The theme of this Ube City outdoor sculpture exhibition was decided by the committee to be “shape and color.” About that, I would like to write something that I usually think about the shape and color of the sculpture, and use it for something for the general public.
This is the place where there is Britain’s Henry Moore, who should be called a prominent master in contemporary sculpture. The first thing a sculptor needs is a sense of shape. At this time, Henri Moore calls the shape shape. And the sense of shape refers to the material, such as wood, iron, pottery, stainless steel, and other new materials, but the sense of this material is, after a while, the proportion and shape of the shape. I can say that there are two things: the sense of proportionality of the size and the sense of balance and balance of quantity. Kotaro Takamura says that what is important for sculpture is proportionality, equilibrium, and movement (movement, moveman). It is said that. It seems that something like a sense of shape is something that is difficult to say, but it is obvious from our daily life that we cannot walk if the length of both legs is disjointed, and that of the diagonal body You can’t walk to the end. If we have a slanted body, we will fall.
It goes without saying that this sense of shape is not only necessary for the sculpture, or sculptor, but also for the architecture, or for the architect, and for everyone. It is here that I am in a trip to Italy praising the beautiful proportions of the overall shape and the layout of the windows of the Italian 16th century architect Andrea Palladio (1518-1580). Needless to say. The Palladio is a architect who built San Giorgio Maggiore and many churches and palace buildings along the canals of Venice, creating the classical Palladian style and giving birth to many paradians.
Paul Klee (1879-1940) traveled to Italy from 1901 to 1902, and it is clear if you read “Klee’s Diary” about it, but here in terms of architecture only Paul Klee Said that he went to Italy to understand what architectural things were for the first time. In a diary in December 1903, “When I learned to understand the art of architecture in Italy, I gained profound benefits. Architectural construction is practical, but nevertheless This art, like any other kind of work of art, has the same level of purity as its three-dimensional organism was a sacred school for me. This is formal, but it is indispensable to prepare for higher order, and if we understand the numerical concept of the organism, natural research becomes easier. properly takes place in. “
also, at the other, clay is” Italy, if I understand the architectural ones. now, it will say constitutive ones, in which, I abstract art The next goal is to match or at least collaborate architectural and poetic paintings.”
In the case of Klee, at the same time as the Italian architecture, the Tunisian oriental architecture, which was founded in 1914, is another major turning point. Although there is an oriental architectural style with the shape of a sphere and a dome, Kre’s architectural or constructive abstract form appears in Kle’s work, which, in collaboration with poetry, I don’t think that the fantastic painting of is formed.
Here, the story shifts from a Palladian quadrangle (roughly speaking) to a sphere to a semicircle, even though the shape is the same. It goes without saying that in addition to circles, spheres, and semi-circles, there are countless other shapes around us. And it goes without saying that among those shapes, there are shapes that I like, and shapes that I like and dislike. It’s good for each person, and their favorite shape is deeply connected to their psychology and emotions. Children make mud dolls that adults don’t understand and paint again. The first pictures of many children start with a circle. It is said that this psychologically leads to an unforgettable reminder of the feeling of the mother’s breast. In addition, the circle is an important molding element for painting and sculpture. It is a well-known word that Cezanne says that nature is made up of cylinders, but circles, triangles, and cylinders have been an important component of molding since the Middle Ages of Europe.
By the way, Henri Matisse, who was said to be the king of Forvism, was impressed with the shape of the African Negro sculpture he had bought at the beginning of this century. And then, in one journalist’s interview, it said that it was more beautiful than the Greek classical sculpture, which elicited my emotions. This means that after the Renaissance, the ideal shape of the human body was made beautiful, while the African Negro sculpture is more primitive and more impressing to Matisse. Henry Moore also says that when it comes to primitive art, the general public thinks that it is an unfinished and crude thing, but it is not, it is a prototype that directly impresses humans. This African sculpture was gathered around this time by writers of Picasso, Brack, Doran, and others, and this is an African sculpture that soldiers had looted from the Belgian Congo and elsewhere-the Fetish (for Africans). It was something of worship), but Matisse was impressed by Matisse, Picasso was impressed by Picasso, and from there, new molding elements were taken. Matisse held the “Academy Matisse” in Paris from 1908 to 1111, and Nara Stin attending it noted Matisse’s thoughts on the following art: I will.
”Look at your proportions first, don’t miss it. But what exactly is the measured proportion unless it’s confirmed by inspiration, and it’s not an expression of the physical character peculiar to the model? It’s useless.”
Here, the form I originally called shape is form. Regardless, Picasso had the following praise for the female body of the French classicist leader Angle Jean Auguste Dominique (1780-1867): “Angle disliked human anatomy and was satisfied simply by considering the curved surface of the model without taking into account the internal structure of the human body. It’s blamed and rounded the relationship.” Like
this Picasso angle commentary , Angle’s female torso (eg, “Grand Odalsk”, 1814, Louvre Paris, Paris) is actually It is much longer than that, and nevertheless does not give such unnaturalness to those who see it, “The beautiful line of back meat flows in a rhythm from the right shoulder to the toes of the left foot” (Heibonsha) , Complete collection of world art), it is well understood that it follows the direct tactile sensation of the female body freed from the classical canon (norm), despite being called the classicism of Angle. It is called Angle’s primitivism, which is the same modern form of sensation as Henry Moore’s primitivism, Matisse’s emotions and emotions, and “must be confirmed by emotion.” Here, for example, when you think of the long torso of a Modigliani nude, you can see that the nude Modigliani has a visual and tactile modern sensation.
By the way, even if a sculpture is a shape, its character, rather than its mass, is related to how the composition of shapes governs space. In other words, it can be said that it is the atmosphere space where the sculpture dominates. And I say that modern sculptures now show diverse personalities, with pioneers like Gabo and Pevsnell showing the tendency to architecturally control space by abstract forms. It will soon be seen in the Ube City Contemporary Sculpture Exhibition.
Of course, it goes without saying that there is a direction of modern sculpture such as Henry Moore and Henri Laurence, and other modern sculptures have various experiments with new materials. But, in short, it is the relationship between the composition of form and space. And it is a matter of course that this is the vision that the writer’s thought behind is.
What do you think when you think about the color of the sculpture and take a quick look? It goes without saying that sculpture, which is currently called a three-dimensional work, has its own color as long as the material is used. However, the material does not seem to be a color because it has the important role of the sculptor, which is important for the sculptor to seduce the sculptor and compose his visiono with the material. .. If you abstract the material such as color, you must be scolded by the sculptor. It is connected with all the properties of the material and the sculptor’s vision, such as the material’s hard, soft, warm, cold, sharp drip, transparent and opaque.
When there is Maillol, a friend of a young painter tells us that sculptures have to do with the form of shapes, but paintings have to do with the form of color. Even Rodin, Mayor, Bourdelle, Morie Ogihara, Kotaro Takamura, and Yuzo Fujikawa have never consciously painted their own sculptures, and modern sculptures after Rodin did not paint their work It is safe to say that you refused. Even the abstract sculptures after Brancusi, Brancusi, Henry Moore, Gabo, and Pevsnell refuse to paint. However, it goes without saying that the fascination of the material as a result of the casting technique of those works and the coloring of the whole are different, and the fascination of the material must be added. It is undeniable that since the casting technology of our country developed after the Meiji period, it was difficult to understand the casting technology of France and Italy and the sculptures of its craftsmen, and as a result, the sculpture was made even more unattractive. Because my house is near the coast, the fascinating dark brown coloring of the bronze sculpture of cows received from Spanish sculptor Sera disappeared before I knew it, but Hakone The color of the painting by Henry Moore’s masterpiece at the Museum of Sculpture, originally due to sulfur and sea breeze, was the fascinating light brown sculpture’s skin that had been discolored before I knew it. , It is a good example of carving technology that matches the character of the work. Perhaps it was the color sculptures that began to actively participate in contemporary sculpture, with Picasso and Black using Papier Colle in 1912, such as in Picasso’s “Still Life” (1914) in his paintings. It can be said that it started from the participation of Opgier who was experimented with, the relief, and the process of becoming a three-dimensional structure. Currently, color is actively participating in the three-dimensional works that are part of this series of ideas. Other artists, such as Marino Marini of Italy, actively use pictorial elements to make the skin of the sculpture captivating and pictorial.
However, aside from prehistoric Stonehenge (UK) and the stones of the Holy Body of Japan, the colors of European and Christian sculptures from Egyptian and Greek sculptures and Buddhist sculptures of Japan are now stripped. Even so, I am collaborating with painting. This tradition remains in Japanese wood carvers. Before seeing Oita, I saw a wooden sculpture that was displayed without clothes at a temple treasure exhibition in Toji, Kyoto, which was held in Takashimaya, Tokyo. I was marveled at the tough beauty of the simplified figure form of. It goes without saying that I was amazed at the fresh sense of the sense of shape that is important to humans of Japanese Buddhist masters.