32:
396:
350:
373:
334:
284:"Monumental sculpture" is still used within the stoneworking and funeral trades to cover all forms of grave headstones and other funerary art, regardless of size. In contemporary art, however, the term is used to refer to all large sculptures regardless of purpose, and also carries a sense of permanent, solid, objects, rather than the temporary or fragile assemblages used in much contemporary sculpture. Sculptures covered by the term in modern art are likely to be over two metres in at least one dimension, and sufficiently large not to need a high
308:
17:
187:
63:, but not always consistently. It combines two concepts, one of function, and one of size, and may include an element of a third more subjective concept. It is often used for all sculptures that are large. Human figures that are perhaps half life-size or above would usually be considered monumental in this sense by art historians, although in
182:
is an example of a tradition of monumental sculpture in wood that would leave no traces for archaeology. The ability to summon the resources to create monumental sculpture, by transporting usually very heavy materials and arranging for the payment of what are usually regarded as full-time sculptors,
177:
and art history the appearance, and sometimes disappearance, of monumental sculpture (using the size criterion) in a culture, is regarded as of great significance, though tracing the emergence is often complicated by the presumed existence of sculpture in wood and other perishable materials of which
138:
of the south portal the sculpture of
Moissac becomes truly monumental. It is placed above the level of the eye, and is so large as to dominate the entire entrance. It is a gigantic semi-circular relief ...", size is certainly the dominant part of what he means by the word, and Schapiro's further
147:
It is only in wealthy societies that the possibility of creating sculptures that are large but merely decorative really exists (at least in long-lived materials such as stone), so for most of art history the different senses of the term cause no difficulties. The term may be used differently for
120:
The most overworked word in current art history and criticism. It is intended to convey the idea that a particular work of art, or part of such a work, is grand, noble, elevated in idea, simple in conception and execution, without any excess of virtuousity, and having something of the enduring,
139:
comments suggest that a lack of "excess of virtuousity" does not form part of what he intends to convey. Nonetheless, parts of the Murray's concept ("grand, noble, elevated in idea") are included in his meaning, although "simple in conception and execution" hardly seems to apply.
125:
However, this does not constitute an accurate or adequate description of the use of the term for sculpture, though many uses of the term that essentially mean either large or "used in a memorial" may involve this concept also, in ways that are hard to separate. For example, when
372:
492:
definition only refers to "Very large, comparable to a typical monument in massiveness", but the notes below on the many reference works consulted give a range of different emphases on size and function.
160:
are titled as follows: "Monumental
Sculpture to c.1300", "Monumental Sculpture 1300–1600", "Free-standing Sculpture c.1600–c.1700", "Forms in Space c.1700–1770", "Sculptures and Publics" (1770–1914).
395:
97:, and expressions of the power of a ruler or community, to which churches and so religious statues are added by convention, although in some contexts monumental sculpture may specifically mean just
152:
and the early 20th century: for ancient and medieval sculpture size is normally the criterion, though smaller architectural sculptures are usually covered by the term, but in the
156:
a specific funerary function may be meant, before the typical meaning once again comes to refer to size alone for contemporary sculpture. The relevant chapters in Parts 2-4 of
349:
272:, never resumed the use of monumental figurative sculpture, whether in religious or secular contexts, and was to ban even two-dimensional religious art for a period in the
489:
89:
of some sort, and therefore capitals and reliefs attached to buildings will be included, even if small in size. Typical functions of monuments are as grave markers,
216:
disturbed many ideas held about early
Chinese civilization, since only much smaller bronzes were previously known. Some undoubtedly advanced cultures, such as the
521:
264:
brought a halt to religious monumental sculpture in the regions concerned, and greatly reduced production of any monumental sculpture for several centuries.
108:
The third concept that may be involved when the term is used is not specific to sculpture, as the other two essentially are. The entry for "Monumental" in
333:
577:
307:
600:
31:
408:
603:, blogpost by Joseph Taylor McRae, Lecturer in Computer Games Arts and editor of Art/Games Journal, published on May 25th, 2016, by the
534:
224:
seems to have progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as
Ancient Egypt and the
85:
The term is also used to describe sculpture that is architectural in function, especially if used to create or form part of a
574:
518:
588:
630:
566:
510:
220:, appear to have had no monumental sculpture at all, though producing very sophisticated figurines and seals. The
67:
a rather larger overall scale is implied. Monumental sculpture is therefore distinguished from small portable
36:
503:
The Silent
Rhetoric of the Body A History of Monumental Sculpture and Commemorative Art in England, 1720–1770
236:
When a culture ceases to produce monumental sculpture, there may be a number of reasons. The most common is
228:, seem to have devoted enormous resources to very large-scale monumental sculpture from a very early stage.
440:
113:
27:
Abbey; a classic example of what is meant by "monumental sculpture" in ancient and medieval art history.
241:
604:
217:
225:
421:
135:
261:
257:
635:
359:
245:
221:
655:
273:
269:
201:
8:
153:
40:
650:
601:"Monumentally Virtual, Ephemerally Physical: Directions in new sculpture and new media"
529:
183:
is considered a mark of a relatively advanced culture in terms of social organization.
121:
stable, and timeless nature of great architecture. ... It is not a synonym for 'large'.
524:
626:
570:
562:
514:
506:
463:
237:
205:
546:
382:
64:
324:
102:
527:
of the website of the Church
Monuments Society. For contemporary sculpture, see
618:
448:
444:
340:
127:
20:
644:
317:
313:
265:
197:
90:
60:
16:
293:
98:
401:
249:
149:
56:
289:
213:
209:
190:
179:
174:
253:
186:
363:
204:
probably dates to the 3rd millennium BC, and may be older than the
94:
86:
68:
44:
168:
131:
79:
24:
447:
as "one of the largest groups of monumental carving in
Spanish
285:
75:
407:(2003). Jamaica's national monument to the Emancipation from
386:
72:
288:, though they may have one. Many are still commissioned as
381:, concrete (1989), a contemporary monumental sculpture, by
321:
260:. Both the rise of Christianity (initially) and later the
501:
For examples, concerned with funerary sculpture only are:
268:, which had largely avoided the societal collapse in the
231:
460:
439:
For example, none of the figures in sculptures at the
43:, the term may mean specifically sculptures that are
148:
different periods, with breaks occurring around the
130:, after a chapter analysing the carved capitals at
462:
535:"Arts role in government architecture is explore"
256:, usually religiously motivated, as followed the
642:
443:are larger than this, and they are described by
142:
208:. The discovery in 1986 of an ancient Chinese
169:Appearance of monumental sculpture in a culture
537:by Helen Harrison. All accessed April 29, 2009
599:See for example, several uses of the term in
461:Peter and Linda Murray (1968). "Monumental".
379:Elogio del Horizonte (Eulogy to the Horizon)
523:, and several of the titles covered on the
561:, p. 9, Cambridge University Press, 1981,
623:Selected Papers, volume 2, Romanesque Art
185:
30:
15:
490:Art & Architecture Thesaurus Online
35:Medieval and Renaissance wall tombs in
643:
625:, 1977, Chatto & Windus, London,
232:Disappearance of monumental sculpture
279:
240:, as in Europe during the so-called
327:excavated and restored in the 1990s
13:
636:Contemporary monumental sculptures
557:See for example Martin Robertson,
343:in Latvia by Ļevs Bukovskis (1967)
14:
667:
163:
158:The Oxford History of Western Art
394:
371:
348:
332:
306:
465:A Dictionary of Art and Artists
212:8.5 foot tall bronze statue at
110:A Dictionary of Art and Artists
593:
582:
559:A shorter history of Greek art
551:
540:
505:, by Matthew Craske, Yale UP,
495:
482:
473:
454:
433:
37:Santi Giovanni e Paolo, Venice
1:
612:
143:Meaning in different contexts
469:(Revised ed.). Penguin.
441:Santo Domingo de Silos Abbey
356:Płomienne ptaki (Fire Birds)
7:
415:
10:
672:
299:
605:Cass Sculpture Foundation
218:Indus Valley civilization
427:
422:Architectural sculpture
292:, often for placing at
178:no record remains; the
262:Protestant Reformation
193:
123:
114:Peter and Linda Murray
48:
28:
246:Classic Maya collapse
226:Easter Island culture
222:Mississippian culture
189:
118:
34:
19:
533:of August 30, 1981,
339:Soviet memorial for
274:Byzantine iconoclasm
270:Western Roman Empire
202:Great Sphinx of Giza
53:monumental sculpture
39:. In discussing the
154:Early Modern period
41:Early Modern period
530:The New York Times
252:. Another may be
194:
49:
29:
575:978-0-521-28084-6
525:bibliography page
519:978-0-300-13541-1
280:Contemporary work
238:societal collapse
206:Pyramids of Egypt
116:describes it as:
71:, small metal or
55:is often used in
663:
607:
597:
591:
586:
580:
555:
549:
544:
538:
499:
493:
486:
480:
477:
471:
470:
468:
458:
452:
437:
398:
383:Eduardo Chillida
375:
360:Władysław Hasior
352:
336:
310:
258:Muslim conquests
134:, says: "in the
103:church monuments
65:contemporary art
671:
670:
666:
665:
664:
662:
661:
660:
641:
640:
619:Schapiro, Meyer
615:
610:
598:
594:
589:NGA, Washington
587:
583:
556:
552:
545:
541:
500:
496:
487:
483:
478:
474:
459:
455:
451:". Schapiro, 29
438:
434:
430:
418:
411:
405:Redemption Song
399:
390:
376:
367:
353:
344:
337:
328:
311:
302:
282:
234:
171:
166:
145:
12:
11:
5:
669:
659:
658:
653:
639:
638:
633:
614:
611:
609:
608:
592:
581:
550:
539:
494:
481:
472:
453:
449:Romanesque art
445:Meyer Schapiro
431:
429:
426:
425:
424:
417:
414:
413:
412:
400:
393:
391:
377:
370:
368:
354:
347:
345:
341:Salaspils camp
338:
331:
329:
312:
305:
301:
298:
281:
278:
233:
230:
170:
167:
165:
164:In art history
162:
144:
141:
128:Meyer Schapiro
101:sculpture for
91:tomb monuments
82:and the like.
9:
6:
4:
3:
2:
668:
657:
654:
652:
649:
648:
646:
637:
634:
632:
631:0-7011-2239-0
628:
624:
620:
617:
616:
606:
602:
596:
590:
585:
579:
576:
572:
568:
567:0-521-28084-2
564:
560:
554:
548:
547:OUP Catalogue
543:
536:
532:
531:
526:
522:
520:
516:
512:
511:0-300-13541-6
508:
504:
498:
491:
485:
479:Schapiro, 201
476:
467:
466:
457:
450:
446:
442:
436:
432:
423:
420:
419:
410:
406:
403:
402:Laura Facey's
397:
392:
388:
384:
380:
374:
369:
365:
361:
357:
351:
346:
342:
335:
330:
326:
323:
319:
318:Easter Island
315:
314:Ahu Tongariki
309:
304:
303:
297:
295:
294:outdoor sites
291:
287:
277:
275:
271:
267:
266:Byzantine art
263:
259:
255:
251:
247:
243:
239:
229:
227:
223:
219:
215:
211:
207:
203:
199:
198:Ancient Egypt
192:
188:
184:
181:
176:
161:
159:
155:
151:
140:
137:
133:
129:
122:
117:
115:
111:
106:
104:
100:
96:
92:
88:
83:
81:
77:
74:
70:
66:
62:
58:
54:
46:
42:
38:
33:
26:
22:
18:
622:
595:
584:
578:Google books
558:
553:
542:
528:
502:
497:
484:
475:
464:
456:
435:
404:
378:
355:
283:
235:
195:
172:
157:
146:
124:
119:
109:
107:
84:
52:
50:
656:Art history
250:Mesoamerica
150:Renaissance
57:art history
645:Categories
613:References
488:The Getty
358:(1977) by
290:public art
214:Sanxingdui
210:Bronze Age
191:Maya stela
180:totem pole
175:archeology
23:portal of
21:Romanesque
651:Sculpture
254:aniconism
242:Dark Ages
95:memorials
69:figurines
61:criticism
51:The term
45:memorials
416:See also
366:, Poland
364:Koszalin
136:tympanum
99:funerary
87:monument
80:diptychs
409:Slavery
389:, Spain
320:, a 15-
300:Gallery
244:or the
132:Moissac
76:reliefs
25:Moissac
629:
573:
565:
517:
509:
286:plinth
200:, the
428:Notes
387:Gijon
385:, at
73:ivory
627:ISBN
571:ISBN
563:ISBN
515:ISBN
507:ISBN
322:moai
59:and
362:in
325:ahu
316:on
248:in
196:In
173:In
112:by
93:or
647::
621:,
569:,
513:,
296:.
276:.
105:.
78:,
47:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_-_Foto_G._Dall%27Orto_2_lug_2006_-_08.jpg)
