– Translation of Pointillists’ Expressions into Sculpture –
ABSTRACT
The has evolved from conventional materials like clay (, , and , especially amongst the of the twentieth .
This reality had largely influenced even the painting world as it affects the smoothness and glossiness of painting to the level of replacing bold strokes as can be seen in the works of Van Gough et al. It thus became imperative for visual artists, particularly https://studentsandscholarship.com/current-projects/translation-of-pointillists-expressions-into-sculpture/painters and sculptors to take a leap in their respective areas.
In view of this development, a few sculptors like Jennifer Maestre, Herb Williams, Chris Weed, Olu Amoda, etc, have tried producing sculptures either in the round or in relief though, in a different way.
Based on the above assertion, the urge for creative possibilities of the pointillist form of sculpture, especially in relief format using primarily steel nails was conceived and through practical studio experiences, translating pointillism from painting to sculpture, though not without setbacks, the persistence and courage employed made it possible for the success of the research.
The experiment involved two methods: The empirical analysis which entails a conceptualization of perceived forms that laid the basis from which all studio projects benefited.
This process involved a massive drill of mental display of ideas. The researcher employed an assemblage of ideas that served as the impetus for the researchers.
Ten indoor sculptures were created out of which one larger size was used as the main project for the findings display an array of impacts created by the inclusion of physically perceived forms.
TABLE OF CONTENTS
Title page – – – – – – – – – i
Declaration – – – – – – – – – ii
Certification – – – – – – – – – iii
Acknowledgement – – – – – – – – iv
Abstract – – – – – – – – – – v
Table of contents – – – – – – – – vi
List of figures – – – – – – – – – x
List of plates – – – – – – – – – ix
Chapter 1
1.0 Introduction – – – – – – – – 1
1.1 Background of the study – – – – – – – 3
1.2 Statement of the Problem – – – – – – 6
1.3 Objectives of the Study – – – – – – 7
1.4 Justification of the Study – – – – – – 7
1.5 Significance of the Study – – – – – – 7
1.6 Scope and Delimitation of the Study – – – – – 8
1.7 Organization of the Work. – – – – – – 8
Chapter 2
2.0 Review of related literature and works – – – – 9
2.0.1 Georges Seurat – – – – – – – 10
2.0.2 Jennifer Maestre – – – – – – – 11
2.0.3 Herb Williams – – – – – – – 12
2.1 Review of Related Works. – – – – – – 13
2.1.1 ‘A Sunday Afternoon on the Island of La Grand Jatte’ – – 14
2.1.2 ‘Queen of the Night’ 2003 – – – – – – 15
2.1.3 ‘Thistle’ 2008. – – – – – – – – 16
2.1.4 ‘Two Horses’ 1994 – – – – – – – 17
2.1.5 ‘Red Head’ 2008 – – – – – – – 19
2.1.6 ‘White Noise’ 2008 – – – – – – – 20
2.1.7 ‘Seethe’ 2008 – – – – – – – – 21
2.1.8 ‘Minkisi’ 2003 – – – – – – – 22
Chapter 3
3.0 Research Procedures – – – – – – – 25
3.0.1 Sources of Research Materials – – – – – – 25
3.0.2 Sketches from Reference Materials. – – – – – 25
3.0.3 Pilot Study – – – – – – – – 33
3.0.4 Procedure – – – – – – – – 34
3.1 Data through Empirical Study – – – – – 44
Chapter 4
4.0 Introduction – – – – – – – – 45
4.1 Preliminary Studies – – – – – – – 45
4.2 Stage One – – – – – – – – 46
4.2.1 ‘Sweet Burden’ 124x94cm – – – – – – 46
4.2.2 The Arrival – – – – – – – – 47
4.3 Stage Two – – – – – – – – 48
4.3.1 ‘The Trumpeters’ 60x60cm – – – – – – 49
4.3.2 ‘No Harm in Trial’ 39x93cm – – – – – – 50
4.4 Stage Three – – – – – – – – 51
4.4.1 The Grand Return’ 123x246cm – – – – – 51
4.4.2 ‘Galloping Horse’ (portrait) – – – – – – 53
4.4.4 ’The Damsel’ – – – – – – – – 54
4.4.5 ’The Body Guard’ – – – – – – – 55
4.4.6 ’Horn Blower’ – – – – – – – – 56
Chapter 5
5.0 Summary – – – – – – – – 59
5.1 Conclusion – – – – – – – – 60
References – – – – – – – – 62
INTRODUCTION
Pointillism is a painting https://studentsandscholarship.com/current-projects/translation-of-pointillists-expressions-into-sculpture/technique that started in the nineteenth century by Georges Seurat was seen as an exclusive preserve of painting.
The need for this https://studentsandscholarship.com/current-projects/translation-of-pointillists-expressions-into-sculpture/technique, according to Wales (2005), arose, primarily from its two-dimensional nature and the curiosity of artists of the era to deviate from the conventional methods of executing https://studentsandscholarship.com/current-projects/translation-of-pointillists-expressions-into-sculpture/artworks, especially in painting with the aid of a brush or other materials like charcoal, pastel, and pencil.
These materials of expression were in the earlier part of the nineteenth century used as of change in the art world that https://studentsandscholarship.com/current-projects/translation-of-pointillists-expressions-into-sculpture/painters () explored exhaustively.
What started as a minor move pivoted by a quartet of skilled and talented https://studentsandscholarship.com/current-projects/translation-of-pointillists-expressions-into-sculpture/painters (George Seurat, Paul Cezanne, Vincent Van Gogh, and Gauguin) became more established and recognized in the latter part of the century, (De la Croix and Tansey 1970).
These instruments nurtured the transformation that brought about a massive change in the world of art by also bringing out the best in the artists concerned.
The manner things improve and keep changing shows that change in itself is dynamic. Change occurs in almost all facets of creation, be it human activities, climate or other natural causes. , in this context, is one of the major human manipulative activities that enjoys no exception.
REFERENCES
Arnheim, R.(1965). Art and Visual Perception. Latimer Trend & Co Ltd, Whitstable, Great Britain, pp. 82
Babalola, O.B (1991). A Synthesis of Relief Sculpture in Architectural Setting. MFA Sculpture Thesis. (Unpublished) pp.3, Department of Fine Arts, Ahmadu Bello University, Zaria.
Bieber, M (1955). The sculpture of the Hellenistic Age., Columbia University Press, New York. pp 88-89
Caradente, G (1971). Rome; Architecture, Sculpture, Painting, Chicago and San Francisco, Holt Reinhart and Winston, Inc New York. pp.
Di Valentin, M (1970). Practical Encyclopedia of Crafts. Sterling Publication Co, Inc. New York pp.487
Ehizele, M. O (1989). The Plastic Essence of Welded Sculpture: An Exploration into the Development of Form. MFA Thesis (Unpublished) pp.6 Department of Fine Arts, Ahmadu Bello University, Zaria-Nigeria.