Practice question · Sort into groups
Sort each statement by whether it argues FOR truth to materials or AGAINST it.
Groups: For · Against
- Moore himself cast extensively in bronze later on
- The doctrine values carving over modelling and casting
- Baroque marble is at its best where it stops looking like stone
- Something is lost when the substance disappears into what it depicts
- Direct carving makes the maker respond to the block itself
Hints
- One column defends the material's participation; the other points at what the doctrine excludes.
- Anything noting what the doctrine cannot accommodate belongs against it.
Show the answer
For: Direct carving makes the maker respond to the block itself, Something is lost when the substance disappears into what it depicts
Against: The doctrine values carving over modelling and casting, Baroque marble is at its best where it stops looking like stone, Moore himself cast extensively in bronze later on
Why
Both columns are substantial, which is why the doctrine is a position rather than a fact. It says something true about how a material can participate in a work, and it cannot accommodate polychromed wood, gilded bronze or Baroque marble, which is most of the history of the subject.
Practise Materials as Language
The app has 5 more questions on this lesson, and keeps your place in the course. Sculpture I is free to start.
More questions on Materials as Language
- Direct carving treats the physical block as an active participant rather than an inert substrate. What…
- Why is it not hypocrisy that Moore cast extensively in bronze after arguing for truth to materials?
- Gabo and Pevsner's Realistic Manifesto renounced mass as a sculptural element.
- Complete the account of materials as language.
- How many principal sculptural methods does this lesson distinguish, once construction is included?
- Arrange these developments in the relation between sculpture and its materials.
- Truth to materials survives intact as the standard doctrine of contemporary sculpture.
- Arrange these contributions in chronological order.