Breanna
Castaneda
Terry
Long
ARTH
102.01
15
October 2013
Jean Boulogne and Andy Goldsworthy
Italian sculptor Jean Boulogne, also
known as Giambologna, was an exceptionally talented artist of the
Renaissance-Baroque transitional era. He was highly influenced by the work of
Michelangelo and emphasized a Mannerist style within his work. Although many of
Boulogne’s sculptures are of the human form, he put less emphasis on emotion
and more focus on the over all refinement of his work to express elegance and beauty
within the forms. Comparatively, British sculptor Andy Goldsworthy has taken on
a non-traditional form of sculpture. Goldsworthy utilizes the natural elements
and materials within his surrounding environments to celebrate beauty in nature
and leaves less focus on permanency. Though these two artists differ
considerably, both have developed an understanding of perception and elegance
within their mediums.
Boulogne’s use of mannerism is
exemplified through pieces such as “The Rape of the Sabine Women”. Mannerism is
“the name given to the stylistic phases of the European art covering the period
from ca. 1520 to ca. 1590, the transitional phase between the High Renaissance
and the Baroque” (“The Mannerist Style and Lamentation”). This style is
beautifully articulated in his piece “The Rape of the Sabine Women”, which
features three figures intertwined in a flurry of movement. In this piece his
main focus stems from his detailed studies of classical antiquity and
illuminates his attention to the human body’s form and movement. Mannerism “in
sculpture inspired the creation of single figures or groups of figures that can
be viewed from all sides, rather than a single viewpoint” (“The Mannerist Style
and the Lamentation”). By giving the illusion of perpetual movement, Boulogne
makes the audience more visually involved with the piece since the piece
encourages viewing from multiple viewpoints. Through this he demonstrates an
exceptional understanding of precision and control within his medium.
Goldsworthy differs considerably
because his main focus is found in the relationship between nature, perception
and permanency. His drive is to insight new perceptions of the natural world
around him and the ephemeral beauty within nature’s elements without harming or
mistreating the land, instead demonstrating deep reverence. Goldsworthy claims
“to be less interested in the view of the land as represented and more
concerned with the substance of earth” (Krug). He deviates from traditional and
classical sculptors because his creations are highly dependent on seasonal
changes and the temperaments of the elements. His sculptures are immortalized
through striking photographs, but do not always demonstrate the same definitive
and tactile permanency or timelessness as Boulogne’s work.
However, he “believes that the intensity of
the gestural act of creation is only apparent momentarily, recorded through
processes of generation, regeneration, and decay” (Krug). This leads me to the
assertion that Goldsworthy derives inspiration from the movement in the natural
world and his surroundings. Naturally he would, with a history of on his love
for farm-life and his deep connection to nature. Both Boulogne and Goldsworthy
are and have been deeply inspired by movement within their sculptures, despite
their differences in eras and mediums.
The Rape of the Sabine Women, Giambologna (Boulogne)
(1579-1583), block of marble
Hercules beating the Centaur, Giambologna
1599, block of marble
Crocifisso, Giambologna
1573, bronze sculpture
title unknown, Andy Goldsworthy
natural elements
Ice Spiral, Andy Goldsworthy
natural elements
Melt, Andy Goldsworthy
natural elements
Image Sources
For Goldsworthy: http://visualmelt.com/Andy-Goldsworthy
"Belgian Art Design - Giambologna - Hercules Beating the Centaur Nessus..."Belgian Art Design - Giambologna - Hercules Beating the Centaur Nessus...N.p., n.d. Web. 13 Dec. 2013.
"Jesus – The Body, Face Art." DaringToDocom International. N.p., n.d. Web. 13 Dec. 2013.
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