Ophelia's character, suggesting a deeper, perhaps more complex relationship between the heroine and her fate.

Bernhardt's Artistic Legacy:

Sarah Bernhardt's Ophelia stands as a testament to her multifaceted talent and her ability to traverse the worlds of acting and sculpture with equal finesse. The sculpture serves not only as a memorial to Ophelia's tragic story but also as a reflection of Bernhardt's own interpretive genius and her capacity to imbue marble with the breath of life and emotion.

Reflecting on Ophelia:

In Bernhardt's Ophelia, we are invited to reconsider the narrative of the doomed heroine, seeing her not as a victim of circumstance but as a figure of complex emotional and existential depth. The sculpture asks us to ponder the thin line between life and death, the beauty found in the tragic end, and the eternal resonance of Shakespeare's work through the lens of Bernhardt's sculptural vision.

Your Perspective:

How does Sarah Bernhardt's sculptural interpretation of Ophelia challenge or enrich your understanding of the character? Does this portrayal alter your perception of Ophelia's final moments as an act of despair or an embrace of the inevitable?

[afrotumble]

Mother of many, Elizabeth Olowu, 1981.

📷 Elizabeth Olowu

[courtingwonder]

Andrea del Verrocchio - Equestrian Statue Of Bartolomeo Colleoni (c. 1480 - 1488)

[beautifulbizarremagazine]

What story would you tell of @yoshimasa_tsuchiya_info's mystical and delicately crafted sculptures? ("In commemoration of the publication of the illustrated book by Fukumi Shimura and Yoshimasa Tsuchiya, a woodcarving exhibition entitled "Meteo: A Poet's Story of Animals") Tokyo Exhibition Date and time: March 17 (Fri.) - 21 (Tue., holiday) 11:00 - 17:00, closed on Wednesdays and Thursdays Venue: Atelier Shimura Shop & Gallery, Seijo, Tokyo Artist in the gallery on Saturday, March 18, 15:00-17:00 info@ateliershimura.co.jp #beautifulbizarre #sculptors #YoshimasaTsuchiya #woodcarvings #contemporaryarts #surrealsculpture #sculptureinspo https://www.instagram.com/p/CouZnD-L7Vm/?igshid=NGJjMDIxMWI=

[slack-wise]

Piero Manzoni