The Sculptor's Way: A Guide to Modelling and SculptureA treasury of all the information a student of sculpture needs in the early stages of training: modelling from life, human and comparative anatomy, modelling and casting a portrait head, drapery, ceramic sculpture, stone and marble carving, wood carving, and bronze casting. 210 halftones. 124 line drawings. |
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Table des matières
What Not to Do | 230 |
Egyptian Head | 233 |
Theodore Roosevelt by ames Earle Fraser | 234 |
Mlle Pogany by Constantin Brancusi i | 236 |
Head with Clay Wall Ready for Casting | 240 |
Front of Mold Strengthened with Irons | 242 |
Rear Mold Removed Clay and Armature Still in Front Mold | 244 |
Bust of Pablo Casals by Brenda Putnam | 253 |
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Figure Armature 1 | 160 |
Establishing the Main Directions and Masses | 163 |
78 79 80 Enriching the Modelling 164 | 165 |
Completed Front View | 167 |
Completed Back View | 169 |
Venus of Cyrene | 171 |
Analogies in Form by Walter Crane | 173 |
Energy Chained by Aristide Maillol | 174 |
Seated Woman by Aristide Maillol | 175 |
oman by Gaston Lachaise | 176 |
Seated Girl by ane Poupelet | 177 |
Reclining Woman by Ivan Mestrovic | 178 |
Torso of Woman Arms Dcum | 179 |
Womans Breasts from Above | 180 |
Seated Woman Arms Raised | 183 |
Womans Legs Rear View | 184 |
The Child in the Vineyard Stone by Brenda Putnam | 186 |
Midsummer by Brenda Putnam | 187 |
Paulina by Paul Manship | 193 |
Desmond Three Days Old Marble by Brenda Putnam | 194 |
XIII | 195 |
Swans i | 208 |
Running Elephant by Anna Hyatt Huntington | 209 |
Saluki by Gertrude K Lathrop | 210 |
Panther by Matteo Hernandez | 211 |
Sea Lion by Furio Piccirilli | 212 |
Head of Athlete Roman Copy of Greek Work | 215 |
The Armature | 217 |
A Later Stage Showing One Eye Laid in Socket | 223 |
The Finished Head with Base | 225 |
Archaic Treatment of Eyes and Hair | 227 |
Head of Amelia Earhart Rear View by Brenda Putnam | 229 |
Drapery Arranged on Board | 256 |
The Same Modelled for Stone | 257 |
StudyIVude | 258 |
The Finished Figure | 259 |
Charioteer of Delphi | 262 |
Tympanum Detail at Vézelay | 263 |
oseph and Mary Wood by Brenda Putnam | 265 |
Pleurant by Claus Sluter or an de Werve | 266 |
Angel by Bernini | 267 |
War Memorial Rear View by Libero Andreotti | 268 |
Armature for Working Model of The Crest by Brenda Putnam | 276 |
Heroic Size Armatures | 278 |
Negocoll | 281 |
Mandrill First Stage by Carl Walters | 284 |
Mandrill Final Stage by Carl Walters | 285 |
William the Hippo Egyptian 12th Dynasty | 286 |
Camel Early Chinese | 293 |
Playful Piebald by Carl Walters | 294 |
Horses Head Early Chinese | 295 |
The Wart Hog by Carl Walters | 296 |
Lynx by Beonne Beronda | 298 |
Stonecarving Tools | 301 |
Pointing Machine on Marble Bust | 304 |
Ossip Gabrilowitsch by Brenda Putnam | 306 |
Mr Baillie at Work on the Portrait Bust | 307 |
The Goddess Sekhmet from Karnak | 308 |
The Bather by Auguste Rodin | 309 |
ames Earle Frasers Benjamin Franklin Being Assembled | 310 |
Woodcarving Tools | 314 |
Caryatid by Ivan Mestrovic | 315 |
Annunciation by Gleb Derujinsky | 317 |
Man Drawing a Sword by Ernst Barlach | 319 |
Newborn Calf by Heinz Warneke | 320 |
The Composer by Ossip Zadkine | 322 |
BRONZE CASTING by Anton Balk | 323 |
Antique Vase Handle from the Louvre | 329 |
Heracles by E A Bourdelle | 331 |
American Indian Detail by Ivan Mestrovic | 332 |
IN CONCLUSION | 335 |
The Hand of God by Auguste Rodin | 337 |
onah and the Whale by Carl Milles | 339 |
Strap Buckner and the Devil by Edmond R Amateis | 340 |
Armature Modelling Carving by Brenda Putnam | 343 |
Autres éditions - Tout afficher
The sculptor's way: a guide to modelling and sculpture; fully illustrated ... Brenda Putnam Affichage d'extraits - 1939 |
Expressions et termes fréquents
acromion process angle armature artist attached beautiful begin biceps body bone Brenda Putnam bronze brush bust calcaneum carver carving caster chapter chin chisel clavicle clay color condyle coracoid process curve defined definite Diagram drapery draw edge Eric Gill extensor femur fibers figure fill filling final find fine fingers finished fire firmly first fit flask flat flattened flexed flexible flexors floor foot forward front give hand head humerus iliac iliac crest inches inner inserted knee Libero Andreotti lower end marble masses mold muscles neck nose outer paint patella pelvis piece mold planes plasteline plaster cast Plate portrait pose profile projecting relief ribs round sand scapula sculptor seam shape shellac shoulder side soap socket spine stand stone student surface template tendon thick thigh thin thorax tibia toes tool torso trochanter ulna vertebrae wire wood
Fréquemment cités
Page 80 - What a piece of work is a man! How noble in reason! how infinite in faculty! in form, in moving, how express and admirable! in action how like an angel! in apprehension how like a god! the beauty of the world! the paragon of animals!
Page 270 - A gauge, pattern, or mould, commonly a thin board, used as a guide to the form of the work to be executed.
Page 336 - troubles never come alone ;" — " when sorrows come, they come not single spies, but in battalions ;
Page 302 - ... Gotshalk quotes the sculptor, RA Baillie: As your carving progresses, the stone itself will suggest improvements over your first sketch. If you are sensitive to its messages, you will modify certain details as you work — leaving a bold plane where your sketch indicated a round or broken surface. . . . Many stones have veins, much as wood has a grain, and sometimes by following what these veins suggest you will get a finer effect than you had ever thought of when you were making your clay model.
Page 342 - ... the Museum of Modern Art, the Whitney Museum and the Chicago Art Institute.
Page 342 - Before the Mirror", is in the Luxembourg Museum in Paris, and examples of his work are to be found in the Metropolitan Museum of Art, New York, the Corcoran Gallery, the Art Institute of Chicago, the City Art Museum of St.
Page 27 - ... behind the patron with the hands in position, palms down, wrists straight, fingers on the edge of the hair line just above the outside corners of the eyes. Pressing firmly with the fingers revolve them four times. Then move them upwards and back about an inch and repeat. Continue this in a straight line over the top of the head, to the back of the neck just below the ears. The last massage is made with the wrists up and is held for a moment. Second Movement—Again start at the forehead with...
Page 342 - He is a member of the National Sculpture Society and an associate of the National Academy of Design.

