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Baroque Sculpture Remarkably: baroque sculpture remarkably Sculpture.—baroque sculpture remarkably sculpture of the 17th and 18th centuries, despite its essential architectural function, was replete with lively movement and pictorial in nature. Figures moved, flew, or were contorted in agony. Abundant draperies fell in tortured folds or were swept by the wind. Figures in histrionic poses were made more dramatic by vivid light and dark contrasts produced by pronounced undercutting or deep indentations.
Antoine Coysevox (If 1720) and Francois Girardon (1628-1715) j duced classicizing garden and fountain sculpl for the park at Versailles, dramatic tombs the regent cardinals (that of Richelieu by Gil don, that of Mazarin by Coysevox), and lifei portrait busts somewhat in Bernini's flamboy manner. Their decorative reliefs in the Lou and at Versailles also manifest influence of great Italian. Though France produced no sen tor of quite the rank of Bernini, the quality French baroque sculpture remarkably sculpture was remarkably hi] especially in the 18th century.
For most sculpture soft, rather diffused light is agreeable, but some boldly undercut work as in the baroque sculpture remarkably style, gains force and dramatic effect when illuminated by a shaft of direct light, or spotlighted. Sculpture made for an open air setting must take into account the varied effects of light that will be encountered. This sculpture is apt to be broad in execution with little attention to subtle detail, and to exhibit very strong outlines, for under many Lighting conditions such a work is seen chiefly in silhouette. |
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