Sculpture in Literature and Film

Sculpture in Literature and Film

Sculpture is an ancient art form that dates back to some of humanity’s earliest civilizations. It involves creating works of art in three dimensions using various materials.

Sculpture is widely recognized as a form of art, with many artists dedicated to its creation. In this article, we’ll examine some of the different ways sculptural works have been utilized in literature and film.

Baudelaire’s Aesthetics

Charles Baudelaire is widely recognized as a prophet of modernity. His works have been interpreted and utilized in philosophy, critical theory, and the arts by thinkers such as Georges Bataille, Jacques Derrida, and Walter Benjamin.

Baudelaire is renowned for his critiques of the arts, particularly painting and sculpture. He had an influential impact on many contemporary artists including Henri Matisse. His works often take on a multidisciplinary approach encompassing poetry, prose, drawing, painting, and sculpture.

His poems explore the connection between body and soul. He addresses topics such as syphilis, sickness (evil), and despair, reflecting on his own struggles with these issues.

Baudelaire stood out among other writers of his time by not adhering to any particular artistic school. He appreciated both romanticism and realism equally, and introduced Edgar Allan Poe to France. Additionally, he took inspiration from Eugene Delacroix’s artwork, dedicating his major work Les Fleurs du Mal to Theophile Gautier.

He was not only a poet, but an art critic and translator of literature as well. His passion for translation inspired him to emulate other artists in their medium.

His aesthetics were a reaction to the various forms of mediation in his society, and they weren’t always positive. He wasn’t an admirer of newspapers and actually disapproved of photography as an industry.

He firmly opposed the vulgarity of new media technology, yet he wasn’t against all forms of it – it’s possible he saw some positive aspects too.

By the mid-nineteenth century, French intellectuals were grappling with how best to preserve their cultural heritage and were beginning to articulate a modernist consciousness. This book examines Baudelaire’s role in this movement and shows how his poetry helped reorient aesthetic sensibilities. It makes an invaluable addition to literature on Baudelaire’s aesthetics.

Clementina Anstruther-Thompson’s Psychological Aesthetics

Clementina Anstruther-Thompson wrote a series of essays in 1897 which explored the physical effects of art on humans. Originally published in Contemporary Review, these essays were later collected into 1912’s Beauty and Ugliness and Other Studies in Psychological Aesthetics.

Anstruther-Thomson’s work was an outgrowth of a growing aesthetics movement that highlighted the psychological impact of art on viewers. Her writings explored these empathetic responses viewers experience when exposed to various works of art, particularly sculpture.

She and Lee proposed that perceiving form sets off a cascading series of bodily reactions in which the body mirrors the structure in question. These can range from microscopic to macroscopic, often including feelings of desire, altered breathing patterns, balance issues and muscular tension.

Finally, Anstruther-Thomson and Lee’s theories were in conflict with a recently popular aesthetic theory known as physiological aesthetics. This school of thought asserted that aesthetic pleasure stems from facts about natural and sexual selection; further disputing the distinction between aesthetic sympathy and life-serving purpose by asserting they are intertwined in our perception of art – with aesthetic appreciation being experienced equally by both men and women.

Anstruther-Thomson’s arguments were based on her careful observations of her own reactions to various pieces of art. She kept a detailed journal that documented her thoughts on everything from Doric columns and visual patterns etched into Greek vases, to Renaissance paintings and church architecture.

Anstruther-Thomson’s unique talents for psychological aesthetics were evident in these observations. Her acute sense of aesthetic experience allowed her to feel the intensity of reactions she wrote about, providing insight into how art affects us physically and contributing to a greater understanding of how we respond to it.

Vernon Lee and Lene Ostermark-Johansen’s Movement Aesthetics

Vernon Lee was a significant literary figure who wrote both fiction and nonfiction works. Her work has been largely overlooked for decades, but her influence can be traced throughout the history of art criticism.

Her aesthetic fiction often centers on haunted, spectral objects that seem to possess an “essence.” However, Lee’s fiction does not destabilize matter itself but rather alters the impressions these objects create and the emotions they elicit in people’s minds.

She and Clementina Anstruther-Thomson conducted a series of experiments to test their hypothesis that aesthetics is affected by bodily movement. Their results can be found in their essay “Beauty and Ugliness,” published in 1887.

In addition to her essay, Lee also sent letters to European experimental psychologists seeking their feedback on her theories. Afterwards, she created a questionnaire and sent it off to the Fourth Psychological Congress in Paris as an invitation.

Scholars interested in Lee’s writings should turn to these correspondences for an invaluable window into her intellectual life and world view.

Lene Ostermark-Johansen is a Reader in English literature and art at the University of Copenhagen, with expertise on figures in aestheticism such as A.C. Swinburne, Oscar Wilde, Frederic Leighton, and most notably Walter Pater. She has published extensively on these figures throughout her career.

This book is an important contribution to aestheticism research. It presents a novel perspective on the connection between art and psychology, making it an essential addition to early modernist writers’ critical canons – especially those studying Vernon Lee.

Percy Bysshe Shelley’s Poetical Works

Shelley was an influential Romantic poet who produced a number of significant works that addressed themes related to love, nature, and politics. His works include Zastrozzi (1810), Queen Mab (1851), The Revolt of Islam (1862) and Prometheus Unbound – his retelling of Prometheus’ myth.

He was a poet who believed in the power of nature to bring about change and revolution. He advocated republicanism and parliamentary reform, advocating that women should have the vote. Additionally, he wrote many articles critical of religion and the church.

His first book was the Gothic novel Zastrozzi, published in 1810. After moving to London, he met Leigh Hunt and other members of London’s literary and political world that would become his circle.

Shelley achieved great success with poetry, yet never received the recognition he deserved during his lifetime. Although a revolutionary political thinker, his views were often attacked by those around him.

However, he produced several notable works, such as Laon and Cythna (which depicted incest and attacks on religion). Additionally, he wrote The Revolt of Islam and his first major poem Alastor.

Shelley’s early works incorporate nature with human virtue. He employs symbols like the tree of life and heart to symbolize humanity’s struggle for human flourish.

Shelley’s works possess a mystical quality that draws readers in. As an accomplished poet and writer, his words have had an immense impact on many – such as Edgar Allan Poe, Charles Dickens and William Shakespeare.

Henry Ford’s Shelley Memorial

Ford, a prominent figure of the so-called New Sculpture movement, created the stunning shelley Memorial sculpture which can be seen today at University College Oxford within a dome tempietto. This work consists of two elements: an idealized effigy in white Carrara marble and an allegorical base made out of dark green bronze.

Lady Shelley, the widow of Percy and Mary Shelley’s son Percy Florence, commissioned this sculpture which was originally intended to be placed in the Protestant Cemetery in Rome where Shelley is buried, but due to its size it ended up at University College instead.

At the time, Ford was a leading figure in the British New Sculpture movement, which sought to create naturalistic artworks. His style was distinguished by restraint and refinement and employed various polychromatic materials such as copper, silver and brass for his pieces.

Contrasting with Rodin’s rough and expressive style, Ford’s work is refined, dainty, elegant – striving for grace and decorativeness rather than passion and force. This description holds especially true for his Shelley Memorial piece which was intended for a smaller setting than most of Ford’s other pieces and whose subject matter required more restrained expression.

Ford’s sculpture of Shelley activates the poet’s poetic Platonism through play with light and shadow. As such, it allows new political and homoerotic readings of Shelley’s works – contributing to a distinct fin-de-siecle reception of Romantic poets. Furthermore, we can explore nineteenth-century attitudes toward male poetic bodies as well as Victorian classicism’s aesthetics through this medium – essential perspectives in understanding how sculpture can influence how writers or artists are viewed whether in literature or film form.