澳洲南澳大学论文代写:维姆·博塔

澳洲南澳大学论文代写:维姆·博塔

维姆·博塔的“棱镜10”,一个独立的青铜雕塑大约82英寸高,现在呈现在萨凡纳艺术与设计学院博物馆,最初表现在史蒂文森,开普敦。灵感来自希腊雕塑的Laocoon和His Sons,这个伟大的青铜雕塑被雕刻在1506,和今天的“棱镜10”是在著名的梵蒂冈[ vativan市展出,正式梵蒂冈城国是一个封闭的飞地罗马全市范围内。
]。雕刻这个雕塑,Botha拍摄和录音的希腊雕像的尺寸。在参观了2003梵蒂冈博物馆之后,他决定用富有表现力的雕刻元素来处理一件伟大的工作。他决定扮演特洛伊祭司Laocoon和他的两个儿子被海蛇为抽象和手势形成后不久,Botha获得了生物雕刻技能的人物。在这一点上,Botha的目的不仅是简单的传递形式从写实到抽象,而且试图挑战某种意义上失去了真实性已被丢失的原因。
这座雕像是在良好的条件,对Laocoon和他儿子的脸被抽象成一个松散的形式,并建议全部被挥舞着水或衣服。那一刻,你可以听到Laocoon和他的两个儿子尖叫下覆盖,挣扎,试图推开的海蛇的身体。Botha很聪明。他知道如果他没盖的Laocoon和他儿子的脸,它可能会失去和有限的观众的想象力。
这些数字似乎没有武器,或表明它也可以通过他们的衣服覆盖,虽然从顶部翼状形式似乎出现碧波荡漾的回。然而,这些突起不一定是人物本身的一部分,例如,许多重复指出,不规则的几何形体都是废话。然而,自从Botha雕刻的人物和其周围的环境,这可能导致观众提醒一个意大利艺术家:翁贝托·波丘尼。

澳洲南澳大学论文代写:维姆·博塔

“Prism 10” by Wim Botha, a free-standing bronze sculpture almost 82 inches tall, now exhibit in the Museum of Savannah College of Art and Design, was originally displayed in Stevenson, Cape Town. Inspired by the Greek sculpture Laocoon and His Sons, this great bronze sculpture was carved in 1506, and today “Prism 10” is exhibited in the famous city of Vatican[ Vativan City, Officially Vatican City State is a walled enclave within the city of Rome.
]. For carving this sculpture, Botha photographed and taped the dimensions of the Greek statue. After visited the Vatican Museums in 2003, He decided to approach a great work with expressive carving elements. He decided to portray the dignitary of Trojan priest Laocoon and his two sons being attacked by sea serpents into abstracted and gestural forms soon after Botha acquired the creature carving skill. At this point, Botha’s purpose seems not only simply transferring the forms from realistic to abstractive, but also trying to challenge some sense of lost authenticity which had been a lost cause.
The statue is in excellent condition, the faces of the Laocoon and his sons are abstracted into a loose form, and suggesting all covered by waving water or clothes. For a moment, you can hear the Laocoon and his two sons are screaming under the covering, struggling and trying to pushing off the sea serpents on their bodies. Botha is very smart. He knew that if he didn’t cover the faces of Laocoon and his sons, it may lose and limited the viewers’ imagination.
The figures do not appear to have arms, or suggesting that it may also cover by their clothes, though winglike forms from the top part seem to emerge the rippling back. However, these protrusions are not necessarily even a part of the figure itself, for example, the repetition with many pointed irregular geometric shapes are nonsense. However, since Botha sculpted both the figures and its immediate environment, it may lead the viewer remind an Italian artist: Umberto Boccioni.

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