Sculpture Giacometti & Degas
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In any analysis of sculpture, the viewer must necessarily be limited in his or her appreciation of the piece without viewing it firsthand, on display, with the ability to feel the presence of the sculpture while being able to freely orbit the entire piece and view it from multiple angles. The advent of the Internet does allow for a more realistic, three-dimensional presentation of the piece at hand than traditional art books, photographs, or drawings. Still, the viewer must ask himself or herself questions about the work whether viewing it in person or through the means of technology. For example, What was the artist trying to accomplish?, How do I perceive this piece?, What would the piece be like in a different environment?, and What motivated the artist to choose this particular subject to sculpt? Are just a few of the question typically asked. If we look at two sculptures, Alberto Giacometti’s Spoon Woman and Edgar Degas’ Dancer, and ask some of these questions, our analysis will take on more depth and hopefully shed more insight into the works and their creators. The Spoon Woman is an early work by Giacometti, a sculptor who was heavily influenced by African and Oceanic art. The Spoon Woman immediately captures the eye from the way light reflects off of its black bronze surface. The Spoon Woman has the following dimensions: 145 x 51 x 21 cm (The Spoon Woman 1). Woman appears to be a piece of assimilation in that its different se
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and styles in The Spoon Woman, from the theme and tone of the piece to the surreal yet cubist nature of its design. The sculpture is freestanding and would truly take on additional symbolism with some kind of African motif as background. The metal looks like it has been highly polished from the way it reflects light. More than anything else, the primitive nature of the sculpture and the way in which the large, oversized spoon shape equates to the womb, the piece definitely gives off the connotation of primitive fertility.
In looking at Edgar Degas’ Dancer, we could not find more of a contrast to Giacometti’s symbol of stone-age fertility. For Degas’ Dancer first and foremost gives off the impression of civilized, innocent, WASP-ish myths of perfection and idealized beauty. As white as white culture gets, Degas’ dancer stands head slightly thrown back, chin raised, mouth open. Clothed in a cotton gauze skirt, her hands are clasped behind her back. Her legs, sculpted to show the regimen of dance, timidly peek out under her skirt with her right leg extended, foot placed sideways. This pose captures a movement precisely made in time, but gives the sculpture a feeling of life almost as if the dancer could step down from her pe
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Some common words found in the essay are:
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Approximate Word count = 1431
Approximate Pages = 6 (250 words per page)
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