Magazine Project Aiman

Mosè Sculpture
by Michelangelo

Buonarroti

Sculptures
by Alexander

Calder

Barbara hepworth
Two Forms (Divided

Circle)

Vol 10, Issue 4,
summer 2022

Famous Sculptures
World wide

1Vol 10, Issue 4, summer 2022

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Content

Content 4

Editorial Letter 5

Mosè Sculpture by Michelangelo Buonarroti 6-7

Sculptures by Alexander Calder 8-9

Barbara hepworth Two Forms (Divided Circle) 10-
11

Advertisement 12

The Tomb of Pope Julius II 13

Understanding Alexander Calder through 14-

15

6 Pivotal Artworks

Divided Circle 16-

17

Barbara Hepworth background 18-

19

4 Vol 10, Issue 4, summer 2022

Editor Letter

Things to know: Alberto
Giacometti

HE IS AN ERA HE CAME FROM A

DEFINING SCULPTOR CREATIVE FAMILY

wiss artist Alberto Giacometti was awarded the Born in 1901, Giacometti expressed an en-
grand prize for sculpture at the 1962 Venice Bien- thusiasm for art from an early age, creat-
nale, bringing him worldwide fame. In 2010, Gi- ing his first oil painting aged just twelve.
acometti’s life-sized bronze sculpture of a man, His father, Giovanni Giacometti was a suc-
L’Homme qui marche I became one of the most cessful post-Impressionist painter, his god-
expensive sculptures to ever be sold at auction. father Cuno Amiet was a Fauvist, while
The same work currently appears on the 100 Swiss his brother Bruno went on to become an
Franc banknote. A tribute to the radical artist. architect. His brother Diego was a de-
signer and artist and Giacometti’s most
important model as well as his assistant.

HE WORKED WITH THE Giovanni shared his passion for art and wood
etchings with his son. Throughout his artis-
SURREALISTS tic career, Alberto experimented with a va-
riety of printing techniques, including etch-
In 1931, Giacometti began to participate in some ing, engraving, aquatint and lithography.
of André Breton’s surrealist group’s activities in
Paris. Although he was later expelled from the
movement due to his ’realistic’ works of mod-
els, Giacometti’s interest in surrealist forms and
themes such as sexuality and trauma continued.
Sculptures from the early 1930s which resem-
ble toys or games invite the viewer to interact
with the sculptures – a radical idea for the time.

5Vol 10, Issue 4, summer 2022

Mosè Sculpture by
Michelangelo Buonarroti

Michelangelo Buonarroti to his legs as if it were linen
rather than marble. On his
was born in 1475 in Tuscany. arms and hands the tendons
and veins are visibly tense, the
He completed his artistic strength of his muscular body
is evident, and the weight of
education in Florence and the stone tablets is hinted at.
Michelangelo felt “Moses” to
created wonderful art in Rome. be his most life-like work, to the
extent that, upon completion
Although the extraordinary of the statue, Michelangelo is
supposed to have struck its
Sistine Chapel ceiling speaks knee exclaiming “Now, speak!”

worlds about Michelangelo

the heavenly painter, he was

primarily a sculptor. In this

splendid statue of Moses, we

can appreciate Michelangelo’s

phenomenal sculpting skills.

Moses wears a robe with deep

folds, and the fabric clings

6 Vol 10, Issue 4, summer 2022

The Pope The subject:
Moses

Michelangelo created his most Moses led the enslaved Jewish
famous artworks for Pope people out of Egypt in a
Julius II, who was known as spectacular fashion, and no less
the “Warrior Pope” due to his formidable was his later feat
active military policy; he even of giving his people the Ten
lead troops into battle. This Commandments, direct from
“fearsome” Pope, however, the hand of God. Moses took
also appreciated fine arts and, delivery of the commandments
in 1505, gave Michelangelo on top of Mount Sinai, but
the task of sculpting his tomb, the joy of the moment was
in which Moses is the central transformewd into wrathful
figure. In the same year, he also anger when he descended the
commissioned Michelangelo mount and saw that his people
to paint the Sistine Chapel were worshipping false idols.
ceiling. Although Michelangelo Michelangelo captures all
had already spent months in this terrible anger in marble:
Carrara selecting the marble Moses’s face, although partly
for the tomb, the latter project covered by his beard, shows the
took precedence, pushing strong emotion of the moment.
back the work on the tomb, The commandments had been
and giving rise to many sculpted onto stone tablets;
rows and disagreements no doubt Michelangelo felt a
between Pope and artist. The certain affinity of craftsmanship,
legendary Julius/Michelangelo and approved the chosen
arguments accompanied much medium for delivering
of the Sistine Chapel project. God’s laws to his people.

7Vol 10, Issue 4, summer 2022

Sculptures
by Alexander
Calder

Calder’s Circus the circus consists of an elaborate and lighting, performances could
troupe of over seventy miniature last as long as two hours. Calder’s
After moving to Paris in 1926, figures and animals, nearly 100 Circus brought him renown in
AlexanderCalderbegantofabricate accessories such as nets, flags, Paris as he staged it for artist
dozens of tiny figures and props carpets, and lamps, and over colleagues and friends, including
for what would become his most thirty musical instruments, Piet Mondrian, Joan Miró,
beloved work—titled in French phonographic records, and and Marcel Duchamp. These
Cirque Calder, and in English noisemakers. In Paris, Calder’s performances also introduced the
Calder’s Circus. Making use of audience would sit on a low bed kineticism that would become the
simple, available materials such or crates, munching peanuts and defining characteristic of Calder’s
as wire, wood, metal, cloth, cork, using the noisemakers while art from the 1930s onward.
fabric, and string, he constructed Calder choreographed, directed,
ingeniously articulated animals, and performed Calder’s Circus,
clowns, and acrobats. In total, narrating the actions in English
or French. Accompanied by music
8 Vol 10, Issue 4, summer 2022

Flying Dragon
Sculpture

When Alexander Calder‘s Fly-
ing Dragon sculpture was in-
stalled at Paris’ Place Vendôme
this past October, we unfor-
tunately thought it best to not
recommend anyone getting
on an airplane to anywhere in
Europe, with word that a new
coronavirus variant – Omi-
cron, of course – was on the
rise in South Africa, and sure-
ly headed our way. Things
are still a bit tricky in terms of
traveling – but Gagosian, who
are responsible for the exhib-
it, have thoughtfully extended
the installation to March 20,
allowing for the hopeful pos-
sibility of a late winter’s “art
visit” to the French capital.

The Acrobats

Alexander Calder became fasci- expanded it over the years until it
nated with the circus when a job filled five suitcases and a two-hour
with The Police Gazette in New show. The Acrobats was inspired by
York required him to draw car- these early studies and represents a
toons of local athletic events. He brief period when Calder worked
went on to study the movements in plaster, creating mobile ob-
of acrobats, trapeze artists, knife jects that would be cast in bronze.
throwers, belly dancers and a vast
array of animals. He began his leg- 9Vol 10, Issue 4, summer 2022
endary ​“Circus” piece in Paris, and

Barbara hepworth Two
Forms (Divided Circle)

Barbara Hepworth made Two Forms (Divided Circle) Institute’s Experimental Film Fund (EFF). It was
at the end of a decade in which she dedicated herself founded after the BFI acquired the Telecinema, a
to works that incorporated the viewer. The design of theatre designed to screen stereoscopic cinema for
Two Forms (originally a shining, reflective bronze), the Festival of Britain in 1951. Hepworth had also
with its slightly asymmetrical curved windows, been commissioned to make sculptures for the
provides the viewer with a lens through which to festival, contributing the imposing Contrapuntal
glimpse things anew. As Hepworth told her husband, Forms, made from Irish limestone, as well as
Ben, “So much depends, in sculpture, on what one Turning Forms, a motor-driven rotating sculpture.
wants to see through a hole! …Maybe in a big work
I want to see the sun or moon. In a smaller work
I may want to lean in the whole … It is the physical
sensation of piercing and sight which I want.”

Hepworth also imagined novel ways to present
her sculptures, which were immobile and often
considered inaccessible, to wider audiences. She
was an early adopter of film and photography
as a means to exhibit and circulate her work.
Hepworth had spent the 1930s documenting her
work in photographs and, with keen focus on the
impact of light and perspective, was determined to
communicate their weight and texture in the image.

In 1953, arts documentarian Dudley Shaw Ashton
filmed her sculptures on the Cornish seaside, near her
studio. Filmed in Technicolor, Figures in a Landscape
was one of the first films produced by the British Film

10 Vol 10, Issue 4, summer 2022

Both the Festival of Britain and the EFF were circular forms and slicing angles, it may fade into
invested in fostering an image of a modern and the scenery for its daily passersby. Hepworth’s
future-oriented postwar Britain. However, many films provided me with a new way of seeing this
of the Fund’s early films about artists focused sculpture, and of thinking about its relationship
on British heritage, highlighting the work of to the environment. Figures in a Landscape was
such figures as 18th-century caricaturist Thomas the first of many short films dedicated to her
Rowlandson. Indeed, Hepworth was one of notably work. Through these films, we can understand
few modernist artists to be the subject of an EFF film. better the possibilities she imagined for her
sculptures. In Bruce Beresford’s documentary
Figures in a Landscape features an unnerving short Barbara Hepworth at the Tate (1968),
score by the groundbreaking South African-British Hepworth insists on sculpture’s relationship to
composer Priaulx Rainier. It is accompanied by the natural world. She tells us, “I have often been
a lyrical voiceover (written by poet Jacquetta called puritanical, or cold, or geometric, but it is
Hawkes, and narrated by writer Cecil Day-Lewis). the significance of spiritual and human responses
It is a quintessentially modernist commentary to life around us which obsesses me at all times.”
that is both wary and admiring of man’s mastery
over nature. Its mode predates similar works by
Michelangelo Antonioni, Alain Resnais, Ebrahim
Golestan and other auteurs of the 1960s (all of
whom also garnered state sponsorship to make
austere experimental documentaries). Ashton places
Hepworth’s abstract, undulating figures against the
natural landscapes that inspired them, and considers
them alongside the mysterious Neolithic stones
in the region. His imaginative camerawork gives
the viewer a sense of how Hepworth’s sculptures
enable new perspectives on their environments.

Two Forms (Divided Circle) has a prominent place
on the Northwestern campus: many of us pass it
routinely, and, despite its striking combination of

– Contributed by Simran Bhalla, Block Muse-
um of Art Interdisciplinary Fellow 2019–2020

11Vol 10, Issue 4, summer 2022

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12 Vol 10, Issue 4, summer 2022

The Tomb of Pope Julius II

When Michelangelo finished Moses
sculpting David, it was clear that
this was quite possibly the most Moses is an imposing figure—he is
beautiful figure ever created— nearly eight feet high sitting down!
exceeding the beauty even of He has enormous muscular arms and
Ancient Greek and Roman an angry, intense look in his eyes.
sculptures. Word of David Under his arms he carries the tablets
reached Pope Julius II in Rome, of the law—the stones inscribed
and he asked Michelangelo with the Ten Commandments that
to come to Rome to work he has just received from God on
for him. The first work Pope Mt. Sinai. You might marvel at
Julius II commissioned from Moses’ horns. This comes from a
Michelangelo was a tomb for the mistranslation of a Hebrew word
pope. This may seem a bit strange that described Moses as having
to us today, but great rulers rays of light coming from his head.
throughout history have planned
fabulous tombs for themselves In this story from the Old Testament
while they were still alive— book of Exodus, Moses leaves
they hoped to ensure that they the Israelites, who he has just
would be remembered forever. delivered from slavery in Egypt, to
go to the top of Mt. Sinai. When he
When Michelangelo began returns, he finds that the Israelites
the Tomb of Pope Julius II, his have constructed a golden calf
ideas were quite ambitious. He to worship and make sacrifices
planned a two-story structure to. They have, in other words,
decorated with more than 20 been acting like the Egyptians
sculptures—each of these life and worshipping a pagan idol.
sized. This was more than one
person could do in a lifetime. One of the commandments Moses
received is “Thou shalt not make
Pope Julius II asked Michelangelo any graven images,” so when Moses
to pause his work on the tomb sees the Israelites worshipping this
to paint the ceiling of the Sistine idol and betraying the one and only
Chapel and he was never able to God who has just delivered them
complete his plan for the tomb. from slavery, he throws down the
After experiencing trouble with tablets and breaks them. Here is
Julius’ heirs, Michelangelo eventually the passage from the Hebrew Bible:
completed a much scaled-down
version of the tomb, which was
installed in San Pietro in Vincoli (and
not in St. Peter’s Basilica as planned).

13Vol 10, Issue 4, summer 2022

Understanding Alexander Calder
through 6 Pivotal Artworks

On Christmas morning in 1909, of his early works foreshadow the
the parents of an 11-year-old large-scale masterpieces for which
Alexander Calder unwrapped the artist is best known today—a
their son’s handmade gifts: progression charted by art critic Jed
a small dog and duck, each Perl in his newly published biography
lovingly sculpted from sheets Calder: The Conquest of Time: The
of brass. Artists themselves, Early Years: 1898–1940. From wire
Calder’s mother and father portraits to hanging mobiles, the six
would eventually lend these works below represent significant
early creations to the Museum of shifts in Calder’s artmaking during
Modern Art in 1943 for their son’s the first four decades of his life.
first New York retrospective.

Calder was a pioneer of 20th- Cirque Calder In 1926, Calder moved to Paris to
century sculpture, among the (1926–31) pursue an artistic career. There, he
first to endow his works with a began to sculpt a miniature circus
fourth dimension: movement. out of wire, cork, fabric, a repurposed
Duck (1909), which rocks back eggbeater, crimped candy wrappers,
and forth on its curved underside, and other odd scraps. Acting as
can be considered the artist’s first ringmaster in front of an audience,
kinetic sculpture. Indeed, many Calder would pull the strings or
turn the cranks that activated his
tiny performers. (Occasionally, these
events served as an introduction to
other avant-garde artists, including
writer Jean Cocteau, painter Piet
Mondrian, and architect Le Corbusier.)

14 Vol 10, Issue 4, summer 2022

Josephine Baker I
(c. 1926)

Calder soon began sculpting
exclusively in wire, earning
him a nickname among
French critics as the “king of
wire.” Among the earliest of
these works was Josephine
Baker I, the first of five wire
portraits he created of the
African-American expatriate
celebrated for her Parisian
dance performances. (The
1926 version now survives
only in photographs.)

During this period, Calder Croisière the globe-like sphere created
unsuccessfully applied for a by two intersecting wire circles.
grant from the newly founded (1931)
John Simon Guggenheim Calder had married Louisa
Memorial Foundation, writing Although Calder’s wire sculptures James a year earlier, and Perl
in the application that he of the late 1920s simplified the argues that her family’s wealth
wanted “to invent the use of human form, it was a 1930 trip may have granted the artist
new and unusual materials to Mondrian’s Parisian studio the financial freedom to create
and methods in sculpture.” that pushed him towards pure more experimental work. A few
Josephine Baker I was a abstraction. The visit “was like short months after Croisière,
spirited step in that direction, the baby being slapped to make he ventured even further—
eventually exhibited and his lungs start working,” Calder adding manually propelled
sold at a two-man show with wrote in the 1950s. “[It] gave me and motorized elements to
Emil Ganso in New York in the shock that converted me.” similar abstract sculptures.
1928. The artist considered It was these works that led
this the first significant Croisière (French for “cruise”) Dadaist Marcel Duchamp to
exhibition of his work—and was among his earliest abstract coin the term “mobiles” in
his mother, a painter herself, works, shown at Calder’s first Calder’s Parisian studio in the
agreed. “Though it is not exhibition of abstract sculpture fall of 1931. “This, in French,
our style, something will at the Galerie Percier in Paris in means not only ‘movable’—but
come of it,” Nanette Calder 1931. The preliminary title was also a ‘motive,’ ‘a reason for an
predicted at the opening. Croisière dans l’espace (Cruise act,’ so I found it a very good
Through Space), suggesting an arc word,” Calder wrote years later.
of movement—perhaps that of the
sculpture’s thicker rod piercing

15Vol 10, Issue 4, summer 2022

DIVIDED CIRCLE

This exhibition has formed Ruthie Collins finds
in response to Barbara out more about a
Hepworth’s large-scale bronze local exhibition
sculpture Two Forms (Divided featuring work
Circle) 1969, an edition of by revered artist
which is on loan to Downing Barbara Hepworth
College from the Hepworth
Estate. Visible in the College A series of stunning abstract
grounds through the Gallery sculptures by Barbara
windows, this sculpture will Hepworth – one of the greatest
stand in dialogue with a British sculptors in art history
Gallery display of significant – can be seen at Divided
works made by Hepworth Circle at the Heong Gallery,
during the later stages of her Downing College, this month
career. Hepworth’s sculptural until Sunday, 2 February.
language of asymmetry,
dualities, movement and A prolific artist, Hepworth The name of the show is
spirituality will be explored, created more than 600 sculptures inspired by keynote piece, Two
as well as the centrality of during her life, which can now Forms (Divided Circle), made
the human form and scale be found all over the world. in 1969, an extraordinary time
to the works. These ideas Cambridge is certainly no for Hepworth. “I at last had
are especially meaningful stranger to her work, with pieces space and money and time to
when seen in the context of on display at the Jim Ede House work on a much bigger scale,”
Hepworth’s life during the at Kettle’s Yard, in the garden she said of this period. “I had
late-1960s and in relation to of Churchill College, and at the felt inhibited for a very long
the rapidly changing social- New Hall Art Collection. But this time over the scale on which I
political landscape of that is the first time that so many of could work… It’s so natural to
time. By exploring these her works have been exhibited work large – it fits one’s body.”
qualities in her work, the together in one place in the city.
exhibition will suggest that
there is much to learn today A selection of pieces made in
from Hepworth’s human- the last 20 years of her life, this
centred approach to sculpture. display demonstrates her work
today has the same appeal
and freshness as when she
first earned recognition as a
standout British sculptor within
the Modernist movement.

16 Vol 10, Issue 4, summer 2022

You can see the bronze change the course of British
sculpture on the grass modern sculpture forever.
outside the gallery, on loan Happisburgh, known to many
from the Hepworth estate. Cambridge residents for its
iconic striped lighthouse, is
“She’s playing with our still full of the same distinctive
expectations, the shape is a ‘witch stones’ – pebbles with
circle from a distance, but the holes caused by natural water
closer you get, you realise they erosion – that fascinated
are two forms, they have a force Barbara Hepworth and Henry
holding them together. I find it Moore when they stayed
fascinating that she called it two there with friends in 1931.
forms first,” explains curator,
Dr Rachel Rose Smith. “She’s
trying to say that it’s both, that’s
ok – people will see things
differently. People and forms can
be complex, that’s enriching.”

Many associate Barbara
Hepworth with St Ives
in Cornwall, but it was a
remarkable meeting of artists
here in East Anglia – not just
with each other but with the
natural landscape – that would

17Vol 10, Issue 4, summer 2022

Barbara Hepworth
background

Barbara Hepworth, in full Dame gradually gained greater
Jocelyn Barbara Hepworth, (born importance for her until, by
January 10, 1903, Wakefield, the early 1930s, her sculpture
Yorkshire, England—died May 20, was entirely abstract. Works
1975, St. Ives, Cornwall), sculptor such as Reclining Figure (1932)
whose works were among the resemble rounded biomorphic
earliest abstract sculptures forms and natural stones; they
produced in England. Her lyrical seem to be the fruit of long
forms and feeling for material weathering instead of the hard
made her one of the most influential work with a chisel they actually
sculptors of the mid-20th century. represent. In 1933 Hepworth
married (her second husband;
Fascinated from early childhood the first was the sculptor John
with natural forms and textures, Skeaping) the English abstract
Hepworth decided at age 15 to painter Ben Nicholson, under
become a sculptor. In 1919 she
enrolled in the Leeds School
of Art, where she befriended
fellow student Henry Moore.
Their lifelong friendship and
reciprocal influence were
important factors in the parallel
development of their careers.

Hepworth’s earliest works were
naturalistic with simplified
features. Purely formal elements

Born: April 10, 1894 Denham
England

Died: February 6, 1982 (aged
87) London England

Notable Family Members:
spouse Barbara Hepworth

18 Vol 10, Issue 4, summer 2022

whose influence she began while she accented and defined
to make severe, geometric the sculptural voids by stretching
pieces with straight edges strings taut across their openings.
and immaculate surfaces.
During the 1950s Hepworth
As Hepworth’s sculpture produced an experimental
matured during the late 1930s series called Groups, clusters of
and ’40s, she concentrated on small anthropomorphic forms
the problem of the counterplay in marble so thin that their
between mass and space. translucence creates a magical
Pieces such as Wave (1943–44) sense of inner life. In the next
became increasingly open, decade she was commissioned
hollowed out, and perforated, to do a number of sculptures
so that the interior space is approximately 20 feet (6 metres)
as important as the mass high. Among the more successful
surrounding it. Her practice, of her works in this gigantic
increasingly frequent in her format is the geometric Four-
mature pieces, of painting Square (Walk Through) (1966).
the works’ concave interiors
further heightened this effect,

19Vol 10, Issue 4, summer 2022

“Human Allocation of
Space”

by Scott Eaton

20 Vol 10, Issue 4, summer 2022