Barry Flanagan, Gendrd I et Gendrd II, 1994

Some cool mold chinese images:

Barry Flanagan, Gendrd I et Gendrd II, 1994
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Image by art_inthecity
Jardin de sculptures du Musée des beaux-arts de Montréal

Jardin de sculptures du Musée des beaux-arts de Montréal

Barry Flanagan was born in Prestatyn, North Wales. He studied architecture at Birmingham College of Art and Crafts and soon after spells at different colleges was accepted on the Vocational Diploma in Sculpture at St. Martin’s College of Art in London in 1964. Flanagan graduated in 1966 and taught at St. Martin’s School of Art and the Central School of Arts and Crafts, between 1967 and 1971. In 1991 was elected to the Royal Academy and he received the OBE.

From the outset Flanagan’s operate has been perceived as radical and independent. He revolutionised sculptural material when in 1965 he showed the soft sculpture ‘aaing j gni aa’, 1965 at Greater Books, Charing Cross Road (bought by the Tate Gallery in 1969) performs such as this and ‘4 casb 2 ’67’, 1967 changed suggestions about the language of sculpture forever. Flanagan was interested in ‘pataphysics, Alfred Jarry’s ‘science of imaginary solutions’ and this ethos is evident in the playfulness of his approach, which enables components to uncover their own sculptural form, no matter whether sand, or rope, stone, sheet metal, cloth, clay or bronze. He was incorporated in the show, ‘Between Poetry and Painting’ at the ICA also in 1965 when he contributed a finger poem. His initial solo exhibition was held at the Rowan Gallery, London in 1966. Thereafter he exhibited in numerous solo and group exhibitions, in Britain and abroad, such as the seminal ‘When Attitudes Became Form’, Bern, ‘Op Losse Schroeven’, Amsterdam both in 1969 and ‘Information’ New York in 1970. His 1st solo exhibition at Waddington Galleries, London was held in 1980.

Flanagan is possibly ideal recognized for his dynamic, frequently monumental, bronze hares, which spring into life and have been 1st exhibited in the early eighties. Flanagan fuses the everyday, the imaginary and fantastical to mould clay into animal forms, hares, elephants, dogs and horses – the horse is an archetype of classical sculpture. When asked about the use of the hare motif Barry would describe the magical knowledge of seeing a hare operating on the Sussex Downs. This event prompted the very first Leaping Hare sculpture in 1979. For the Egyptians the hare represented life. In Chinese mythology the hare is the sole inhabitant of the moon and the symbol of immortality. This mercurial image of the hare has come to stand as surrogate for human existence and our relations to the animal globe.

His return to bronze with the hare, he had cast perform in the foundry at Central School with Henry Abercrombie in 1969, was component of his exploration into distinct media, from the sand, rope and felt pieces, which focused on composition and challenged previous suggestions of what sculpture may constitute, to the ceramics, stone, marble and sheet metal sculptures of the seventies. Several of his operates have humorous titles for instance ‘A Nose in Repose’ 1977/78, collection Tate. He was involved in happenings and dematerialised practices and collaborated with Yoko Ono in 1966 and later in 1980 with the Marjorie Strider dance company. Like his contemporaries from St. Martins, Richard Extended and Bruce McLean, Flanagan experimented with film. He was incorporated in ‘Land Art’, Gerry Schum’s Video Gallery exhibition with the film, ‘A hole in the Sea’ 1969.

The exhibition ‘The horses of San Marco’ at the Royal Academy of Arts, London, in 1979 made a deep impression on Flanagan. Henry Abercrombie described the exhibition’s effect on Flanagan’s pondering and approach to sculpture, where the sheer tactile physicality of the ancient modeled horses designed an aura and majesty. It was the ancientness of the sculptures that demonstrated man’s relation with the animal as much as the want and signifies to represent it. The varied patinas and gilding also offered substantial material to investigate the properties of bronze and the catalogue included essays on ancient casting techniques, gilding in the Greek and Roman eras and an investigation of the foundry tactics used to cast the horses of San Marco as effectively as analyses of the very best ways to preserve the horses. The bronze sculptures of horses every have a distinctly different character for instance the gorgeous majestic and strong ‘Horse’, 1983 at Jesus College, Cambridge to the gentle diffidence of ‘Field Day’, 1986, also identified as the ‘Korus Horse’ in San Eulalia, Ibiza and the mysterious, mythological qualities of the ‘Unicorn and Oak Tree’, 1991.

Flanagan represented Britain at the Venice Biennale in 1982. A key retrospective of his work was held at the Fundacion ‘La Caixa’ Madrid in 1993, touring to the Musée des Beaux-Arts, Nantes in 1994. Flanagan’s bronze hares have also been exhibited in many outside spaces, most notably on Park Avenue in New York in 1995-six and at Grant Park, Chicago in 1996. In 1999, he had a solo exhibition at Galerie Xavier Hufkens in Brussels followed by an exhibition at Tate, Liverpool (2000). In 2002, a significant exhibition of his perform was shown at the Kunsthalle Recklinghausen, Germany, and toured to the Musee d’Art Moderne et d’Art Contemporain, Good. In 2006, the Irish Museum of Modern day Art in Dublin held a main retrospective of his function, in association with Dublin City Art Gallery The Hugh Lane, which incorporated ten huge-scale bronzes installed along O’Connell Street and in Parnell Square. His function is held in public collections worldwide like the MOMA in New York, Tokyo Metropolitan Art Museum, Centre Georges Pompidou in Paris and Tate in London. In 2011 Tate presented Barry Flanagan Early Operates 1965 – 1982.

barryflanagan.com/biography/

Image from page 159 of “An illustrated dictionary of words utilized in art and archaeology. Explaining terms often utilised in works on architecture, arms, bronzes, Christian art, colour, costume, decoration, devices, emblems, heraldry, lace, personal orname
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Image by Internet Archive Book Images
Identifier: illustrateddicti00mollrich
Title: An illustrated dictionary of words used in art and archaeology. Explaining terms regularly employed in operates on architecture, arms, bronzes, Christian art, colour, costume, decoration, devices, emblems, heraldry, lace, private ornaments, pottery, painting, sculpture, &ampc, with their derivations
Year: 1883 (1880s)
Authors: Mollett, John W. (John William)
Subjects: Art Archaeology — Dictionaries
Publisher: London, Sampson Low, Marston, Searle, and Rivington
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

View Book Web page: Book Viewer
About This Book: Catalog Entry
View All Pictures: All Photos From Book

Click right here to view book online to see this illustration in context in a browseable on-line version of this book.

Text Appearing Prior to Image:
e. The prac-tice of making flutesof the bones of their enemies was typical withmany Indian tribes in America. Flutings or Flutes, Arch. Little semicircularindents or grooves cut perpendicularly, by wayof ornament, in the shafts of columns andpilasters. Flutings might be either decorated orplain. When filled with a bead-moulding, theyare mentioned to be cabled. Fig. 319 represents flut-ings decorated with leaves twined round a reed.Fly, Her. The length and also the side of aflag furthest from the mast. Fo, Chinese. (See Dog of Fo.) The Handof Fo is a fragrant fruit, a kind of cedrat,typically styled the Chinese hand-plant, utilised toperfume apartments. Focale, R. (fauces, the throat). A squarepiece of cloth which was wrapped round theneck, and covered the ears. Foculus, R. (dimin. of foeus). A transportable fireplace a brazier or chafing-dish. (Fig. 320.) Concentrate, R. The hearth or fireplace of a house, consecrated to the Lares or household gods. (See Trefoil, Qua- Foil, in Architecture.TREFOIL, &ampc.)

Text Appearing Soon after Image:
321. Foliage of ih,Acanthus. Foliage, Gen. Practically each styleof architecture hasmade use of foliagefor purposes of or-namentation. In an-tiquity, the leavesof the acanthus,palm, laurel, olive,ivy, &ampc., had been thusemployed the Ro-mano-Byzantine, By-zantine, and Pointedstyles utilized for ART AND ARCIiyEOI.OfJV. •43 tlie very same objective the vine, oak, ciiiqueioil,parsley, nialionia, mullein, thistle, &ltS:c. roliagehas been applied to the decoration of capitals,archivolts, bands, cornices, and friezes andit has also been utilized to type Crockets (q.v.),crownings, pinnacles, &ampc. Architectural workthus enriched is said to be foliated, and theornament itself is known as roLiATiON.

Note About Photos
Please note that these photos are extracted from scanned web page photos that could have been digitally enhanced for readability – coloration and look of these illustrations may possibly not completely resemble the original work.

NYC – Metropolitan Museum of Art – Bodhisattva, almost certainly Manjushri (Wenshu)
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Image by wallyg
Bodhisattva, almost certainly Manjushri (Wenshu)
Yuan (1271-1368)-Ming (1368-1644) dynasty
late 14th century-15th century
Wood with traces of pigment

The scroll held in the bodhisattva’s proper left hand identifies the figure as Manjushri, the personification of spiritual wisdom, who is usually shown holding such a book in the form of either a Chinese-style handscroll or an Indian-style palm-leaf manuscript.

Gift of Abby Aldrich Rockefeller, 1942 (42.25.5)

**
The Metropolitan Museum of Art‘s permanent collection includes more than two million functions of art from about the planet. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Beneath their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 largely European paintings, rapidly outgrew the offered space. In 1873, occasioned by the Met’s buy of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. Nonetheless, these new accommodations have been short-term following negotiations with the city of New York, the Met acquired land on the east side of Central Park, exactly where it constructed its permanent residence, a red-brick Gothic Revival stone &quotmausoleum&quot developed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures virtually a quarter mile extended and occupies far more than two million square feet, far more than 20 instances the size of the original 1880 developing.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favored Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

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