Synopses & Reviews
Synopsis
Patio and Pavilionand#160;examines the relationship between modern sculpture and architecture in the mid-twentieth century, an interplay that has laid the ground for the semisculptural or semiarchitectural works by architects such as Frank Gehry and artists such as Dan Graham. and#160;and#160;
The first half of the book looks at how the addition of sculpture enhanced several architectural projects, including Mies van der Roheandrsquo;s Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New Yorkandrsquo;s Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain.and#160;and#160;Curtis argues that it was in the middle of the twentieth century, before sculptural and architectural forms began to converge, that the complementary nature of the two art forms began clearly to emerge: figurative sculpture highlighted the modernist architectural experience, and the abstract qualities of that architecture imparted to sculpture a heightened role.
Synopsis
This book examines the relationship between modern sculpture and architecture, an interplay that has laid the ground for the semi-sculptural or semi-architectural works by architects such as Frank Gehry and artists such as Dan Graham. The first half of the book looks at how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe's Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New York's Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain.
About the Author
Penelope Curtis is curator of the Henry Moore Institute in Leeds, England, and the author of several books on twentieth-century architecture, including Sculpture 1900andndash;1945 (Oxford History of Art), and coauthor of Barbara Hepworth: A Retrospective.
Table of Contents
Acknowledgements
Preface
Introduction
Chapter 1: The Public Place of Sculpture
Chapter 2: The Tradition of the Monument
Chapter 3: Direct Expression through the Material
Chapter 4: The Private Arena: The Possibilities of Painting, Pictorialism, and the Spatial Environment
Chapter 5: The Object: Function, Invitation, and Interaction
Chapter 6: A Shared Ideal: Building a New Environment
Chapter 7: The Figurative Ideal
Conclusion
List of Illustrations
Bibliographic Essay
Timeline
Index