Word: sculptor
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Moore, widely regarded as the foremost British sculptor of the century, created the work at his foundry in Nowack, Germany, in the early 1970s as part of an edition of seven identical sculptures. The sculpture, which is six feet high, is cast in brass with a gold patina...
Within a few months her life changed again. She began keeping company with Don Gummer, a sculptor friend of Third, a tall, dark-haired fellow in his early 30s, who had graduated a few years before from Yale's School of Art. After a couple of months the two were married, and late in 1979 Henry Wolfe Gummer, called Gippy, was born. When she was in England during the next spring and summer portraying the unhappy outcast Sarah, she was, in fact, a contented young mother, who breast-fed her baby during lunch break. Her husband stayed with the film...
...others', was a source of inexhaustible fascination to him, and the erotic fury one often senses in his squeezing and manipulation of the clay was by no means a metaphor. One of his friends recorded a conversation with Rodin in his old age, as the sculptor talked about an antique copy of the Venus di Medici that stood in his studio: "He spoke in a low voice, with the ardor of a devotee, bending before the marble as if he loved it. 'It is truly flesh!' he said, and beaming, he added: 'You would think...
...myth of Pygmalion and Galatea (the sculptor falling in love with the figure he had carved) had vast resonance for Rodin; in his marble Pygmalion and Galatea, 1910, the girl emerging from the stone seems literally shaped by the carved sculptor's own passion, as though the contrasts between consciousness and dream, body and effigy, art and life, subject and object could all be packed into one erotic metaphor. No wonder that when he made his image of The Sculptor and His Muse (circa 1890), the Muse's hand was laid encouragingly on the sculptor's genitals...
Those who found him inspiring were right. Those who find him inhibiting are also right, for Rodin was a man of 19th century amplitude and not 20th century doubt. What sculptor, today, could one expect to possess such reserves of feeling, such an indifference to the errors of his own fecundity, or so unrestrained a tragic sense? To compare him with Michelangelo is not, in the end, impertinent, for Rodin was one of the last artists to live and work in the belief that making sculpture-despite the potboilers and failures in his output-was a moral act, that...