When the arts were being revolutionized in Paris in the 1920s, sculpture was being pushed in two directions: toward the abstract and toward the constructive. Much of the stylistic developments came from Cubism, while Surrealism introduced the subconscious as a source for subject matter. And the young
Ellsworth Kelly's monochrome canvases redefine the beauty and drama of the single-color process. Color is the actor on this stage, the figure that transfixes the audience's gaze. These colors and shapes become part of the subconscious of the viewer, who feels the reds, blues, and yellows as emotions.
Alexander Calder brought motion to sculpture. An incredibly playful spirit, Calder channeled his joy into a deeply informed and influential body of work that spans mediums from simple line drawings to massive steel sculptures. Calder's work reminds us of childhood fantasies like infinite slides and
While Michelangelo sought to free human forms from stone, British sculptor Henry Moore left his abstract figures an integral part of the materials from which he hewed them. His sculptures seem to be the product of natural forces, as if water and wind erosion created the negative spaces and hollows. I