I almost forgot to post the rest of my madár sculptures. In fact, there may be more coming as I am preparing for a workshop in the fall. I made these sculptures with a different technique, the traditional layered paper mache strips. I like the results and am already incorporating the (to me) new method into the pulped paper sculpting. It will particularly be useful for delicate detail that might be prone to breaking otherwise.
Recently I delved into abstract painting, both on paper and canvas. One of the paintings ended up in a group exhibition about healing through art. During the experimental phase of my month-long project, it occurred to me that I could take some of the ideas, motifs and interesting elements, and apply them to my sculpture. I am very excited about the first piece presented here, and hope to develop it further.
Madár is the Hungarian equivalent of ‘bird’. In the Carpathian Basin bird is seen as a powerful symbol of freedom that has inspired many wonderful pieces of art and music. Brancusi was inspired by the folk tales and the symbolic magic bird, “pasarea maiastra” when he created his wonderful sculpture of the same name and another one, Bird in Space.
I hope to create more than one “madár” in the following months. I like the biomorphic approach very much, but am also thinking about using elements of Hungarian needlework.
I have tried something new on the finish, and am very happy with the looks.
Last weekend, while reading an art history book, I came across a familiar face, that of “The Thinker”. No, I’m not talking about Michelangelo’s Lorenzo de Medici or Rodin’s famous sculpture. I’m talking about Neolithic man’s version of “The Thinker”. Last time I saw it was in elementary school history class. Never thought of it ever since. And now there he was, with his companion piece, “Seated Woman”. I was impressed.
The two clay statuettes were found in 1956 in Cernavoda, Romania, in a tomb near the Danube. They originate from the Hamangia culture, an early farming society emerging in the sixth millenium B.C. They were found among other similar, but headless figurines. There seems to be no unanimous agreement on the age of the artifacts, various sources dating them somewhere between 2500 B.C. and 6000 B.C.
There are plenty of other statuettes from the Neolithic, but none of what I’ve seen so far show the level and care for form, gesture and emotional involvement of these figurines, clearly the work of an artist.
The woman is seated very casually, with her arms resting on one knee. Her robust thighs and hips show the usual Neolithic approach to femininity (i.e.fertility), but look at the well defined hands gently positioned on the knee. A very sensual and subtle portrayal of the woman indeed.
Can it get any better than this? Is sure can. The maker shows even more concern for the male figure. He is seated on a meticulously modelled realistic stool. Lost in thought, his facial expression and suggestive gesture show anguish and worry. The artist made a conscious effort to articulate his subject’s state of mind. If the statuette were to be used for religious ritualistic purposes, he needn’t do that. I suspect he made the figures for his own pleasure, like all artists do. The heavily stylized anatomy and the facial expression look very contemporary to us. The Thinker’s arresting presence conveys a feeling that perhaps what we are witnessing is one of the beginning moments of art. After thousands of years of progress, a lengthy but steady evolution, art has come full circle. Brancusi himself could have carved these figures!
This novelty is a Romanian coin dedicated to The Thinker:
The picture below shows a modern day copy of The Thinker and Seated Woman.
And lastly, this is my sculpture inspired by these two figurines. For more pictures follow the link: https://erikatakacs.wordpress.com/2010/03/10/evolution-new-sculpture/