#sculpture

[moldspace]

an interactable crochet dissected rat i made a while ago

[kattyangel]

frozencrafts:

by JooJoo

[sosuperawesome]

Sugar Jar // Hola Ceramic

[itscolossal]

Matt Roussel’s Textured Woodcuts Metamorphose into Paintings

[therealskweeze]

I've literally never someone sculpt like a full bust of a character this is INSANEA(ly good) ✨️

Sketch is done ✨

[balkanparamo]

Breaking Through Into Light: Luo Li Rong

[kness]

She’s just a little birb helping while resting. Shes a chopstick / brush rest.

[1five1two]

Whale Effigy. Chumash (California, West Coast). c. 1200-1600.

[walkingtalkingfrog]

Need

Sculptured Web by anncarringtonart

[claypigeonpottery]

mostly sold - harpy, lion and rat are available

always kind of cool to see them just hanging out

[milksockets]

'untitled' by park sungtae, 2008 in korean eye: moon generation (2009)

[ancientrome]

Puteal (wellhead) with Narcissus and Echo, and Hylas and the Nymphs. Roman 2nd century. x

This puteal (wellhead) is an outstanding example of Roman figural relief sculpture of the second century A.D. It once covered a well in Ostia, the port town of ancient Rome, probably within a sumptuous Roman villa along the Tiber River. The ancient Roman sculptor has transformed a utilitarian object into a luxurious work of art. Carved from a single block of marble, whose form resembles a Hellenistic altar, the drum is decorated with two cautionary tales from Greek mythology that relate to water. The sculptor seamlessly combined the story of Narcissus and Echo, best known from Ovid’s Metamorphoses, with the tale of the handsome hero Hylas being abducted by nymphs in the land of Mysia (western Turkey) as he was fetching water for the Argonauts on their quest to find the Golden Fleece, best known in Greek literature from the Argonautica of Apollonios of Rhodes.

[bluegangster]

evar flignot was a man who loved too much. or maybe just enough. depends on how you look at it.

his wife died young. too young. took something from him that he never quite got back. and instead of moving on—instead of healing, forgetting, filling the empty space with something new— he built.

a mausoleum. not just a grave, not just a monument, but a masterpiece of marble and grief. carved every detail by hand, shaped the stone like he was trying to sculpt her back into existence.

they say it was perfect. every column, every arch, every inch of marble bleeding devotion. an obsession frozen in time. people traveled just to see it, to stand in the shadow of a love that refused to rot.

but the thing about love like that? the kind that doesn’t fade, doesn’t bend, doesn’t make room for anything else? it destroys.

evar flignot spent his days inside the mausoleum, whispering to a woman who wasn’t there, polishing stone instead of living. and when he died, alone and worn thin, they buried him there. sealed the doors shut. left him to rest beside the love he could never let go of.

so now it stands, a monument to something that should have ended long before the marble set.

a lesson, if you look close enough.

cemetery of laeken, brussels.

the story of a marble worker evrard flignot who devastated by the death of his wife built a mausoleum for her. at first look inside, there is a mourner reaching out to an empty wall. but, once a year, on the day of the summer solstice, the sun draws a light that recalls this love for almost a century.

[itscolossal]

Rooms and Buildings Have a Life of Their Own in Eamon Monaghan’s Uncanny Dioramas

[arthistoryanimalia]

#TwoForTuesday:

Osuitok Ipeelee (Inuit, 1923 – 2005) Untitled (Walruses), c. 1977 Steatite, caribou antler; 29.2 x 37.2 x 21.9 cm Musée des beaux-arts de Montréal inv. 2014.234.1-4