Veuillez choisir une catégorie de sculpture, puis un type ou un matériau.
Veuillez choisir une catégorie de sculpture, puis un type ou un matériau.
La sculpture du XXe siècle se situe bien entendu dans la continuité de celle des siècles précédents. Mais étudier la sculpture moderne dans sa spécificité, c’est étudier ses ruptures. En effet, au cours du XXe siècle, la définition de la sculpture subit une transformation radicale. La sculpture devient autonome, elle n’a plus de fonction: ni celle d’objet de culte, de monument à la gloire d’un pouvoir séculaire ou religieux, ou d’objet de délectation bourgeoise. Elle devient la libre expression d’un individu dont le but et la finalité est de faire de la sculpture.Grâce à cet affranchissement de toute fonction, les modèles des siècles précédents ne pourront plus servir aux besoins du sculpteur. Il sera obligé de regarder ailleurs pour trouver ses modèles et motifs, ou en un mot pour trouver son inspiration.Cette liberté qui l’autorise à puiser dans tous les domaines lui permettra une invention formelle, intellectuelle, et spirituelle sans précédents.Car le modèle du sculpteur moderne est le jamais vu: c’est à partir de concepts et de visions et non pas d’objets que lui proviennent ses formes et leurs sens. Ainsi voit on naître au XXe siècle une sculpture inspirée par toutes sortes de modèles invisibles et imprévisibles: depuis les idées scientifiques, philosophiques ou idéologiques jusqu’aux formes de la peinture, de la musique, de la littérature, de la poésie; depuis les tréfonds de l’inconscient jusqu’à la pensée scientifique et les inventions technologiques. On verra une sculpture faite de plans, ou bien de formes abstraites et organiques; on verra aussi l’apparition des matériaux les plus divers (plaques de tôle, carton, fil de fer, céramique, bois, tissu, déchets de tout ordre, peinture à l’huile); on verra des sujets et des motifs inédits, tels la nature morte, le paysage, l’objet de consommation, le geste. On verra surtout un espace et des formes éclatés, qui ne correspondent plus au monolithe de la sculpture traditionnelle; et une pensée éclatée par rapport à ses définitions conventionnelles.Si l’on cherche néanmoins à dégager une cohérence par rapport à cette création multi dimensionnelle, on peut dire que le fond commun à toutes ces recherches est le glissement de sens qui caractérise tout l’art du XXe siècle, y compris la peinture: d’un art de la perception à un art de la conceptualisation.Cette conceptualisation se détermine selon deux axes: le premier qui donne des oeuvres abstraites inspirées d’idées “culturelles”–formelles ou idéologiques–qui sont dans l’air; le deuxième, basé sur une philosophie de la nature et une pensée mythique, qui engendre des formes biologiques ou organiques.Ce double parcours de la sculpture moderne fournit les axes non seulement de notre réflexion sur la sculpture, mais informe sur l’articulation réelle de l’exposition.D’un côté nous trouverons le Cubisme et le Futurisme, Dada et leConstructivisme, la sculpture inspirée directement de la peinture, et jusqu’au Pop Art et l’Art minimal; de l’autre lePrimitivisme, la figuration archaïque, l’abstraction organique, l’objet surréaliste, la sculpture “gestuelle” et jusqu’à farte povera et le post—minimal. Autour de ces deux axes seront réunies des pièces prestigieuses d’artistes reconnus comme Brancusi, Picasso, Gonzalez, Giacometti, Calder, Beuys mais aussi des oeuvres méconnues ou certaines quasiment inconnues en France comme celles de l’artiste américain David Smith par exemple.
L’acier corten
L’acier Corten est un acier auto-patiné à corrosion superficielle forcée, utilisé pour son aspect et sa résistance aux conditions atmosphériques, dans l’architecture, le paysagisme, la construction et l’art principalement en sculpture d’extérieur. L’oxydation de l’acier Corten se réalise en l’espace de six mois puis résiste dans le temps grâce à des produits de traitement de surface.
L’acier inoxydable, couramment appelé acier inox ou inox, est un acier (alliage à base fer) (comportant moins de 1,2 % de carbone) avec plus de 10,5 % de chrome, dont la propriété est d’être peu sensible à la corrosion et de ne pas se dégrader en rouille.
Initiated by modern sculpture of the twentieth century, which had cut ties with the techniques of the past like direct carving, modeling, low and high relief and classical materials like: stone, bronze, wood are left aside, although artists today still love to use these materials.
Shapes are made by assembling, gluing, performing mixed works, requiring the use of several different materials. These techniques offer endless possibilities.
We witnessed the emergence of an ephemeral sculpture, (land art or art in situ) closely combining a predetermined environment, in nature or urban context.
Sand, in particular, is popular : several major cities around the world have their own sand sculpture festivals, often performed by renowned artists.
The set up and position of sculptures is not to be neglected in the repertoire of contemporary sculptures: particular structure which allows the visitor to move inside its components, making it an interactive element within the work itself.
New materials appears: latex, clear plastics, textiles and recycled materials, giving a tremendous boost to sculpture and its creators.
Until the creation of Picasso’s guitar, first created in 1912, sculpture consists of removing material from a volume, in order to create a form. Moreover, the sculpture is essentially figurative, realistic.
With the guitar, Picasso does exactly the opposite. He creates a form, by adding matter; that is to say, by assembling materials to form a sculpture. The artist, with his new creation, would modify and renew this art, giving it a new impact, inspiring many sculptors, during the following decades.
At that time, the norm wanted sculpture to be made with materials that were said to be noble. The Spanish artist, on the other hand, uses new, salvaged materials: old cut sheet metal, cardboard, newspaper, wire, etc. This is what contrasts firmly with the usual normality. The guitar is a personal theme very important to the artist during the years 1912-1914, both in his artistic production and in his personal life.
He made numerous sketches and cubist studies, before creating his first sculpture on this theme. This is first made of cardboard, then the theme is taken up a few months later, in the form of a guitar built in cut sheet metal, assembled by welding, embellished with iron wire. All of course, with the cubist technique, decomposed and recomposed forms, in geometric plans.
It is from this work that art historians generally identify the birth of modern sculpture. Although significant, this step is only the beginning of a tremendous advance in this major art. Indeed, this starting point will allow great creators to push even further, ingenuity, curiosity and new ideas in sculpture, and to revolutionize ways of doing things. We will see some of these creators who emerged from these fertile years in artistic renewal. modern sculpture
Steel Sculpture
Steel sculpture really appeared during the 20th century. Prior to this period, other precious metals were commonly used in sculpture, the industrial revolution and urbanization will lead to a wider use of steel in the arts. Before that, bronze sculpture was preferred by sculptor artists when they were intended to be installed outdoors, bronze being a very resistant material also.
Unlike other metals, steel is easily manipulated at high temperatures to give it forms, when stainless, it becomes very resistant to the test of time and rust. This makes it the perfect ally for outdoor sculptures. This is also why it is frequently used during the 20th century. Steel sculptures adorn city squares and gardens.
Steel is often used as part of the creation of sculptures in contemporary art, often for monumental or large sculptures.
The bronze sculpture dates from the third millennium BC. It is therefore a very old technique, it has been able to take advantage of technical progress.
Originally, to create a bronze sculpture, the artist had to proceed in stages. The first step was to create a wax statue on which clay was added. As soon as this preparation was finished, everything was heated, which caused the wax to become fluid and flow.
Then, when all the wax had been completely removed from the clay mould, the hot bronze was poured into it. When the bronze had cooled down, all that remained to do was to break the clay mold to see the final sculpture appear.The color of the bronze being yellow, the sculptor is free to patinate his sculpture with different products (nitric acid, hydrochloric acid, sulfuric acid, etc.) to give it another hue.
Depending on the different cultures, there are some variations to this process. However, the process remains essentially the same.
Corten steel is a self-weathering steel with an artificial patina of surface corrosion, used for its appearance and its resistance to weather conditions, in architecture, landscaping, construction, and in art mainly in outdoor sculpture.
The oxidation of Corten steel takes place within six months and then resists over time thanks to surface treatment products.
Stainless steel, is a iron-based alloy steel, containing less than 1.2% carbon with more than 10.5% chromium, whose property is to be relatively resistant to corrosion and not to degrade into rust.
“Abstraction would be one of those paths. But it is a path that minimizes the abyss or chaos, and also the manual: it offers us an asceticism, a spiritual salvation. By an intense spiritual effort, it rises above figurative data, but it also makes chaos a simple stream that one must cross, to discover abstract and significant forms. »
G.Deleuze, Logic of sensation.
Translation from original text by Benoit Bucher de Chauvigne
