AFRIKAANS: Willem de Sanderes Hendrikz was die eerste Suid-Afrikaanse beeldhouer wat in die rigting van die moderne ontwikkeling gewerk het. Hy het deur sy werk die Suid-Afrikaners laat kennis maak met die abstrakte en ander moderne rigtings. Hy het aanvanklik baie direkte beeldhouwerk geskep waarvoor hy ons Suid-Afrikaanse hout en klip gebruik het. As lektor, kunsskrywer en veral –kritikus, wat oor grondige kennis van sy onderwerp beskik het, het hy ‘n bydrae tot die kunsontwikkeling in Suid-Afrika gelewer. Onder die skuilnaam, Gideon Malherbe, het hy raak kunskritieke in dag- en weekblaaie geskryf. Sy grootste bydrae was egter op die gebied van die argitektoniese beeldhoukuns. Argitektoniese beeldhoukuns is ‘n kunsvorm in eie reg wat moet beantwoord aan ander vereistes as gewone beeldhoukuns daar dit in kombinasie met argitektuur gebruik word. Dit is belangrik dat boubeeldhoukuns nie net ornament moet wees wat die argitektuur versier nie, maar dat dit, behalwe om nie net die argitektuur te verryk, ook betekenis in sigself moet dra. Tot aan die einde van die 19de eeu was beeldhoukuns en argitektuur nou verbonde. Die funksionaliste het die twee egter geskei. Hendrikz het by die moderne beeldhouers aangesluit wat die breuk tussen die twee rigtings probeer herstel het. Deur sy opleiding as argitek sowel as beeldhouer het hy ‘n boubeeld-houtradisie in Suid-Afrika begin waarop nog steeds voortgebou word. Tot sy beste argitektoniese werk behoort seker die Volkskas-deure in Markstraat, Johannesburg – sterk in komposisie en ryk in vormspel- en die gedenkteken van die Mediese Korps teen die muur van die Ingramsgebou in Johannesburg. Hendrikz se werk het dikwels ‘n universele idée of gedagte bevat soos duidelik uit hierdie werke blyk. Van sy vrye werk is sy argitektoniese werk eweneens die heel geslaagdste. Ons dink hier aan die hangbeelde “Die heilige Theodosia” en “Ghandi”. Hendrikz se latere argitektoniese werk is onindrukwekkend, die sterkte en forsheid van die werk het verlore gegaan. Dit word oorpresies en daar is te veel detail. Hendrikz se persoonlike beeldhouwerk, sowel die argitektoniese as die nie-argitektoniese, gee vir ons ‘n beeld van waartoe hy werklik in staat was. Sy vroegste werke het in die rigting van die moderne ontwikkeling gestaan maar die werk het later alhoemeer na onverbloemde realisme geneig waarvan “Reën” die hoogtepunt vorm. Hendrikz is op sy beste met die uitbeelding van die menslike figuur. Deur die figuur in ‘n perfekte posisie, dikwels simmetries, te laat stol, dra hy aan ons ‘n idee oor. Hendrikz het as jong beeldhouer baie belofte getoon. Helaas het hierdie belofte nie heeltemal in vervulling gegaan nie. Daar is enkele hoogtepunte in sy werk maar gedurende die laaste sewe tot agt jaar voor sy tragiese dood het hy min blywends op kunsgebied gelewer. Hendrikz se gekompliseerde kunstenaars-persoonlikheid, asook finansiële-, gesondheids- en huweliksprobleme het waarskynlik tot die vroeë einde van sy skeppende vermoë bygedra. Willem Hendrikz is in 1910 in Brandfort in die Vrystaat gebore waar hy in ‘n regte plattelandse atmosfeer grootgeword het. Hy het argitektuur aan die Universiteit van die Witwatesrand studeer maar het net voor sy finale eksamen besluit om beeldhouer te word. Hy het vervolgens sy opleiding as beeldhouer in London en op die vasteland voltooi. Van 1937 tot 1945 was hy dosent aan sy alma mater. Die Tweede Wêreldoorlog het egter ‘n onderbreking in sy doseerloopbaan veroorsaak toe hy aan S.A. Kamoefleer Korps verbonde was. Aan die einde van die oorlog het hy na Amerika gegaan en met navorsing oor kunsopleiding wat hy daar doen, het hy sy M.A.-graad behaal. In 1945 het hy besluit om voltyds kunstenaar te word. Kort daarna het hy van die Raad vir Sosiale Navorsing ‘n reisstipendium ontvang en met sy gesin na Europa gegaan. Hy het daar internasionale erkenning ontvang met sy beeld “Reën”. Die reis is, eerder as wat oorspronklik beplan was, beëindig, omdat Hendrikz ernstig siek geword het. Terug in Suid-Afrika het hy ‘n plasie naby Plettenbergbaai gekoop, terwyl hy sy ateljee in Johannesburg behou het vir groot opdragte. Hendrikz het egter baie probleme ondervind en die lewe het naderhand vir hom te moeilik geword In 1959 het sy lewe tot ‘n einde gekom. ENGLISH: Willem de Sanderes Hendrikz was the first South African sculptor following the modern trends. With his work he brought to South Africa the abstract and other modern tendencies. He started off by doing direct sculpture using South African wood and stone. As lecturer, a writer on art and art critic, he knew his subject well and he did much for the development of the arts in South Africa. Under the pseudonym, Gideon Malherbe, he wrote a series of critique on art which was published in daily papers and magazines. His greatest contribution was however in the field of architectural sculpture. Architectural sculpture is a form of art on its own, with requirements other than ordinary sculpture since it has to be used in combination with architecture. It is important that architectural sculpture should not only be ornamental decoration of architecture, but it has to have, apart from enriching the architecture, a meaning in itself. Up to the end of the 19th century sculpture and architecture have been used in combination. Functionalism has divided the two. Hendrikz associated himself with the modern sculptors who tried to bring the two together again. Through his training as architect and his knowledge of sculpture Hendrikz started a tradition of architectural sculpture in South Africa that since has been built on. Of his best architectural work are the doors of Volkskas in Market St., Johannesburg – strong in composition and rich in form – and the memorial for the Medical Corps against the wall of Ingrams building in Johannesburg. Hendrikz’s work quite often has a universal idea locked up in it, as in the work mentioned. Of his work that was not commissioned his architectural work were the best, for example “Saint Theodosia” and “Gandhi”. His later architectural work are unimpressive, it is no more strong and powerful but tend to be over precise and with too much detail. From the personal work of Hendrikz, architectural and non-architectural, one can form an idea of what his real talent was. His first work strikes a modern note but it then tends to get more and more realistic. Of this realistic period “Rain” forms the climax. Hendrikz used the human figure in his best work. By placing the figure in a perfect position, often symmetrical, he tries to convey a certain idea to us. Hendrikz started off as a young sculptor with possibilities but he never quite fulfilled this promise. He achieved some success but the last seven to eight years before his tragic death his work wasn’t quite up to standard. His complicated artistic personality, financial-, health-, and marital problems mostly played a part in this. Hendrikz was born in Brandfort in the Free State in 1910 where he grew up in a real country atmosphere. He studies architecture at the University of the Witwatersrand but decided shortly before his final exams to become a sculptor. His training as sculptor he got in London and on the continent. From 1937 up to 1945 he lectured in Fine Arts at the University of the Witwatersrand. During the Second World War he was a member of the Camouflage Corps. At the end of the war he left for America to study methods of art education. He wrote his M.A.-thesis using this information. In 1945 he decided to be full time artist. Soon after this he received a travel grant from the Council of Social Research and went to Europe, taking his family with him. He became internationally known in art circles through his sculpture “Rain”. The journey was ended sooner than intended when Hendrikz became seriously ill. Back in South Africa he bought a small farm near Plettenberg Bay. His studio in Johannesburg he kept for commissions. Problems didn’t stay out and life for Hendrikz seemed too much. His life came to an end in 1959. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

The goal of the thesis is to investigate the importance of photographic portraits of sculptors at the turn of 1900 in history of sculpture, photography and portrait art. Impact of the portrait of sculptor in painting on the photographic portrait of sculptor and other way around is analyzed in the thesis. Novelties that photographic portraits of sculptors introduced to representation of sculptors are considered. The thesis explores the representation of women sculptors in photographic portraits and photographers’ styles. The question about how and in what context photographic portraits of sculptors can be used is discussed. The thesis has a connection to digital humanities, since Google Images and Google Lens were used to identify sculptures in some portraits, and digital collection of portraits of sculptors was created.

Sir John Steell was the most eminent and respected Scottish sculptor of his generation. He set new standards of achievement during his long and prolific career, and consistently worked towards the advancement of Scottish arts. He executed many important public monument projects for Scotland and Great Britain, and sent work to India, New Zealand and the United States. He introduced fine art bronze casting to Scotland, creating the Grove Foundry in Edinburgh in 1849 to cast the Scottish National Monument to the Duke of Wellington. Designated Sculptor in Ordinary to Her Majesty for Scotland by Queen Victoria in 1838, Steell earned a deserved reputation as the finest sculptor in Scotland. Until now, there has never been a comprehensive assessment of Steell’s life and work. The thesis and accompanying catalogue raisonne examine Steell’s career by focussing upon his major monument projects, but also assess his portraiture work and activities within the Scottish Victorian art world. Steell matured as a sculptor within a nation that was maturing aesthetically. Previous generations of Scottish sculptors with talent and ambition were essentially forced by market conditions to seek their fortunes elsewhere. Steell was the first Scottish sculptor to have a major international career while remaining in Edinburgh. Steell’s success was often used as an example that Scottish sculpture had achieved parity with sculptural practice in England and Europe. The thesis examines the conditions that allowed Steell to enjoy such a huge level of success in Edinburgh, and places Steell in context with English and European counterparts. The thesis also assesses the political and social conditions in Edinburgh that allowed Steell to dominate the local market. Also addressed are Steell’s activities within the Royal Scottish Academy, and his relationship with the Board of Manufactures, which provided early patronage and assistance. In terms of patronage, projects, methods, style, genres, display and opportunities, Steell’s career offers an excellent example of the conditions under which Victorian sculpture was created. Steell sculpted the most eminent and famous Britons of hs day, and played an essential role in the commemoration of such individuals as Sir Walter Scott, Wellington, Prince Albert and Queen Victoria for Scotland. The thesis and catalogue comprehensively examine the life and art of the man known for over fifty years as Sculptor for Scotland.

This thesis discusses the life and influence of sculptor Elisabet Ney.

No description available.

Ce travail de recherche sur le décor sculpté religieux à Paris a eu pour ambition de reconstruire l'image d'un patrimoine en partie disparu : l'espace interne de l'église parisienne entre 1660 et 1760 à travers le mobilier liturgique, le décor en relief ou en ronde-bosse, dans la nef, le transept et le chœur des églises de la capitale du royaume. Notre étude analyse ainsi la sculpture religieuse dans son espace d'inscription immédiat, entre art monumental et art décoratif, de la fin des grandes commandes religieuses royales du XVIIe siècle, tel le Dôme des Invalides, à l'avènement du néo-classicisme dans le chœur de Saint-Germain-l'Auxerrois en 1760, avant la reprise des grands chantiers royaux, inaugurés par les travaux menées à la basilique Sainte-Geneviève. Même si une partie de ces décors a été démonté à la Révolution, il est possible d'appréhender précisément leur contenu, les éléments détruits étant analysés à partir de nombreuses sources iconographiques et écrites qui permettent de restituer l'œil du contemporain dans une église. Grâce à la découverte de nombreux contrats d'archives, il a été possible de déterminer les conditions et les facteurs matériels et religieux de la commande. L'étude des textes critiques, issus de la théorie artistique et religieuse contemporaine, pose le problème du luxe du décor religieux, ainsi que le problème de l'organisation de l'espace intérieur de l'église, et dont est largement tributaire l'évolution stylistique et formelle du décor. Cette thèse, combinant histoire de l'art, histoire du visuel, histoire économique et histoire religieuse, contribue ainsi à la connaissance d'un patrimoine artistique français méconnu. / This work on the religious sculptured decoration in Paris had for ambition to built the image of a partially disappeared heritage : the space interns of the Parisian church between 1660 and 1760 through the liturgical furniture, the relief decoration or in round-bump, in the nave, the transept and the choir of the churches of the capital of the kingdom. Our study so analyzes the religious sculpture in its immediate space, between monumental art and decorative art, the end of the big royal religious orders of the XVIIth century, such the Dome des Invalides, in the advent of the neoclassicism in the choir of Saint-Germain-l'Auxerrois in 1760, before the resumption of the big royal construction works, inaugurated by the works in the basilica saint-Geneviève. Even if a part of these decorations was destroyed in the Revolution, it is possible to determinate exactly their contents : the destroyed elements are analyzed from numerous iconographic and written sources which allow to restore the eye of the contemporary in a church. Thanks to the discovery of contracts of archives, it was possible to determine the conditions and the material and religious factors of the order. The study of the critical texts, stemming from the contemporary artistic and religious theory, raises the problem of the luxury of the religious decoration, as well as the problem of the organization of the internal space of the church, and on which is widely dependent the stylistic and formal evolution of the decoration. This work combine art history, history of the picture, economic history and religious history to contributes to the knowledge of an underestimated French artistic heritage.

Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.

Ansatz meines Entwurfes war die Eigenschaft des Carbonbetons, mit ihm sehr dünne, stabile und korrosionsbeständige Konstruktionen herstellen zu können. Da ich unter anderem an der Leistungsgrenze von Betonkonstruktionen im bildhauerischen Bereich arbeite und Federn und Flügel eine sehr dünne, leistungsfähige und natürliche Einheit bilden, habe ich dies als mein Thema gewählt

Etwa 20 skulpturale Arbeiten des frühen 16. Jahrhunderts werden auf der Basis stilkritischer Untersuchungen dem so genannten Meister HW zugeschrieben. Die Bildwerke gruppieren sich um drei mit den Buchstaben HW monogrammierte und datierte Bildwerke: die Figur der Hl. Helena von der Hl.-Kreuz-Kapelle des Rathauses in Halle/Saale (1501/1502), das Altarretabel in der Bornaer Marienkirche (1511) und die Schöne Tür von der Franziskanerklosterkirche in Annaberg (1512). Neben zwei Arbeiten in Goslar und Braunschweig konzentrieren sich die Erhaltungsorte und die Provenienzen im albertinisch regierten sächsischen Raum, wobei insbesondere die Städte Chemnitz und Freiberg, Annaberg und Ehrenfriedersdorf im oberen Erzgebirge sowie die südlich bzw. südwestlich von Leipzig gelegenen Orte Borna und Pegau hervortreten. Seit den 1938 von Walter Hentschel vorgelegten Untersuchungen stand die Gruppe von Bildwerken nicht erneut im Mittelpunkt einer wissenschaftlichen Arbeit. Die jüngste Beschäftigung mit den Werken kann auf die Forschungen insbesondere der letzten 10-15 Jahre zu bildkünstlerischen Äußerungen des ausgehenden Mittelalters und der beginnenden Neuzeit aufbauen. Im Vordergrund der vorgelegten Arbeit stehen umfassende Untersuchungen der drei monogrammierten und datierten Bildwerke sowie der Tulpenkanzel in der Freiberger Marienkirche. Dabei gewähren die Untersuchungen zu den künstlerischen Voraussetzungen nicht nur Einblicke in den Schaffensprozess des Bildhauers und Bildschnitzers, sie ermöglichen zugleich eine Positionsbestimmung der skulpturalen Arbeiten im Kontext des bildnerischen und raumkünstlerischen Geschehens des ausgehenden 15. und beginnenden 16. Jahrhunderts innerhalb des deutschen Sprachraums. / Approx. 20 sculptural works from the early 16th century are ascribed to the so-called Master HW on the basis of stylistic examinations. These sculptures are grouped around three dated sculptures monogrammed with the letters HW: the sculpture of St. Helena in Hl.-Kreuz-Kapelle (Holy Cross Chapel) of the town hall in Halle/Saale (1501/1502), the altar retable in St. Mary’s Church in Borna (1511) and Schöne Tür [Beautiful Gate] at the church of the Franciscan monastery in Annaberg (1512). Apart from two other pieces in Goslar and Brunswick, the places of preservation as well as the provenances are concentrated in the Saxon region formerly governed by the Albertine dynasty with the towns of Chemnitz and Freiberg, Annaberg and Ehrenfriedersdorf in the upper Ore Mountains as well as the towns of Borna and Pegau located to the south and south-west of Leipzig as especially prominent locations. Since the examinations presented by Walter Hentschel in 1938 this group of sculptures has never been the centre of another scientific examination again. The most recent thesis on these works can build on the research in particular of the last 10 to 15 years regarding sculptural expressions at the end of the Middle Ages and at the beginning of the modern age. Comprehensive examinations of the three monogrammed and dated sculptures as well as of Tulpenkanzel (tulip pulpit) in St. Mary’s Church in Freiberg form the focus of the thesis submitted. In this respect, the examinations regarding the artistic preconditions do not only provide insights into the sculptor’s creative process; at the same time, they also allow a positioning of the sculptural work in the context of the events in graphic arts and interior design in the German speaking territories at the end of the 15th and at the beginning of the 16th century.

Sculpteur du règne de Louis XIV, Jean-Baptiste Théodon (1645-1713) se rattache à l’école française autant qu’à l’école romaine de sculpture. Formé auprès de Charles Le Brun à la Manufacture royale des Gobelins, il y rencontre Jean-Baptiste Colbert qui devient son premier mécène. Protégé par ce dernier qui l’envoie en Italie, Théodon rejoint en 1677 l’Académie de France à Rome où il sculpte pour Louis XIV et le château de Versailles. Parallèlement il prend part à la vie académique romaine. Membre actif de l’Accademia di San Luca et de la congrégation des Virtuosi al Pantheon, Théodon devient l’un des sculpteurs les plus recherchés de la Rome de la fin du Seicento, sollicité par les papes Innocent XII et Clément XI à Saint-Pierre de Rome et au Latran, et par les congrégations et les ordres religieux au Gesù et au Monte di Pietà. Appelé par Louis XIV, il revient à Paris en 1705 et contribue, durant ses dernières années, à la décoration des Maison royales de Marly et de Meudon. Abordant avec brio l’allégorie et la sculpture animalière pour Colbert, la mythologie et le genre historique pour Louis XIV, la sculpture funéraire et l’art du portrait pour Christine de Suède, le sculpteur s’illustre avant tout dans l’art religieux. Brillante personnalité artistique du XVIIe siècle, Théodon méritait une étude. Nous avons considéré sa vie et sa carrière, analysé sa manière et établi le corpus exhaustif de son œuvre. / Jean-Baptiste Théodon (1645-1713) was a French sculptor of the reign of Louis XIV who belonged both to the French and Italian schools of sculpture of the Seventeenth-Century. In the 1670’s during his training at the ‘Manufacture des Gobelins’ he worked under the supervision of Charles Le Brun and met the minister Jean-Baptiste Colbert. In 1677 he joined the French Academy in Rome where he carved garden sculptures for royal estates and for his protector Colbert. Early in his Roman carrier he was made member of the Academy of St Luke and member of the Congregazione dei Virtuosi al Pantheon where he met Bernini, the architect Carlo Fontana and the painter Carlo Maratta. Appreciated by the Pope Innocent XII he obtained several commissions at Saint-Peter’s (Baptismal chapel, Monument to Christine of Sweden) and at the same time he worked for the Jesuits at the Sant’Ignazio chapel at the Gesù. As one of the most significant sculptors of the end of the Roman Seicento he dedicated his last years in Rome to the pope Clement XI and the papal basilica before his return to Paris in 1705 where he worked for the Sun King and the ‘Maisons’ of Meudon and Marly. With the same maestria Jean-Baptiste Théodon carved allegories for Colbert, mythological and historical figures for Louis XIV, funeral sculptures and portrait for Christine of Sweden as well as works of art for Roman churches. The Ph.D. dissertation consists of a study of the career of the sculptor with an analysis of his artistic manner and its evolution from Paris to Rome. In addition the thesis includes the complete ‘catalogue raisonné’ of his works, sculptures and drawings.