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Updated: May 10, 2025
Donatello made no answer, but sat awhile, appearing to follow with his eyes one of the figures, which was repeated many times over in the groups upon the walls and ceiling. The sculptor's eyes took a similar direction, and soon began to trace through the vicissitudes, once gay, now sombre, in which the old artist had involved it, the same individual figure.
In the whole work, so far at least as appears in a profile view, there is nothing to mar our pleasure. The sculptor's hand has responded cunningly to his beautiful thought. It is a pity not to be able to illustrate another group of Attic sculptures of the late archaic period, the most recent addition to our store.
Their essential characteristics, their strong mass, bulky without clumsiness, are made present and convincing in these two statues by A. Phimister Proctor, a master of animal sculpture. There is good reason for the living and sharp aspect of these plaster models. They are not copies of the permanent statues; they are the sculptor's own original plasters from which the permanent pieces were cast.
I had listened to the Sculptor's brief account of his friend's progress with calm attention, but it had not altered my opinion of the man or his genius. None of it really interested me except that somebody beside myself had found out the lad's qualities for to me he is still a lad.
As her mind became inert, sleeping on a downy couch of forgetfulness, closely curtained, the silent forces of physical life, in her deep tranquillity, were doing an artist's work. The hollow cheeks were gradually rounded and given the faintest possible bloom. Her form was gaining a contour that might satisfy a sculptor's dream.
There is also a work of sculpture near it, in the same wall, which draws away the eyes Donatello's "Annunciation". The experts now think this to belong to the sculptor's middle period, but Vasari thought it earlier, and makes it the work which had most influence in establishing his reputation; while according to the archives it was placed in the church before Donatello was living.
And when at last his stock of expletives became, for the time being, exhausted, and when Miss Tabitha's dumb viciousness had, like an invisible sculptor's chisel, carved sudden deep lines in her face as fitting accompaniments to the deepening malice of her thoughts, they all rose from the luncheon table and went their several ways in their several moods of disconcerted confusion, impotence and vexation, in search of fresh means to gain new and unexpected ends.
But of late, as he remarked to Kenyon, a sort of strangeness had overgrown them, like clusters of dark shrubbery, so that he hardly recognized the places which he had known and loved so well. To the sculptor's eye, nevertheless, they were still rich with beauty.
Not long after he found the Cervins' door open as he passed, and in the passage saw a group of people, mostly men; Montjoie in front, just lighting a cigar; Louie's black hat in the background. David hurried past; he loathed the sculptor's battered look, his insolent eye, his slow ambiguous manner; he still burnt with the anger and humiliation of his ineffectual descent on the man's domain.
Salvestro, a jeweller, and Filippino Lippi, the painter, were of opinion that the neighbourhood of the Palazzo should be adopted, but that the precise spot should be left to the sculptor's choice. Gallieno, an embroiderer, and David Ghirlandajo, the painter, suggested a new place namely, where the lion or Marzocco stood on the Piazza.
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