The Sculptor's Funeral is the only podcast dedicated to figurative sculptors living and working today. Art history, tech talk, news, and interviews for the figurative sculptor working in the Western European tradition of figurative sculpture.
What did it take to move Greek culture forward into the Classical period from the Archaic? Just a few victorious battles against impossible odds, unexpected and fantastic wealth, military and political genius, and... - oh yeah, the complete destruction of Athens. Learn how luck, will, disasters, and mayhem strong enough to wipe the archaic smile off any Greek's face kickstarted the greatest era of Greek civilization.
In the second half of this two-part episode, we discuss several works by Saint-Gaudens; monuments that in the hands of lesser sculptors would have been standard, run-of-the-mill statues. But in the hands of a genius, commonplaces become masterpieces.
In the first of a new series of Sculptor's Funeral episodes focusing on the ancient Greeks, Jason looks at the fundamental question underlying the nature of the entire Western European Tradition of sculpture - Why Greece? Why did it all start there, and why do artists throughout history keep returning there -and not Egypt or Persia or another artistic tradition? It's actually a question with a straightforward answer - Nature. But the origins and motives behind this simple answer are more complex.
Harriet Hosmer was known in her day as a 'Lady Sculptor', an 'Emancipated Woman', and as a leading member of 'The White Marmorean Flock'. What all the meant was that she was a successful, independent sculptor at a time when such a career path was hardly open to women. And today, she is barely known at all... In this episode, find out why her work and life is worth remembering.
Who is Gutzon Borglum, you ask? How strange that the sculptor of the Mount Rushmore National Monument in South Dakota is practically unknown, even in the United States. In the first of this two-part episode, we look at the life and work of the man, before he met the mountain.
Daniel Chester French's greatest work is arguably the statue of Abraham Lincoln in the Lincoln Memorial on the National Mall in Washington, DC. but where does 'greatness' in art come from? Is it given to the artwork by its creator, or is it, like beauty, in the eye of the beholder?