2. Modern Art MovementModern Art Movement  artistic works produced roughly from the 1860s to the 1970s  usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation  experimented with new ways of seeing, and with fresh ideas about the nature of materials and functions of art  tendency toward abstraction is characteristic of much modern art

3. Constantin Brancusi Henry Moore Barbara Hepworth

4. Constantin Brâncu ş iConstantin Brâncu ş i  Romanian  1876 – 1957  Internationally renowned sculptor whose work blends simplicity and sophistication  led the way for numerous modernist sculptors

5. Brancusi’s Studio and Tools

6. The Sleeping Muse, 1910

7. Three Penguins 1911-12

8. The Kiss 1916

9. Bird in Space 1923 Marble

10. Bird in Space 1932-1940 Polished brass

11. A Muse 1918

12. Henry MooreHenry Moore  English  1898 – 1987  influenced by: Michelangelo, Gothic art, Pre-Columbian art, and Toltec-Mayan art  felt a sense that art should return to its pre-cultural and pre-rational origins  specializes in abstractions and organic shapes

13. Henry Moore’s StudioHenry Moore’s Studio

15. Seated Woman 1959

16. Reclining Figure: Arch Leg, 1970Reclining Figure: Arch Leg, 1970

17. Gosslar Warrior, 1974Gosslar Warrior, 1974

18. Henry Moore's Large Two Forms, 1966Henry Moore's Large Two Forms, 1966

19. Oval With Points 1970

20. Internal External Form 1981-82

21. Knife Edge Two Piece 1965

22. Three Piece Reclining Figure: Draped, 1975

23. Barbara HepworthBarbara Hepworth  English  1903-1975  abstract form, not representational in origin  worked both in wood and stone  described the excitement of discovering the nature of carving as a source of inspiration in her work

24. Barbara Hepworth’s StudioBarbara Hepworth’s Studio

27. Monolith Empyrean at the Kenwood House

28. River FormRiver Form

30. Pendour

31. Activity  Using a subtractive plaster carving process, you will create a 3D abstract sculpture with open areas and texture.  Research abstract sculptors, record your research in your sketchbook.  Mix and mold your plaster block.  Begin planning and carving your plaster.

33. Mixing Plaster 1.Fill container about ½ way up with warm water 2.Sift plaster powder in slowly. Continue until there is a "little mountain" that rises in the middle. Sprinkle in a few more teaspoons around the sides. 3. * Stir the mixture slowly with the stick without lifting it from the carton to keep as many air bubbles out as possible. Check the stick several times to see if any lumps appear at the end of it. Stop when the stick shows only a smooth, stirred mixture. 4.Tap the container on the outside from the bottom upward many times to release air bubbles. You can see them popping. 5. * Set containers aside to harden.

34. Must be open areas you can see through Interesting from all view points Texture added Remember the Requirements CARVING Safety First: please wear safety glasses & face masks

35. Using the artwork you researched as inspiration, sketch your design onto your plaster block. Be sure your design carries around the entire block. Using a fettling knife start carving to open the piece so that you may see through it. Round off some of the edges a little at a time… Remember: once the shape is cut, that piece is gone forever… you can’t add it back in later, work slowly

36. Make shapes come forward (by cutting away whatever is around it) or recede (by cutting it back)

37. While the initial work is continuing, the block is kept wrapped in very damp paper towels, and placed in a plastic bag until it is needed again.

38. TEXTURE ADDS DETAILS TO SCULPTURE Can become part of the entire surface of the sculpture or be especially limited to particular areas.

40. Tips  Keep the block wrapped in very damp paper towels and a plastic bag between classes.  Soak plaster in warm water to soften and ease carving process.  Work from general to specific when sculpting – keep the form strong by having it generalized.  Sculpt and carve the plaster EVENLY throughout the process. If you have finished a fine detail area then work on an unfinished section you run the risk of breaking fragile areas.