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2. The arrival of Homo sapiens , the human genius
for image-making becomes abundantly clear. In the
recesses of caves, people begin to decorate the rock
face with an important theme in their daily lives.
And sculptors carve portable images of another
predominant interest of mankind - the swelling
curves of the female form, emphasizing the fertility
on which the survival of the tribe depends. Perhaps
the most famous of early sculptures is the so-called
Venus of Willendor found at Willendorf in Austria
on August 7th, 1908 during a systematic excavation
in the ninth and highest layer of Site II in
Willendorf. Dating from more than 25,000 years
ago, she is only about four inches high and made in
limestone.
The art of our species

3. The Egyptian style: from 3100 BC
Egyptian sculpture and all Egyptian art was based on the belief in a life after death. The
pyramids, great monumental tombs of Giza, were built for the most powerful early rulers. The
pharaoh and his wife were buried in chambers cut deep inside the huge blocks of stone. Life-size
and even larger statues, carved in slate, alabaster, and limestone, were as regular and simple in
shape as the tombs themselves. Placed in the temples and inside the burial chambers, these
statues were images of the rulers, the nobles, and the gods worshiped by the Egyptians. The
Egyptians believed that
the spirit of the dead person could always return to these images. Hundreds of
smaller statuettes in clay or wood showed people engaged in all the normal
actions of life: kneading bread, sailing, counting cattle. These statuettes were astonishingly
lifelike. Scenes carved in relief and painted in the tomb chambers
or on temple walls described Egyptian life in all its variety. Egyptian sculptors
always presented ideas clearly. The pharaoh or noble is made larger than less important people.
In relief sculpture every part of a figure is clearly shown.
An eye looking straight forward is placed against the profile of a face, the
upper part of the body faces front, and the legs are again in profile. The
Egyptians often combined features from various creatures to symbolize
ideas. For example, the human head of the pharaoh Khafre is added to the
crouching figure of a lion to form the Great Sphinx. This composition
suggests the combination of human intelligence and animal strength.
Egyptian sculptors made standing and seated figures in the round and in
Relief.

4. The sphinx: c.2500 BC
The most colossal sculpture of the ancient
world is the Egyptian sphinx. The great lion
with a human face is carved from the centre
of a limestone quarry, after the tons of stone
which once surrounded it have been hacked
and dragged away to form the greatest of the
three nearby pyramids, that of the pharaoh
Khufu. The sphinx lies guarding the pyramids
at Giza. Its face is believed to bear the
features of Khafre, son of Khufu, whose own
pyramid is only slightly more modest than
that of his father.

5. Akhenaten and Nefertiti: c.1340 BC
The sculptures found in the house of Thutmose, court sculptor
at Tell el Amarna, reveal the level of realism achieved in 14th-
century Egypt - inspired by the instruction of the pharaoh,
Akhenaten, that the artists should aim for truthfulness. The best
known are the various heads of Akhenaten's wife, Nefertiti. One
in particular (now in Berlin) has become perhaps the most
famous of ancient Egyptian sculptures. In about 1324 BC a young
pharaoh dies. His reign, lasting some nine years, has been
insignificant. The main event under his rule has been the
reversal of the religious reforms of Akhenaten, his
predecessor. The most evocative single object in the tomb of
Tutankahamen is the gilded throne, with its apparently intimate
scene set into the back; Tutankhamen's queen, Ankhesenamen,
tenderly anoints him on the shoulder, as if perhaps for his
coronation. But the jumble of goods in this treasure trove also
includes solid gold heads of the king inlaid with precious stones,
full-length figures of him in various guises, dramatic and life-like
animals, detailed alabaster boats and spectacular reliefs on a gilt
shrine, together with countless other objects which demonstrate
both the artistry and the technical skill of Egyptian sculpture.

6. Abu Simbel: c.1250 BC
When the pharaoh Ramses II decides to create a great monument to himself at the first cataract of
the Nile,he conceives the earliest and probably the most impressive of all rock-cut shrines adorned
with statuary. At Abu Simbel a sloping sandstone rock rises high above the Nile. Ramses' sculptors and
labourers are given the task of hacking into the rock face - to expose first four colossal seated statues of
the pharaoh himself (each some 65 ft high), to be followed, as they cut further back, by the flat facade
against which these great sculptures are to be seen. With the imposing front of the temple thus
achieved, the next stage is even more remarkable. A tall rectangular cavity is cut into the centre of the
facade at ground level. Three connecting chambers recede behind this door - together stretching 185 ft
into the hillside. A corridor through the first great hall is formed by four pairs of pillars, left in place to
support the rock above. Each pillar, 30 ft high, is carved as a standing image of Ramses in Nubian
dress. The walls behind the pillars are carved and painted with scenes of Ramses in triumph. He is
represented in several military campaigns, with special emphasis on his gallant behaviour in his
chariot at the battle of Kadesh. He and his sons are seen offering Nubian, Hittite and Syrian prisoners
as sacrifices to Amen-Re. A second chamber leads on into the third and inner sanctuary where
Ramses sits as a god beside Amen-Re. On
two days of the year, February 22 and October 22, the rays of the rising sun penetrate to the very back
of the temple to fall upon these two central figures. In the 1960s this extraordinary temple is
threatened by Egypt's construction of the Aswan dam. The
waters of the Nile, rising behind the dam, will completely submerge Ramses' spectacular piece of self-
promotion. A major international effort organized by UNESCO saves the situation. The temple is cut
from the rock and is sliced into pieces to be reassembled on the hillside above the intended level of the
water. In an extraordinarily reversal of techniques, a space originally achieved by a process of scooping
out is now preserved as a free-standing structure.

7. The marble figures of the Cyclades: 3000 BC
The most surprising early tradition in sculpture, coinciding with
the beginnings of art in Egypt, is that of the Cyclades - a group of
islands in the northern Mediterranean, scattered across the
entrance to the Aegean sea. Here, from about 3000 BC, large
numbers of marble figures are carved. Most of them are of women,
and they are designed to lie flat - perhaps suggesting death, for they
have been found mainly in graves. In one sense they are in the
primitive tradition which begins with the Venus of Willendorf.
But they also develop an abstract quality which has seemed
particularly attractive in our own time. A Cycladic figure of about
2800 BC has the massive hips of a fertility goddess. Another, of
some 300 years later, is visibly in the same tradition but the form
has now evolved into something which seems (to our eyes)
extraordinarily modern - even sharing Picasso's free-thinking
approach to the human nose. Figures like this are made in large
numbers in the Cyclades at this time. Most of them are small, about
ten inches in length. This distinctive style fades away after about
2000 BC, as the islands come under the influence of the
stronger Minoan culture. But the Cyclades provide a fascinating
glimpse of a primitive tradition developing into one of great
sophistication - without losing its primitive conservatism.

8. The first American sculpture: 1200 BC
The sculpture of the American continent makes a powerful start. The style is
primitive but the scale is monumental. Figures of this kind, introduced by
America's first civilization (that of the Olmecs at San Lorenzo and La
Venta) will have a lasting influence through 2000 years of central American
culture. The most characteristic sculptures of San Lorenzo and La Venta are
astonishing creations. They are massive stone heads, more than two meters
in height, of square-jawed and fat-lipped warriors, usually wearing helmets
with ear flaps. The chunky and uncompromising quality of these images will
remain typical of much of the religious art of Mesoamerica, particularly in
the region around Mexico City. It can be seen in the rain-god masks
of Teotihuacan (about 2000 years ago), in the vast standing warriors
at Tula (about 1000 years ago) and in the brutally severe monumental
sculpture of the Aztecs (500 years ago). At the peak of the Olmec
culture, in central America, there is also a significant step towards
naturalism in sculpture. It is relatively isolated, leading to no lasting
tradition, but it is no less impressive for that. It even prefigures, in a sense,
the more heroic naturalism which will be the great achievement of classical
Greek sculpture. One of the best-known Olmec figures in this style is the
Wrestler. The man's movements may suggest morning exercises rather than
anything more pugnacious, but he is an entirely believable human being.

9. Assyrian reliefs: 7th century BC
Egyptian sculpture, both in relief and in the round, has achieved
an exquisite stillness. The marble figures of the Cyclades seem
eternally patient. The Olmec civilization in America provides
some rare examples of naturalistic figures in the round. But
much more is possible. Mesopotamia takes the next step.
Assyrian sculptors of the 7th century BC demonstrate with great
conviction how a complex sense of drama and movement can be
captured in stone. In about 645 BC Ashurbanipal, king of
Assyria, commissions a series of carved reliefs for his new palace
at Nineveh. They include several scenes of a lion hunt - a
sport Reserved for the king himself. Many details of this
famous relief are charged with high drama. Grooms struggle to
harness the king's horses, a dog strains at the leash, a lion races
out of the cage opened by an attendant and another leaps at the
king's chariot, to be warded off just in time by men with javelins.
But the most expressive details, and perhaps the most
astonishing of all images in the early history of sculpture, are the
wounded lions - in particular a dying lioness.

10. Rival masterpieces: 5th century BC
By one of the strange coincidences of history,
the 5th century BC produces the first
masterpieces in two incompatible styles of
sculpture. Nearly 2500 years later, these styles
become bitter rivals in the studios of our own
time. One is the classical realism which will
prevail from the Renaissance to the end of
the 19th century. The other is the sculpture of
Africa, distorting human features and limbs in
a dramatically expressive manner. African
figures in this long and vibrant tradition inspire
Picasso's experiments with Cubism, which
launch the mainstream of modern art.

11. The Greek classical ideal: 5th - 4th century BC
Greece in the classical period makes the innovations which underlie the
mainstream western tradition in art. This is true of both painting and sculpture.
The essential characteristic of classical Greek art is a heroic realism. Painters and
sculptors attempt to reveal the human body, in movement or repose, exactly as it
appears to the eye. The emphasis will be on people of unusual beauty, or moments
of high and noble drama. The scale and ambition of classical Greek sculpture can be
seen in a fragment of an early masterpiece. The famous Charioteer of Delphi, a
life-size bronze, is the only surviving figure of a major group consisting of the
chariot and its horses, a royal passenger on board with the charioteer, and an
attendant slave boy. This large work is presented to the temple of Apollo at Delphi
by the ruler of a Greek colony in Sicily, to commemorate victory in the chariot race
at the Pythian Games in 477 BC. The charioteer is shown in his chariot during the
victory parade. The slight twist of the body, from bare feet to head, suggests an
entirely natural stance - just as the arm seems to imply a light pressure on the reins.
In an equally subtle way the face shows the quiet exultation of a man who has just
won great honour in a solemn competition. Athletic contests in Greece have an
almost religious status. A boy jockey, of three centuries later, suggests how well the
new naturalism of the Greek sculptors will cope with movement. This bronze
distillation of human vitality, in the excitement of the race, is one of the most
enchanting images to survive from the ancient world.
Charioteer of

12. The nude in Greek sculpture: from the 5th c. BC
The male body is an acknowledged object of beauty in ancient
Greece; and the male nude is perhaps the greatest achievement of
Greek sculpture. The earliest surviving masterpiece of this kind dates
from about 480 BC. Attributed to the sculptor Kritios, it shows a
young man in a completely natural stance. His weight is on one leg
and hip, with the other knee flexed. The effect on the muscles under
the skin, through knees and buttocks up to the gentle curve of the
back, is miraculously suggested in the marble. The most famous
Greek sculpture of an athlete in action dates from about forty years
after the first surviving naturalistic male nude. It is the Discus
Thrower by Myron, in which the coiled body of the naked athlete
for ever about to spin the disc away into the distance. The sculpture is
known only in Roman copies. Carved in marble, they need ungainly
supports - such as the awkward tree trunk against which the athlete
seems to lean. The lost original, cast in bronze, needs no such
encumbrances. Like the Charioteer of Delphi, this image makes
heavy demands on the skills of the Greek bronze-casters.
Discus Tower
Kritios

13. Sculpture as a public statement: from the 5th c. BC
The mid-5th century represents a peak of Greek sculpture, in
quantity as well as quality. At exactly the period when Myron is
creating the Discus Thrower, the Athenians are building the
Parthenon. The sculptures and reliefs which decorate the
temple are completed within about ten years, from 447 BC. The
inner frieze, showing a great Athenian procession, stretches for
more than 150 meters, while the sculptures on the outer wall
occupy almost as much space and are far more elaborately
carved. The Romans develop very skilfully this Greek theme of a
narrative frieze, using it particularly - since this is a militaristic
society - for the important matter of publicizing Rome's
victories. The outstanding example is the continuous strip,
nearly 200 meters long, which circles its way up the marble
column of Trajan in Rome. Dating from AD 113, it recounts in
minute and realistic detail the emperor's successful campaign
in Dacia (the region of modern Romania) But the type of
sculpture which the Romans make particularly their own is the
portrait bust.

14. Roman portraits and Christian ivories: 1st - 6th c. AD
Greek sculptors sometimes carve heads which appear to be portraits.
But they are invariably of good-looking people, whose attractive faces
shine with the light of reason. They seem idealized. A bust of Trajan provides a
powerful contrast. In their portrait busts Rome's emperors
seem a bunch of unscrupulous thugs (as they do also in the historical
record). Nowhere in the ancient world do we feel so close to real people.
Rarely has the art of sculpture been used to such devastatingly honest effect. One
Roman triumphal portrait achieves, by contrast, a heroic quality which will make it extremely
influential in later times. It is the equestrian statue of Marcus Aurelius, originally standing on the
Capitol in Rome. Made of gilded bronze (and a superb achievement of bronze casting), it is
probably created to celebrate victories in the east in AD 162-4. A notable exception, in the years
before the final collapse of the Roman empire in the west, is the early tradition of Christian ivories.
The best of them are carved in Rome in the 5th century and in Constantinople slightly later. These
beautiful little panels of Gospel scenes, in a miniature version of the naturalism of Greece and
Rome, often achieve a profound serenity. They are like a gentle farewell to the classical tradition of
the Mediterranean, before the emergence of a new and vigorous style of sculpture in northern
Europe.

15. Indian sculpture: from the 3rd century BC
The lively traditions of Indian sculpture date back to the
first Indian empire, that of the Maurya dynasty.
Sculptors begin to carve characters and scenes from the
stories of India's three interconnected religions -Hinduism,
Buddhism and to a lesser extent Jainism. The presentation tends
to be frontal, as though the figures are posing for the camera. From
the start, among other themes, there are examples of Hindu art's most
abiding image - magnificent young women, nude, full-breasted, and often in some
strikingly athletic pose (as in the famous temples of Khajuraho, of about the 11th century
AD). Occasionally these are just female attendants, but more often they are characters of
legend. In the early centuries, Hindu and Buddhist art falls within the same tradition (the
magnificent Buddhist carvings on the Great Stupa at Sanchi seem entirely Hindu). But
Buddhist sculpture acquires a character of its own when the religion moves outwards from
India to the northwest. From the 1st century AD there is a strong school of Buddhist
sculpture in what is now northwest Pakistan. Known by the ancient name of Gandhara,
this region is
open to foreign influences arriving along the newly opened Silk Road. One
such influence from the west is the Roman and Gree realism in art. In
Gandhara sculpture this realism is subtly combined with the local traditions of India to
produce Buddhist images of an elegantly classical kind.

16. Buddhist sculpture: 5th - 6th century AD
Buddhism moves out of India and into Afghanistan
(where the two great rock-carved Buddhas of Bamiyan,
from the 6th century, reveal the influence
of Gandhara until destroyed by the Taliban in 2001).
It then continues east along the Silk Road towards
China. Mahayana Buddhism, the variety progressing
along this route, offers a range of legendary figures
which provide ample opportunity for the imagination of
the sculptors. Some of the settlements which develop
along the road, at places such as Yün-kang (lying safely
just south of the Great Wall of China), have caves
which can be adorned with sculpture carved in the rock.
Encouraged by the stream of pilgrims and merchants
(visiting, marvelling, contributing funds), Chinese
sculptors rise magnificently to the occasion.

17. An unusual tradition within African sculpture is the cast-metal
work done from about the 12th century in what is now southern
Nigeria. It reaches a peak of perfection among the Yoruba people
of Ife. Between the 12th and the 15th century life-size heads and
masks, and smaller full-length figures - all of astonishing realism -
are cast in brass and sometimes in pure copper. These figures have
an extraordinary quiet intensity. This craft, perfected by the Yoruba
people, is continued from the 15th century in Benin - still today a
great center of metal casting. The Benin heads, delightful but less
powerful in their impact than those of Ife, are commonly known as
Benin bronzes. In fact they are made of brass, melted down from
vessels and ornaments arriving on the trade routes (in 1505-7
alone, the Portuguese agent delivers 12,750 brass bracelets
to Benin). The arrival of the Portuguese prompts the Benin
sculptors to undertake a new style of work - brass plaques with
scenes in relief, in which the Portuguese themselves sometimes
feature. These plaques are nailed as decoration to the wooden
pillars of the royal palace.
Ife and Benin: from the 12th century

18. Romanesque: 9th - 12th century
Romanesque, a word not coined until the 18th century, is first used to describe
the architecture of western Europe from about the 9th to 12th century. The term
remains most appropriate to architecture, where the round arches of Romanesque
can easily be seen as what the name implies - a continuation of the Roman
tradition. The round arch is characteristic of much in Roman building (as, for
example, in the churches of Ravenna). The capitals of columns, carved with
nothing more exotic than acanthus leaves in the classical tradition, provide one
area in which the Romanesque sculptor lets his imagination run wild. In abbey
cloisters of the period (and abbots are among the main patrons of art in the
Romanesque centuries) the tops of the pillars are often alive with vivid biblical
scenes or endearingly grotesque monsters, cunningly carved to make the most of
the available shape. This tradition of sculpture, reaching its peak in the 11th and
12th century, is a delight to any but the most stern. But a very strict voice of the
time, that of St Bernard, expresses Outrage at these lively frivolities. A favorite
subject for the tympanum is the Last Judgement , particularly in churches such as
Moissac or Conques on the pilgrimage route to Santiago de Compostela . The
theme vividly reminds the pilgrims of the need for pious devotion; and the
numerous characters (particularly the damned and their tormenting devils)
provide fine opportunities for the sculptors.

19. Gothic: 12th - 15th century
Gothic, descriptive now of some of the most sublime creations of the
European imagination, begins as a term of abuse. It is used by theorists in
the Renaissance to blame the Goths for 1000 years of non-classical
architecture – from 410 (when Rome is sacked by the Visigoths) to 1419
(when Brunelleschi uses classical motifs on the façade of a foundling
hospital in Florence). The term is applied also to sculpture of the same
period, much of it found on buildings. The interior gives an impression of
lightness and height, with slender columns framing large tall windows
and reaching up to support a delicately ribbed stone roof. The exterior is
encrusted with a filigree of delicate ornament, again essentially slender
and vertical, made up of a blend of elegant statues, bobbly pinnacles, the
skeletal patterns of the stone tracery in the windows, and the open
fretwork of flying buttresses. By contrast Gothic sculptures are tall and
thin, reflecting the soaring vertical lines of the new style. Alcoves to each
side of high cathedral porches are the favourite location for these figures.
The abbey church of St Denis is again the pioneer, but the wise and
foolish virgins either side of the porch there have been much damaged
and restored. Chartres offers the earliest surviving examples of Gothic
sculpture.

20. An important element of the Renaissance is the rediscovery of the realistic free-standing human
figure as sculpted in Greece and Rome. But the emergence of Renaissance sculpture is not
nearly as sudden a process as the change involved in Renaissance architecture. From the
time of the north porch of Chartres, in the early 13th century, sculptors create entirely believable
people in stone - though attached, invariably, to the walls of buildings. Gradually these figures
begin to detach themselves, as if moving towards a more independent existence. The statues
liberated in this way are among the masterpieces of Gothic sculpture. But they are also the
harbingers of the Renaissance. Later in the 13th century, from about 1260, stone figures at
Naumberg achieve a new degree of humanity. Standing against the wall of the choir, they
supposedly depict the founders of the cathedral - dim figures from a distant past. But Ekkehart
and Uta stare at the viewer as boldly and believably as if they had only this moment been fixed
in stone. In 1395 the duke of Burgundy commissions a work from Claus Sluter. He is to provide
a scene of Calvary, set on a carved base, to surmount the well of a charterhouse near Dijon.
The Calvary has been destroyed, but the base survives - surrounded by six sturdy Old Testament
prophets. These figures, carved in 1400-1405, stand as free and as convincing as anyone
possibly could whose eternal task is to stand guard round a well (the Well of Moses). With these
prophets the naturalistic side of the Renaissance makes its appearance in the north, several
years ahead of Donatello in Florence. The classical theme of the Renaissance is more specifically
Italian. But that too is anticipated a good century and a half before Donatello.
From Gothic to Renaissance: 13th - 14th century

21. The sculptures of Chartres: 1150-1220
The earliest porch of Chartres cathedral - the triple entrance in the
west façade - introduces Gothic sculpture in its most extreme form.
Each of the biblical kings and queens stands on a tiny platform
projecting from a tall, thin pillar. To suit their circumstance, their
bodies are impossibly elongated within the tumbling pleats of their
full-length robes. Yet their faces, by contrast, are realistic and
benign. One of the Chartres sculptors is believed to have
undertaken these figures after completing the virgins for the porch
of St Denis. So the Gothic style may have been introduced almost
in its entirety by Abbot Suger. The figures in the north porch of
Chartres are added half a century later, from about 1195 to 1220.
Recognizably in the same style, they are still unusually tall and thin.
But instead of being ethereal figures, they are beginning to stir
themselves as human beings. Their predecessors in the west porch
are aligned with their pillars, as if pinned to them like rare
butterflies. The new figures stand more naturally between the
pillars. And they look about. They make gestures.

22. Three Florentine friends, an architect, a sculptor and a
painter, are recognized in their own time as being the
founders of a new direction in art - subsequently known
as the Renaissance. They differ considerably in age. The
architect, Brunelleschi, is the oldest. The sculptor,
Donatello, is about ten years younger. The painter,
Masaccio, is about fifteen years younger again, though
he is by a wide margin the first to die. Brunelleschi's first
biographer (Antonio Manetti, writing in the 1480s)
states that Donatello accompanies the older man on
trips to Rome to study the style of the ancients. Whether
true or not - and scholars tend to doubt the story - it is
undeniable that between 1411 and 1417 Donatello carves
two free-standing figures in a more purely classical style
(and with much greater artistry) than anything
attempted by predecessors such as Nicola Pisano.
Art and architecture in Florence: 1411-1430

23. Donatello: 1411-1450
In 1411 the young Donatello, in his mid-twenties, provide
a marble statue of St Mark. In about 1415 he delivers to
them the first free-standing Renaissance sculpture.
Donatello's next work for Orsanmichele, probably
completed in 1417, has much more openly a classical
quality. St George, a clean-shaven young man scantily
clad in Roman armour, confronts the viewer with a direct
look closer to the heroic quality
of Greek sculpture than to the brutal
realism of Rome. Donatello's most famous
statue - the astonishing bronze David, a boy in a
saucy hat with the head of Goliath at his feet. Donatello
revives yet another ancient tradition,
in a work of lasting influence, when he is commissioned in
1443 to provide an equestrian portrait for Padua of the
Venetian condottiere Erasmo da Narni, known as
Gattamelata. The work is completed in about 1450 and is
set up in Padua in 1453.

24. Renaissance man: 15th - 16th century
The term Renaissance Man has come to mean
“someone with exceptional skills in a wide range of
fields”. The description applies to many people during
the Renaissance (a period when it is assumed that
artistic talent can be easily adapted to differing crafts),
but there are two outstanding candidates for the title.
They are Leonardo da Vinci and Michelangelo. The
older man, Leonardo, is exceptional in that he excels
in two entirely different disciplines - experimental
science and the visual arts. But on the artistic side
alone, Michelangelo must be the man. He creates
works, all of the highest quality, in the four distinct
fields of sculpture, painting, architecture and poetry.

25. Michelangelo the sculptor: 1499-1516
Early in 1499 a sculpture of the
Virgin Mary, holding on her lap
the dead Christ, is placed in one
of the chapels of old St Peter's in
Rome. This Pietà is still one of
the most beautiful works of art in
the mighty new St Peter's,
completed a century later. It is by
a sculptor who has just turned
twenty-four - Michelangelo.

26. The youthful Bernini: 1618-1625
No sculptor, other than Michelangelo with his early Pieta, has
ever made such an immediate impact as Giovanni Lorenzo
Bernini. In his early twenties he produces an extraordinary
series of innovative masterpieces for a single patron, Cardinal
Scipione Borghese.
Two in particular break new ground. When Pluto lifts
Prosperpina (Pluto and Proserpina 1621-2), his fingers,
sinking with the exertion into her outer thigh, transform
marble into soft flesh as never before. In Apollo and
Daphne (1622-5) the fleeing Daphne, changing before our eyes
into a laurel tree, seems to deny for ever the static element in
sculpture. The new style of baroque has already found its
greatest master.

27. Europe in the 17th century, and in particular Roman
Catholic, Europe revels in a new artistic style embracing
architecture as well as painting and sculpture. In many
contexts, such as church interiors, the baroque
combines all three arts in an unprecedented way to
create a sense of emotional exuberance.
This mood is very different from the dignified and often
severe masterpieces of the Renaissance. The
term barocco is first used to suggest
disapproval. It is thought to derive from a Portuguese
word for a misshapen pearl.
Certainly unbalance and excess are the
qualities which baroque artists indulge in
and turn to advantage.
Baroque as a style: 17th - 18th c.

28. Neoclassicism: 18th - 19th century
Ever since the Renaissance, successive generations of artists and
architects have turned to classical models for inspiration. Even at the
height of baroque (the least classical of styles in mood or line)
contemporary grandees are often depicted in togas. Military heroes,
however foolish they may look, strutt in the stiff ribbed kilt of the
Roman legionary.
During the 18th century a quest for classical authenticity is undertaken
with new academic vigour. There are several reasons. Archaeological
sites such as Pompeii are being excavated. And interest is shifting
from the Roman part of the classical heritage to the Greek.

30. African wood carving: 19th - 20th century
Wood is the natural material for carving. In the 20th
century sculpture, wood is still very much a living tradition.
But earlier work has crumbled irretrievably, eaten by ants
or rotted by damp.
Even the body of art surviving to us in this tradition is
immensely rich. It powerfully suggests how much has been
lost.
Tribal carving is done for a clear and practical purpose. A
figure may represent an ancestor, destined to stand in a
shrine. A mask may be intended for use by a shaman just
once a year in a special dance.
A post may be designed to prop up a chief's
verandah or to form part of a palisade round
his house. An elaborate chair is likely to be for
the chief himself to sit on. All of them will be
better if carved in a dramatic or
propitious way.

31. Tribal art and cubism: 20th century
Wherever the reason for the range of tribal art, the result is an unrivalled display of the
power of the imagination. The basic subject, as in western sculpture, is the human body. But
the tribal sculptor is liberated from the straitjacket of realism.
The material used is limited to the parts of the body, but
constantly reassembles them in new dimensions and
relationships. From a central axis of eyes, nose, mouth, navel
and genital organs, to the peripheral cast list of hair, ears,
arms, breasts, legs and buttocks, there is no predicting which
of these elements will take the starring roles in any one
production. Startling imbalance is restored to balance by the
force of strong design.

32. Minimalist Sculpture 1960
forms of art and design, especially visual art and music, where the
work is set out to expose the essence, essentials or identity of a subject
through eliminating all non-essential forms, features or concepts. As a
specific movement in the arts it is identified with developments in
post–World War II Western Art, most strongly with American visual
arts in the 1960s and early 1970s. Prominent artists associated with
this movement include Ad Reinhardt, Tony Smith, Donald Judd, John
McCracken, Agnes Martin, Dan Flavin, Robert Morris, Larry
Bell, Anne Truitt, and Frank Stella. It is rooted in the reductive aspects
of Modernism, and is often interpreted as a reaction against Abstract
expressionism and a bridge to Postminimal art practices.

33. Land Art: Environmental Sculpture: 1960
An sculpture that creates or alters the
environment for the viewer, as opposed to
presenting itself figurally or
monumentally before the viewer. A
frequent trait of larger environmental
sculptures is that one can actually enter
or pass through the sculpture and be
partially or completely surrounded by it.
Also, in the same spirit, it may be
designed to generate shadows or
reflections, or to color the light in the
surrounding area.

34. Architectural Sculpture
Architectural sculpture is the term for the use
of sculpture by an architect and/or sculptor in the
design of a building, bridge, mausoleum or other
such project. The sculpture is usually integrated
with the structure, but freestanding works that are
part of the original design are also considered to be
architectural sculpture.
It has also been defined as, an integral part of a
building or sculpture created especially to decorate
or embellish an architectural structure.
Architectural sculpture has been employed by
builders throughout history, and in virtually every
continent on earth save pre-colonial Australia.

36. Donatello Nationality: Italian
 Full Name: Donato di Niccolo di Betto Bardi
 Date of Birth: He was born in 1386
 Family: He was the son of Nicolo di Betto Bard
A wool merchant in Florence
One of his patrons was Cosimo de Medici.
 Date of Death: December 13, 1466
 Accomplishments:
o Italian sculptor of the early Renaissance period. The most famous works of art by
Donatello include David, Mary Magdalene, Madonna, Salome, Zuccone, St. Mark, St.
John the Evangelist and St. George and the Dragon
o Donatello was a forerunner of humanistic expression and worked towards creating a
system of perspective
o Donatello produced sculptures in marble, bronze, terracotta and wood
o Donatello was one of the first Renaissance artists interested in the Classical art and
architecture of ancient Greece and Rome and became the first artist of the Renaissance to
create a nude statue
o Donatello invented a technique known as schiacciato, or shallow relief, which achieved
effects of spatial depth
o Donatello was the first sculptor to employ bronze as a sculpting medium, encouraging
other artists to experiment with different materials.

37. The famous as the first unsupported standing
work of bronze cast during the Renaissance,
and the first freestanding
nude male sculpture made since antiquity. It
depicts David with an enigmatic smile, posed
with his foot on Goliath's severed head just
after defeating the giant. The youth is
completely naked, apart from a
laurel-topped hat and boots,
bearing the sword of Goliath.
Height: 158 cm.
David
( 1430 )

38. One of his best-known and most admired works
Gattamelata
( 1453 )
An equestrian statue created in the image of
Venetian condottiere Erasmo da Nami. Typically,
equestrian statues of this kind were reserved for
rulers and kings. The statue can still be seen
today in the Piazza del Santo.

39. A relief in which the dauntless St. George, astride his horse, plunges a spear into a
dragon's chest - is one of the earliest reliefs of its kind and Donatello's first attempt
to produce a three-dimensional effect on a flat surface.
St. George and the Dragon
( 1417 )

40. St. John the Baptist
( 1438 )
Shunned for its apparent weakness and fragility at a
time when marble was the favored sculpting
medium. In Donatello's later works, however, there
is evidence of the impending Mannerist movement:
exaggeratedly long limbs and intensely emotional
facial expressions.
Height: 141 cm.

41. He produced two outstandingly
unique works in St. Mark and St.
John the Evangelist. Both
sculptures catapulted the artist
to fame, but St. Mark in
particular had a classical stance
and an impressive size that gave
it a breathtakingly heroic aura.
St. Mark and St. John the Evangelist
Height: 236 cm.
Year Created: 1413
210 cm :Height
1411 :Year Created

42. In the year 1402, his
sculpture Lorenzo
Ghiberti won a
competition to design the
North Baptistery gates,
beating other notable
artists Brunelleschi and
Jacopo della Quercia.
Lorenzo Ghiberti

43. Frederic-Auguste Bartholdi
Born: August 2, 1834, Colmar, France
Died: October 4, 1904, Paris, France
He studied sculptor and painting in Paris. In 1870,
he designed the Statue of Liberty to mark the
Franco-American alliance of 1778. He raised
money in both France and the U.S. for the New
York landmark. He also created the Lion of
Belfort, which is carved out of red sandstone in
and he also design the Eiffel Tower in Paris.

44. Bartholdi Fountain
Washington
1876
Bartholdi created this cast-iron "Fountain of Light
and Water" for the 1876 Centennial Exposition in
Philadelphia. The fountain, cast in Paris by A.
Durenne, weighs 30,440 pounds, stands 30 feet
high, and has caryatid figures 11 feet in height.
Bartholdi saw its combination of iron, gas light and
water as symbolically appropriate for a modern
city.

45. Lion of Belfort
1880
22 meters height
11 meters width
The lion symbolizes the heroic French
resistance during the Siege of Belfort, a 103-
day Prussian assault (from December 1870
to February 1871). The city was protected
from 40,000 Prussians by merely 17,000
men (only 3,500 were from the military) led
by Colonel Denfert-Rochereau.
Instead of facing Prussia to the east as was
intended, it was turned the other way
because of German protests.

46. Statue of Liberty
1884
354 steps to reach the statue’s crown
The statue's face was modeled after his mother's (Charlotte) and the story
goes that the body was modeled after a prostitute.
The crown of Lady Liberty, as the statue is often affectionately called, has
seven spikes, symbolizing the Seven Seas across which liberty should be
spread. In her left hand she holds a tablet with the Declaration of
Independence (July 4, 1776) and in her right hand a torch, symbolizing
Enlightenment.
Arctic Ocean
Antarctic Ocean
North Atlantic Ocean
South Atlantic Ocean
North Pacific Ocean
South Pacific Ocean
Indian Ocean
The Seven Seas
Full Name: Liberty Enlightening the World.

48. The head of the statue
was displayed at the
World's Fair in Paris in
1878.

49. Giambologna
Born in 1529 in Flanders. After studying with
Jacques du Broeucq, he moved to Italy and began
studying art in Rome. Much of his work was
influenced by Michelangelo. The first person who
commissioned him was Pope Pius IV, who asked him
to created the Neptune and other figures for
“Fountain of Neptune”. Florence became his home,
when he settled down in 1553. He was also when of
the Medici family’s most important court sculptors.
He later died at the age of 79 in 1608. The statue
“Hercules and the Centaur Nessus” was created in
1599. Less than 10 years before giambologna’s death.
This statue is based off of Greek Mythology.

50. The Rape of the Sabine Women
1574-1582
The legendary history of Rome, traditionally
dated to 750 BC, in which the first generation of
Roman men acquired wives for themselves from
the neighboring Sabine families. The English
word rape is a conventional translation of
the Latin raptio, which in this context means
"abduction" rather than its prevalent modern
meaning in English language of sexual violation.

51. Fountain of Neptune
( Fontana di Nettuno )
1567
The decorative fountain erected on the main square in
Bologna is the first major work of the sculptor. Several models
in clay and bronze record its evolution. With a vertical rather
than horizontal emphasis, the format is pyramidal and
architectonic. Consistent proportions and the use of bronze
throughout create an unity. The fantastic lower figures allow
the viewer's eyes to ascend to the Neptune, silhouetted against
the sky depicted in a striding pose. His trident certifies his
identity. Mermaids whose breasts spout water rise from the
basin at the corners. Since the jets are integrated with all the
figures, the play of water unifies the fountain, the most
sophisticated in Italy and anticipatory, therefore, of the
Baroque.

52. Joseph Nollekens
(August 11,1737 – April 23,1823)
A Sculptor from London generally
considered to be the finest British
sculptor of the late 18th century.
Nationality: British
Date of Birth: August 11, 1737
London, United Kingdom
Date of Death: April 23, 1823

53. Minerva
1775
Height: 56 11/16 inches
Goddess of war and wisdom, the stately Minerva stands like a
majestic column as she raises her helmet. At her side rests a large
shield, on which is carved the frightening head of the Medusa, used
to ward off enemies. Her body is composed in a spiral, which
provides interesting views from several different angles. The marble
statue formed part of a Judgment of Paris group. According to
ancient mythology, Paris was chosen to decide between Juno,
Minerva, and Venus for the title of "the fairest." Although Minerva
promised him fame and glory in war, Paris chose Venus.

54. Castor and Pollux
( San Ildefonso Group )
1767 - 1823
The twin brothers, together known as the Dioskouri.
Their mother was Leda, but Castor was the mortal son
of Tyndareus, the king of Sparta, and Pollux the divine son
of Zeus, who seduced Leda in the guise of a swan. Though
accounts of their birth are varied, they are sometimes said
to have been born from an egg, along with their twin
sisters Helen of Troy and Clytemnestra.
In Latin the twins are also known as
the Gemini or Castores. When Castor was killed, Pollux
asked Zeus to let him share his own immortality with his
twin to keep them together, and they were transformed
into the constellation Gemini. The pair were regarded as
the patrons of sailors, to whom they appeared as St.
Elmo's fire, and were also associated with horsemanship.

55. Jacopo della Quercia
Nationality: Italian
Date of Birth: 1373
Siena Italy
Date of Death: October 20, 1438
Bologna, Papal State
 Family
o Father: Piero d’Angelo
Sculptor
o Brother: Priamo
Painter
One of the most original Italian sculptors of
the early 15th century. His innovative work
influenced Italian artists such as Francesco
di Giorgio, Niccolò dell’Arca,
and Michelangelo.

56. In 1406 he was asked to build a new fountain in the Piazza del Campo in Siena. It had to replace the original
fountain with a statue of the goddess Venus. This pagan statue was blamed for an outbreak of the Black Plague.
The statue was destroyed and buried outside the city walls to avert its "evil influence". This prestigious
commission shows that he was already being recognized as Siena's most prominent sculptor. The rectangular
fountain, built in white marble, was dedicated to the Virgin, adorned on the three sides by many statues and
multiple spouts. Because he accepted also other commissions at the same time, progress was slow. He started in
1414 and the fountain was only finished in 1419. He carved the panels in the workshop for sculptors, next to the
cathedral. This workshop is now converted into the Cathedral Museum. It was called Fonte Gaia, because of the
joy and the festivities when it was brought into operation. It is now a center of attraction for the many tourists.
The old statues were replaced by copies in 1858 from Tito Sarrocchi and are now on display in the loggia of the
Palazzo Pubblico.
Fonte Gaia in Siena
Left Side Right SideMiddle

57. The Main Portal
( 1425 – 1438 )
Jacopo della Quercia, a Sienese sculptor,
executed these reliefs depicting Old
Testament subjects on each side of the main
entrance to the basilica of San Petronio. Not
only is he an important sculptor in his own
right (an invited competitor for the Florence
Baptistry doors), but he served as an influence
on the young Michelangelo, who worked in
Bologna on the tomb of St. Dominic and thus
knew Jacopo's work.

58. The Creation of Adam
Although this image is distorted (taken with a
telephoto lens shooting upwards so that the
vertical dimension is collapsed), the power of
Jacopo's noble, muscular figures is readily
apparent. Here God, with a triangular "halo,"
representing the Trinity, brings Adam to life with
his right hand. Typically, Jacopo's head, hands,
and feet are too large. This depiction influenced
Michelangelo's Creation of Adam in the Sistine
Chapel Ceiling.

59. The Creation of Eve
God, still with the triangular
nimbus and voluminous
robe, brings Eve to life. The
fig tree figures prominently
in the background of this
scene as it did in the
Creation of Adam.

60. The Detail of Temptation
This dramatic scene depicts Eve
both rejecting (with her left
hand) and accepting the fruit.
Adam's gestures are equally
eloquent. His frowning face
turns back toward Eve while his
left hand indicates his new need
to cover his nakedness.

61. The angel pushes the
resisting Adam from the
gates of Paradise while Eve
assumes the pose of the
classical modest Venus
covering her nudity.
The Expulsion

62. Claus Sluter
 Full Name: Claes de Slutere van Herlam
 Date of Birth: 1304 in Holland, Netherland
 Family: He was the son of Nicolo di Betto Bard
A wool merchant in Florence
One of his patrons was Cosimo de Medici.
 Date of Death: 1405 in Dijon ( capital of Duchy of Burgundy )
There are three sculptural compositions
executed by Sluter at Chartreuse de
Champmol
( Dijon ) stand out more than others: the
Church Portal, the Well of Moses and the
Tomb of Philip the Bold. All three sculptures
bear elements of innovation for which Sluter
was acknowledged as the most important
sculptor of the 14th century. His sculptural
work influenced both sculptors and painters
of his era. It is known that Jan van Eyck was
one of his admirers emulating Sluter's
monumental expressiveness in his paintings.
 Master of Northern Late Gothic sculpture

63. Well of Moses
( Pluits de Moise )
Built in the middle of the large 100 meters square
cloister of the monastery. This work was a piece of
innovative design as well as a great engineering feat.
The fountain was surmounted by a hexagonal plinth
on which stood six life-size figures of prophets of the
Old Testament who foretold the coming of the
Messiah: David, Jeremiah, Moses, Daniel, Isaiah and
Zachariah. Six weeping angels are represented above
the prophets on each top corner of the base. The
hexagonal base was topped with the cornice. The
cornice supported the Calvary group. The main
feature of the construction was a huge cross with the
figure of Mary Magdalene kneeling at its foot.

64. Duke’s Tomb
Duke's alabaster tomb features a
recumbent effigy upon a
sarcophagus and a procession of
40 robed mourners. Originally
placed in the Champmol chapel, it
is now displayed in the Museum of
Fine Arts in Dijon.

65. Nationality: Italian
Date of Birth: April 15, 1452
Vinci, Republic of Florence
Date of Death: May 2, 1519 (aged 67)
Amboise, Kingdom of France
 Known for: The diverse field of the arts and sciences
 Work: Painter, Draftsman, Sculptor, Architect and
Engineer
Leonardo da Vinci
Paintings:
Last Supper ( 1495 – 1498 )
Mona Lisa ( c. 1503 – 1406 )

66. Horse and Rider
1508
Mastery:
The first bronze casting of Leonardo
da Vinci's original Horse and Rider
wax sculpture was unveiled in Los
Angeles; it took three years to produce

67. Gian Lorenzo Bernini
Nationality: Italian
Date of Birth: December 7,1598
Naples, Kingdom of Naples
Present-day Italy
Date of Death: November 28, 1680
Rome, Papal State
Present-day Italy
 Work: Sculptor, Painter, Architect

68. The Goat Amalthea with the Infant Jupiter and a Faun
1615
The statue itself is not large, meant for a table display.
This late-antique realism is said to be a result of his study of Hellenistic
sculpture in his youth. Under the patronage of the Cardinal Borghese, the
young Bernini rapidly rose to prominence as a sculptor. Bernini’s special
talent for portraying virtuosity and the life of his subject matters still shine.
The architecture, sculpture and fountains of Bernini (1598–1680) give
highly charged characteristics of Baroque style; he was undoubtedly the
most important sculptor of the Baroque period. Though he is best known as
a sculptor, Bernini had also worked as an architect, painter, playwright, and
stage craftsmen throughout his life and career. In the late 20th century,
Bernini was most valued for his sculpture, both for his technique in carving
marble and his ability to create figures which easily mimicked his subjects
and made them more grandiose. Despite many of his sculptures being
religious in nature, Bernini also sculpted bust portraits for many powerful
and wealthy figureheads.
Height: 17 inches

69. Bust of Giovanni Battista Santoni
He believed to be one of the artist's earliest
works, the bust forms part of a tomb for
Santoni, who was majordomo to Pope
Sixtus V from 1590 to 1592. The work was
executed sometime between 1613 and 1616,
although some have dated the work as early
as 1609 (when Bernini was ten years old),
including Filippo Baldinucci. The work
remains in its original setting in the church
of Santa Prassede in Rome.

70. Tomb of Pope Alexander (Chigi) VII
1671 - 1678
The composition is similar to that of the other
(Urban VIII) tomb, however, there some
differences. In contrast with the dominant
figure of the Pope on the Urban tomb, the
Pope here is a simple kneeling figure without
any sign of his office. Instead of two there are
four allegoric figures, Charity, Prudence,
Justice and Truth. Below, there is a (real)
door symbolizing the Gate of Death, from
which a sand-glass holding skeleton (the
Death) raises the heavy drapery.

71. Tomb of Pope Urban VIII
1627 - 1647
The Tomb of Urban VIII emphasized the pictorial
aspects by employing a broad range of materials. The
luminous effect of the bronze used to cast the figure
of the pope and the sarcophagus surmounted by the
image of Death recall the virtuosity of the
Baldacchino columns. The design and colour of the
gleaming marble surfaces that decorate the niches
are reminiscent of those used in the crossing in St
Peter's. It is almost as if in designing the pope's
tomb, Bernini was concerned to point out the main
contributions that Urban had made to St Peter's.

72. St. Peter's Baldachin
1623 - 1634
A large Baroque sculpted bronze canopy, technically called a
ciborium or baldachin, over the high altar of St. Peter's
Basilica in Vatican City, the papal enclave surrounded by
Rome, Italy. The baldachin is at the centre of the crossing
and directly under the dome of the basilica. Designed by the
Italian artist Gian Lorenzo Bernini, it was intended to mark,
in a monumental way, the place of Saint Peter's tomb
underneath. Under its canopy is the high altar of the
basilica. Commissioned by Pope Urban VIII, the work began
in 1623 and ended in 1634.[1] The baldachin acts as a visual
focus within the basilica; it itself is a very large structure and
forms a visual mediation between the enormous scale of the
building and the human scale of the people officiating at the
religious ceremonies at the papal altar beneath its canopy.

73. (Latin: Cathedra Petri), also known as “Throne of Saint
Peter”, is a relic conserved in St. Peter's Basilica,
enclosed in a sculpted gilt bronze casing that was
designed by Gian Lorenzo Bernini and executed between
1647 and 1653. The name derives from the Latin
cathedra meaning chair or throne, which is used to
denote the chair or seat of a bishop. The cathedra in St.
Peter's Basilica was once used by the popes. Inside the
Chair is a wooden throne, which, according to tradition,
was used by Saint Peter. It was, however, actually a gift
from Charles the Bald to Pope John VIII
Chair of Saint Peter
1647 – 1653

74. Jeff Koons
(January 21, 1955 - Present)
American artist known for his
reproductions of banal objects—such
as balloon animals produced in stainless
steel with mirror-finish surfaces. He lives
and works in both New York City and his
hometown of York, Pennsylvania.

75. Michael Jackson and Bubbles
1988
The most well-known sculptures,
a pietà-inspired homage to the
King of Pop and his favorite
monkey, in gilded porcelain.