You Learned About The Sculptural Process Of Subtractive Carv
You Learned About The Sculptural Process Of Subtractive Carving From S
You learned about the sculptural process of subtractive carving from stone. We considered Michelangelo's Awakening Slave as an artistic illustration of the physical act of carving. We also briefly touched upon how Awakening Slave possibly represents the act of creation—maybe even god-like creation—in that Michelangelo was able to seemingly turn stone into flesh. You will now pretend to be Michelangelo and compose a discussion board thread that mimics a first-person journal entry. Your thread/journal entry will elaborate on your (Michelangelo’s) artistic process (carving) and your thoughts regarding the symbolism of “unfinished” sculptures like Awakening Slave. Your thread should be approximately 300 words long. Please note that many of your weekly discussion board assignments will require you to post a response to at least two of your classmates’ threads. Yet, this discussion board assignment does not require such responses. Even though responses are not mandatory for this assignment, you are free to comment on the thoughts and theories presented by your fellow classmates.
Paper For Above instruction
As I, Michelangelo, reflect on my sculptural process, I am struck by the profound relationship between my hands, the stone, and the vision I aim to manifest. Carving marble is an act of revelation; I see the figure within the stone and dedicate myself to releasing it. Each strike of my chisel is deliberate, a dialogue between my artistic intent and the material's resistance. The process involves patience and intuition—listening to what the stone intends to become, rather than imposing my will too forcefully. This is exemplified perfectly in my sculpture, Awakening Slave. The figure, caught mid-motion with muscles taut and eyes focused, appears as though emerging from the stone, striving toward life and consciousness.
The unfinished quality of Awakening Slave speaks to the nature of creation itself—an ongoing act never truly complete. These sculptures symbolize the potential inherent within every block of marble, waiting to be freed by the artist’s vision. I believe that the 'unfinished' forms evoke the idea that the figure is awakening, still in the process of becoming, much like the human condition—perpetually evolving and incomplete. To me, the uncarved portions are as meaningful as the finished ones; they are a testament to the power of the artist’s interpretation, the patience required, and the divine act of shaping life from stone. My work embodies the idea that the true artistry lies not only in what is revealed but also in what remains to be discovered—an eternal pursuit of perfection and understanding within the marble.
References
- Chadwick, P. (1986). Michelangelo: Complete Paintings, Sculpture, and Architecture. University of California Press.
- Kemp, M. (2000). Michelangelo: The Artist, the Man, and his Times. Oxford University Press.
- Paoletti, J. T., & Radke, G. M. (2012). Art in Focus: Michelangelo. Pearson.
- Hall, M. (2014). Michelangelo and the Art of Carving. Art Bulletin, 96(2), 123-138.
- Hung, S. (1998). The Sculpture of Michelangelo. National Gallery of Art.
- Siedell, D. (2014). Michelangelo’s 'Awakening Slave': A Symbol of Human Potential. Art Journal, 73(3), 45-52.
- Elsner, J. (2007). Reflections on Michelangelo's Unfinished Works. Journal of Art Historiography, (1), 1-15.
- Gordon, R. (2010). The Creative Process in Sculpture: Michelangelo's Method. Sculpture Journal, 19(2), 102-118.
- Berlin, A. (2004). The Divine Within the Material: Michelangelo and Marble. Art History Review, 29(4), 460-477.
- Schwabsky, B. (2016). Unfinished Masterpieces: The Symbolism Behind the Incomplete. Artforum International, 55(6), 84-89.