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This portrait has been a symbol of feminine beauty since it was first unearthed in 1912 within the ruins of Amarna, the ...
07/27/2023

This portrait has been a symbol of feminine beauty since it was first unearthed in 1912 within the ruins of Amarna, the capital city built by the most controversial Pharaoh of Ancient Egyptian history: Akhenaten. The life of his queen, Nefertiti, is something of mystery: It’s thought that she ruled as Pharaoh for a time after Akhenaten’s death—or more likely, as the co-regent of the Boy King Tutankhamun. Some Egyptologist believe she was actually Tut’s mother. This stucco-coated limestone bust is thought to be the handiwork of Thutmose, Akhenaten’s court sculptor.

While Impressionist master Edgar Degas is best known as a painter, he also worked in sculpture, producing what was argua...
07/20/2023

While Impressionist master Edgar Degas is best known as a painter, he also worked in sculpture, producing what was arguably the most radical effort of his oeuvre. Degas fashioned The Little Fourteen-Year-Old Dancer out of wax (from which subsequent bronze copies were cast after his death in 1917), but the fact that Degas dressed his eponymous subject in an actual ballet costume (complete with bodice, tutu and slippers) and wig of real hair caused a sensation when Dancer debuted at the Sixth Impressionist Exhibition of 1881 in Paris. Degas elected to cover most of his embellishments in wax to match the rest of girl’s features, but he kept the tutu, as well as a ribbon tying backing her hair, as they were, making the figure one of the first examples of found-object art. Dancer was the only sculpture that Degas exhibited in his lifetime; after his death, some 156 more examples were found languishing in his studio.

Acknowledged as an originator of the High Roman Baroque style, Gian Lorenzo Bernini created this masterpiece for a chape...
07/13/2023

Acknowledged as an originator of the High Roman Baroque style, Gian Lorenzo Bernini created this masterpiece for a chapel in the Church of Santa Maria della Vittoria. The Baroque was inextricably linked to the Counter-Reformation through which the Catholic Church tried to stem the tide of Protestantism surging across 17th-century Europe. Artworks like Bernini’s was part of the program to reaffirm Papal dogma, well served here by Bernini’s genius for imbuing religious scenes with dramatic narratives. Ecstasy is a case in point: Its subject—Saint Teresa of Ávila, a Spanish Carmelite nun and mystic who wrote of her encounter with an angel—is depicted just as the angel is about to plunge an arrow into her heart. Ecstasy’s erotic overtones are unmistakable, most obviously in the nun’s or****ic expression and the writhing fabric wrapping both figures. An architect as all as an artist, Bernini also designed the setting of the Chapel in marble, stucco and paint.

In 1912, Picasso created a cardboard maquette of a piece that would have an outsized impact on 20th-century art. Also in...
07/06/2023

In 1912, Picasso created a cardboard maquette of a piece that would have an outsized impact on 20th-century art. Also in MoMA’s collection, it depicted a guitar, a subject Picasso often explored in painting and collage, and in many respects, Guitar transferred collage’s cut and paste techniques from two dimensions to three. It did the same for Cubism, as well, by assembling flat shapes to create a multifaceted form with both depth and volume. Picasso’s innovation was to eschew the conventional carving and modeling of a sculpture out of a solid mass. Instead, Guitar was fastened together like a structure. This idea would reverberate from Russian Constructivism down to Minimalism and beyond. Two years after making the Guitar in cardboard, Picasso created this version in snipped tin.

From its radical beginnings to its final fascist incarnation, Italian Futurism shocked the world, but no single work exe...
06/29/2023

From its radical beginnings to its final fascist incarnation, Italian Futurism shocked the world, but no single work exemplified the sheer delirium of the movement than this sculpture by one of its leading lights: Umberto Boccioni. Starting out as a painter, Boccioni turned to working in three dimensions after a 1913 trip to Paris in which he toured the studios of several avant-garde sculptors of the period, such as Constantin Brancusi, Raymond Duchamp-Villon and Alexander Archipenko. Boccioni synthesized their ideas into this dynamic masterpiece, which depicts a striding figure set in a “synthetic continuity” of motion as Boccioni described it. The piece was originally created in plaster and wasn’t cast in its familiar bronze version until 1931, well after the artist’s death in 1916 as a member of an Italian artillery regiment during World War I.

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