The Victoria & Albert Museum in London is an incredible place and I love wandering through the galleries of Sculpture... luminously beautiful sculptures rising up around me, its hauntingly gorgeous. Much of which still BAFFLES me that one man or woman could carve such immense pieces of stone or bronze into such soft and gentle works of art.
Here are a couple of my favorites...
I chose these particular two to show you (since the list of my favorites is ridiculous) because of the shadows they cast. The lighting in galleries is always at its ideal but these two really got me thinking...
Are the shadows of freestanding sculptures, like the two above, similar to the negative space of a painting or photograph? Does it speak to the viewer just as much as the main subject?
I found the shadows quite ominous and beautiful which added so much to the drama of the work. That in mind, does the "surface area" of a sculptural piece extend from the confines of the stone, bronze, clay, etc. and encompass the surrounding area from the rays of light landing on the sculpture to the walls in which the shadow is cast?
Intriguing...
Hugs,
El.
Here are a couple of my favorites...
Stone Sculpture at the V&A; London, UK; Photo By El. K. B. |
Bronze Sculpture at V&A; London, UK; Photo By El. K. B. |
I chose these particular two to show you (since the list of my favorites is ridiculous) because of the shadows they cast. The lighting in galleries is always at its ideal but these two really got me thinking...
Are the shadows of freestanding sculptures, like the two above, similar to the negative space of a painting or photograph? Does it speak to the viewer just as much as the main subject?
I found the shadows quite ominous and beautiful which added so much to the drama of the work. That in mind, does the "surface area" of a sculptural piece extend from the confines of the stone, bronze, clay, etc. and encompass the surrounding area from the rays of light landing on the sculpture to the walls in which the shadow is cast?
Intriguing...
Hugs,
El.
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