Word: sculptor
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Dates: during 1960-1969
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...rough, totemlike affair with tongues sticking out of round windows. The other is an intricate structure of surprise ledges, dangling icicles and yawning caverns. "This is an age," says Martin, "in which the individual artist-an anarchist-fixes his own rules. Today one must be sorcerer as well as sculptor...
...churches, Belluschi (a Roman Catholic who has worked as well for Lutherans, Episcopalians and Jews) is responsible for the inclusion of such traditional equipment as candlesticks and crucifixes, calls in such modernists as Sculptor Richard Lippold and Painter Gyorgy Kepes to help. He demands that artists use materials both as contemporary as stainless steel and as old as cathedral glass, to give the church traditional richness and warmth of color. In searching for the most modern solution, he has lately returned to the earliest Christian prototypes: Portsmouth Priory's Church of St. Gregory the Great repeats in its octagonal...
Roman Gods & Abe Lincoln. Originally, the city fathers had no grand design in mind.One of their first purchases was made in the early 1800s to decorate the city waterworks, and it consisted of wooden figures by William Rush, the famous carver of ships' figureheads. From Sculptor Randolph Rogers in 1871 came a statue of Lincoln. In 1887 Alexander Milne Calder, grandfather of the mobilist, did an equestrian bronze of Philadelphia's Civil War hero, General George Meade. Frederic Remington produced a Cowboy; Daniel C. French did an idealized female Justice; Augustus Saint-Gaudens carved a bust of President...
...been successively a poet, philosopher, self-proclaimed political reactionary, militarist, and pet lion of his own literary salon. A huge, indolent man of lightning intelligence and wit who combined a Prussian officer's bearing with a contagious charm, Hulme was perhaps best described by his sculptor friend Jacob Epstein when he wrote: "He was capable of kicking a theory as well as a man downstairs...
...destiny," man's only means of asserting himself in a meaningless universe. He equates sacred and profane works of art by arguing that both aim at "defeating the tyranny of Time": though Vermeer "had no intention of imparting to his Maidservant that morsel of eternity which the Egyptian sculptor imparted to his Zoser, he may well have wished his picture of this girl to enter into a world akin to that of the Pharaoh's statue...