Brian Booth Craig talks a lot. Usually this is not a problem, I can edit an interview into a snappy hour long episode - but it's just that what Brian says is so interesting and engaging, I can't help but make another episode from all the off-topic conversation I had with him. Listen in and find out why I think he's one of the most thoughtful and perceptive figurative sculptors we have around these days.
Today's interview on the Sculptor's Funeral has me talking with Brian Booth Craig, one of the leading figurative sculptors of the day. We discuss Craig's unique education and work experience, which led on the path toward producing some of the most original and thought-provoking work in a genre awash in repetitive banality - the female nude.
The second part of the dramatic reading from The Autobiography of Giovanni Duprè, in which Duprè receives a crit from Lorenzo Bartolini, is accused of art fraud, and nearly causes the accidental death of his nude model. We've all been there, right?
The Sculptor's Funeral Theater is back with another dramatic reading! The Autobiography of Giovanni Duprè is the memoir of a man who had to fight every step of the way to achieve his dream of becoming a sculptor. Though written over a century ago, his struggles and his triumphs are familiar to many figurative sculptors and sculpture students today.
We talk with Florentine sculptor Raffaello Romanelli, sixth generation sculptor and proprietor of one of the most historic sculpture studios in Europe. Through his family's work we can trace the progression from Neoclassicism through Romanticism, Modernism, and right through to the present resurgence of figurative sculpture.
This episode kicks of the exploration of the OTHER 19th century in sculpture - the one occurring outside the milieu of Paris. Lorenzo Bartolini shaped the sculpture of 19th century Italy, evolving the Neoclassicism of Canova into a ethos which sought to seek Beauty in Truth, and Truth in Beauty.
The Three Graces. Cupid and Psyche. Napoleon. Everyone knows Antonio Canova, and you either love him or hate him. But - love him or hate him - do you understand him? The Sculptor's Funeral explores Canova's work in the context of the Enlightenment and French Revolution, and finds there is more to Canova than just a sculptor of ideal nudes.
The idea of looking towards Greek art for inspiration wasn't exactly new in the late 18th Century with artists such as Canova and David. Artists had been doing it constantly, and for centuries. And yet, the name we give the dominant style of the late 18th century - Neoclassicism - seems to imply there was. What was so 'Neo' about Neoclassicism? Listen to the podcast and join the Enlightened.
Plaster - where would we sculptors be without it? As fundamental as this versatile material is to the basic processes of sculpture, how many of us know why plaster does what it does - or what it's even made of? This podcast sheds light on these and other mysteries, and includes an interview with unabashed plaster lover Alicia Ponzio.
Figurative sculptor Sabin Howard has just been selected to complete the sculptural components of the National World War One Memorial in Washington, DC. In this interview, Howard talks about how he arrived at the concepts behind the sculptures for the memorial (which will include a frieze in bronze over 80 feet long), and his approach towards his art.
Click the link above to Support the Sculptor's Funeral Podcast. Thanks!
Michelangelo's path to immortality continues to twist and turn in this episode, detailing his time in Florence working on the New Sacristy, a commission for which he worked Day and Night, and from Dawn to Dusk...
Just because you are the immortal genius Michelangelo doesn't mean you have it easy... This episode explored the trials and tribulations of the commission for the Tomb of Pope Julius II, the the lavishly extravagant commission of the century - that was never meant to be.
Today's podcast features interviews of three sculptors - Matt Kindy, Spencer Schubert, and Philippe Faraut - who have found that the best quality sculpture tools are the ones they make themselves. And luckily for us, these sculptors also handcraft their high quality tools in small amounts and make them available to others.
...You know which David. You know who created it. But do you know why it was created in the first place, or how it ended up becoming one of the most famous works of art on earth? And what's with the big head?? The Sculptor's Funeral Podcast digs into the David's origins to get a better understanding of Michelangelo's masterpiece, and debunks a few myths along the way.
Proudly Sponsored by Blick Art Supplies. Clicking through to Blick helps support the Podcast. Thanks!
Happy New Year from The Sculptor's Funeral, everyone! Here's the introduction to Michelangelo episode which aired a year ago - good prep for next week's all new episode about his David.
Happy Holidays - Enjoy this repeat episode which details the rise of academic institutions in the training of artists.
The greatest sculptor in Florence between the time of Donatello and the rise of Michelangelo, Andrea del Verrocchio explored figurative composition like no sculptor before him - but his greatest contribution to art might be in the painters he taught- from Ghirlandaio and Signorelli, to Leonadro da Vinci himself.
In a career cut short by an early death, Desiderio Da Settignano nevertheless managed to rival Donatello in relief work, and re-invent the genre of child portraiture in sculpture, bringing the Age of Ugly Renaissance Babies to a thankful end.
"I tried to fire my sculpture once, and it blew up in the kiln." -And thus endeth the exploration of terracotta sculpture for many a clay modeller. But it doesn't have to be that way! In this Shop Talk episode, Jason discusses tips and tricks, principles and practices of modelling figurative work for firing into terracotta.
New kid on the Florentine block Luca Della Robbia didn't have to reinvent the wheel in sculpture, like the sculptors of the generation before him had to; instead, he started with those new wheels and invented the bicycle. Learning lessons from not just sculptors, but from painters and even potters, Luca developed a style, and a genre, all his own. And he did it with Dolcezza.