A Study of the Martyrdom Altarpiece

"This paper will explore an unstudied fifteenth-century English alabaster altarpiece referred to as the Martyrdom Altarpiece. Based on dated and current scholarship, this analysis postulates two scenarios of the object's history. The first scenario postulates the Martyrdom Altarpiece as being commissioned by the Carthusian order. This position is based on stylistic and iconographic readings of the object that correlate with Carthusian analogs. These interpretations are strengthened by documentation sold with the Martyrdom Altarpiece during its 1978 auction sale. Scenario two argues that the Martyrdom Altarpiece's origins are not Carthusian, furthermore suggesting that the object is a composite or truncated piece"

Sculptures by Herbert Haseltine of champion domestic animals of Great Britain / Presented to Field Museum by trustee Marshall Field.

no.13(1934)

As dicotomias peso/leveza e forma/ideia na escultura : a desmaterialização progressiva do objecto artístico

The dichotomies Weight/Lightness and Form/Idea formed the theory and the practice of Art, existing a correspondence between them. The weight exists thanks to the existence of a form that is made of matter; in the other hand, the lightness comes from the idea that is always present when the creation exists. This dichotomies were always interconnected during the centuries, and there are variations in relevancy of form and/or idea. In sculpture´s tradition, the physical weight was a essential reality, and the idea of sculpture, without the immaterial side was underlined to the form. During the centuries, new artistic approaches were born and re-born focused on the frailty, lightness and idea of the artistic object, fact that came to cancel the classic notion of work of art. The concept of image became the focus of the esthetical experience of the subject, which alone, tended to substantiate the artistic object itself. In the same way that lightness, when taken to the extreme, and despite the tridimensionality materiality of the object, begun to relate the art with the own action of the body, the gesture of the artist, rising both to the status of art

A escultura como expressão pública da cidadania : a monumentalização da cidade de Almada entre 1974 e 2013

Tese de doutoramento, Belas Artes - Especialidade de Escultura, Universidade de Lisboa, Faculdade de Belas Artes, 2016

A expressão arquitétónica na escultura moderna

This dissertation seeks to map out a route in sculptural production and artistic modernism, through the questioning of some of the different ways of approaching the concept of sculpture and architecture that were explored during the twentieth century. Based on the concepts of sculpture, architecture and space — which are proposed as a complementary perspectives to the analysis of our study object — a reflection is develop, in which explores the tension between a sculptural model and an architectural model. This research aims to identify and understand some presences of architectural expression in Modern sculpture. In this context, we will see that this has influenced other movements to the present day, but also a result of a historical situation. The relationship between sculpture and architecture has taken different forms and functions over time and the means of technological and industrial production were seen as a way of transformation of twentieth-century art. The first part of this dissertation focuses on several Modernism definition proposals. The second part presents the first vanguards proposals, and the transformations in the way of understanding sculpture. In the third part, the most current trends, which provide a reference for resolving the tension between the listed models, are addressed. Going against the linear evolution of reading, this paper proposes an interpretation that is based on the identification from a processing of the sculpture conception

The Cube

Rosenthal, Bernard (Tony), artist. Acquired 1968. Located in the Regents Plaza. Gift of the Class of 1965 and the artist, who was a UM alumnus ('36). The Cube will rotate on its axis, given a gentle push.

Law Building

Jordan & Anderson, architects. Built 1863. Northwest corner of Diagonal on corner of State and North University. Served as Law School for sixty years; contained chapel until 1873 and library until 1883. Addition built in 1893 included tower. Image includes Benjamin Franklin statue, which was gift of class of 1870. Gathering of people in photograph.

University Hall, old dome, 1873-1898

Jenison, Edward S., architect. View is from the northwest. Statue of Benjamin Franklin (gift of class of 1870) is in right foreground.

Administration Building

Harley, Ellington & Day, architects. Occupied in December 1948 by business, administrative, and public service departments, the building was designated as the Administrative Building. Exterior features Marshall Frederick's sculpture. In 1967, upon completion of the Fleming Administration Building, this building became the LS&A Building.