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Fashion Week Anthony Vaccarello Ready To Wear... by fashiononetv

Studying Sculpture and talk abouth the man

When I'm working,I'm making Clothes around Body.I'm more aboutt draping and finding the right line;he explains.
"Maybe because 'I'm half Italian and half Belgian,I strive for both a kind of  feminine eroticism and control construction focused on tailoring shape saving that oh-so- important conteporary elemsnt of seduction for the very end beginning.I'is tempting elegant because the women is wearing dress"he exsplains ;it'not my First goal when I'm making the collection ."

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since modernism, shifts in sculptural process led to an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast.Types of sculpture
A basic distinction is between sculpture in the round, free-standing sculpture, such as statues, not attached (except possibly at the base) to any other surface, and the various types of relief, which are at least partly attached to a background surface. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, and sometimes an intermediate mid-relief. Sunk-relief is a technique restricted to Ancient Egypt. Relief is the usual sculptural medium for large figure groups and narrative subjects, which are difficult to accomplish in the round, and is the typical technique used both for architectural sculpture, which is attached to buildings, and for small-scale sculpture decorating other objects, as in much pottery, metalwork and jewellery. Relief sculpture may also decorate steles, upright slabs, usually of stone, often also containing inscriptions.
Another basic distinction is between subtractive carving techniques, which remove material from an existing block or lump, for example of stone or wood, and modelling techniques which shape or build up the work from the material. Techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work; many of these allow the production of several copies.
The term sculpture properly covers many types of small works in three dimensions using the same techniques, including coins and medals, hardstone carvings, a term for small carvings in stone that can take detailed work.
The very large or "colossal" statue has had an enduring appeal since antiquity; the largest on record at 128 m (420 ft) is the 2002 Chinese Spring Temple Buddha. Another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the "head", showing just that, or the bust, a representation of a person from the chest up. Small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin.
Modern and contemporary art have added a number of non-traditional forms of sculpture, including sound sculpture, light sculpture, environmental art, environmental sculpture, kinetic sculpture (involving aspects of physical motion), land art, and site-specific art. Sculpture is an important form of public art. A collection of sculpture in a garden setting can be called a sculpture garden.
 Stone sculpture is an ancient activity where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, evidence can be found that even the earliest societies indulged in some form of stone work, though not all areas of the world have such abundance of good stone for carving as Egypt, Greece, India and most of Europe. Petroglyphs (also called rock engravings) are perhaps the earliest form: images created by removing part of a rock surface which remains in situ, by incising, pecking, carving, and abrading. Monumental sculpture covers large works, and architectural sculpture, which is attached to buildings. Hardstone carving is the carving for artistic purposes of semi-precious stones such as jade, agate, onyx, rock crystal, sard or carnelian, and a general term for an object made in this way. Alabaster or mineral gypsum is a soft mineral that is easy to carve for smaller works and still relatively durable. Engraved gems are small carved gems, including cameos, originally used as seal rings.
The copying of an original statue in stone, which was very important for Ancient Greek statues, which are nearly all known from copies, was traditionally achieved by "pointing", along with more freehand methods. Pointing involved setting up a grid of string squares on a wooden frame surrounding the original, and then measuring the position on the grid and the distance between grid and statue of a series of individual points, and then using this information to carve into the block from which the copy is made.

Worldwide, sculptors have usually been tradesmen whose work is unsigned; in some traditions, for example China, where sculpture did not share the prestige of literati painting, this has affected the status of sculpture itself. Even in Ancient Greece, where sculptors such as Phidias became famous, they appear to have retained much the same social status as other artisans, and perhaps not much greater financial rewards, although some signed their works. In the Middle Ages artists such as the 12th century Gislebertus sometimes signed their work, and were sought after by different cities, especially from the Trecento onwards in Italy, with figures such as Arnolfo di Cambio, and Nicola Pisano and his son Giovanni. Goldsmiths and jewellers, dealing with precious materials and often doubling as bankers, belonged to powerful guilds and had considerable status, often holding civic office. Many sculptors also practised in other arts; Andrea del Verrocchio also painted, and Giovanni Pisano, Michelangelo, and Jacopo Sansovino were architects. Some sculptors maintained large workshops. Even in the Renaissance the physical nature of the work was perceived by Leonardo da Vinci and others as pulling down the status of sculpture in the arts, though the reputation of Michelangelo perhaps put this long-held idea to rest.
From the High Renaissance artists such as Michelangelo, Leone Leoni and Giambologna could become wealthy, and ennobled, and enter the circle of princes, after a period of sharp argument over the relative status of sculpture and painting. Much decorative sculpture on buildings remained a trade, but sculptors producing individual pieces were recognised on a level with painters. From the 18th century or earlier sculpture also attracted middle-class students, although it was slower to do so than painting. Women sculptors took longer to appear than women painters, and were less prominent until the 20th century.

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