title: Sculpture

text: Glass may be used for sculpture through a wide range of working techniques, though the use of it for large works is a recent development. It can be carved, though with considerable difficulty; the Roman Lycurgus Cup is all but unique. There are various ways of moulding glass: hot casting can be done by ladling molten glass into moulds that have been created by pressing shapes into sand, carved graphite or detailed plaster/silica moulds. Kiln casting glass involves heating chunks of glass in a kiln until they are liquid and flow into a waiting mould below it in the kiln. Hot glass can also be blown and/or hot sculpted with hand tools either as a solid mass or as part of a blown object. More recent techniques involve chiseling and bonding plate glass with polymer silicates and UV light.


title: Sculpture

text: Pottery is one of the oldest materials for sculpture, as well as clay being the medium in which many sculptures cast in metal are originally modelled for casting. Sculptors often build small preliminary works called maquettes of ephemeral materials such as plaster of Paris, wax, unfired clay, or plasticine. Many cultures have produced pottery which combines a function as a vessel with a sculptural form, and small figurines have often been as popular as they are in modern Western culture. Stamps and moulds were used by most ancient civilizations, from ancient Rome and Mesopotamia to China.


title: Sculpture

text: Wood carving has been extremely widely practiced, but survives much less well than the other main materials, being vulnerable to decay, insect damage, and fire. It therefore forms an important hidden element in the art history of many cultures. Outdoor wood sculpture does not last long in most parts of the world, so that we have little idea how the totem pole tradition developed. Many of the most important sculptures of China and Japan in particular are in wood, and the great majority of African sculpture and that of Oceania and other regions.


title: Sculpture

text: Wood is light, so suitable for masks and other sculpture intended to be carried, and can take very fine detail. It is also much easier to work than stone. It has been very often painted after carving, but the paint wears less well than the wood, and is often missing in surviving pieces. Painted wood is often technically described as "wood and polychrome". Typically a layer of gesso or plaster is applied to the wood, and then the paint is applied to that.


title: Sculpture

text: Worldwide, sculptors have usually been tradesmen whose work is unsigned; in some traditions, for example China, where sculpture did not share the prestige of literati painting, this has affected the status of sculpture itself. Even in ancient Greece, where sculptors such as Phidias became famous, they appear to have retained much the same social status as other artisans, and perhaps not much greater financial rewards, although some signed their works. In the Middle Ages artists such as the 12th-century Gislebertus sometimes signed their work, and were sought after by different cities, especially from the Trecento onwards in Italy, with figures such as Arnolfo di Cambio, and Nicola Pisano and his son Giovanni. Goldsmiths and jewellers, dealing with precious materials and often doubling as bankers, belonged to powerful guilds and had considerable status, often holding civic office. Many sculptors also practised in other arts; Andrea del Verrocchio also painted, and Giovanni Pisano, Michelangelo, and Jacopo Sansovino were architects. Some sculptors maintained large workshops. Even in the Renaissance the physical nature of the work was perceived by Leonardo da Vinci and others as pulling down the status of sculpture in the arts, though the reputation of Michelangelo perhaps put this long-held idea to rest.


title: Sculpture

text: From the High Renaissance artists such as Michelangelo, Leone Leoni and Giambologna could become wealthy, and ennobled, and enter the circle of princes, after a period of sharp argument over the relative status of sculpture and painting. Much decorative sculpture on buildings remained a trade, but sculptors producing individual pieces were recognised on a level with painters. From the 18th century or earlier sculpture also attracted middle-class students, although it was slower to do so than painting. Women sculptors took longer to appear than women painters, and were less prominent until the 20th century.


title: Sculpture

text: Aniconism originated with Judaism, which did not accept figurative sculpture until the 19th century, before expanding to Christianity, which initially accepted large sculptures. In Christianity and Buddhism, sculpture became very significant. Christian Eastern Orthodoxy has never accepted monumental sculpture, and Islam has consistently rejected nearly all figurative sculpture, except for very small figures in reliefs and some animal figures that fulfill a useful function, like the famous lions supporting a fountain in the Alhambra. Many forms of Protestantism also do not approve of religious sculpture. There has been much iconoclasm of sculpture for religious motives, from the Early Christians and the Beeldenstorm of the Protestant Reformation to the 2001 destruction of the Buddhas of Bamyan by the Taliban.


title: Sculpture

text: The earliest undisputed examples of sculpture belong to the Aurignacian culture, which was located in Europe and southwest Asia and active at the beginning of the Upper Paleolithic. As well as producing some of the earliest known cave art, the people of this culture developed finely-crafted stone tools, manufacturing pendants, bracelets, ivory beads, and bone-flutes, as well as three-dimensional figurines.


title: Sculpture

text: The 30 cm tall Löwenmensch found in the Hohlenstein Stadel area of Germany is an anthropomorphic lion-human figure carved from woolly mammoth ivory. It has been dated to about 35–40,000BP, making it, along with the Venus of Hohle Fels, the oldest known uncontested examples of sculpture.


title: Sculpture

text: Much surviving prehistoric art is small portable sculptures, with a small group of female Venus figurines such as the Venus of Willendorf (24–26,000BP) found across central Europe. The Swimming Reindeer of about 13,000 years ago is one of the finest of a number of Magdalenian carvings in bone or antler of animals in the art of the Upper Paleolithic, although they are outnumbered by engraved pieces, which are sometimes classified as sculpture. Two of the largest prehistoric sculptures can be found at the Tuc d'Audobert caves in France, where around 12–17,000 years ago a masterful sculptor used a spatula-like stone tool and fingers to model a pair of large bison in clay against a limestone rock.


title: Sculpture

text: With the beginning of the Mesolithic in Europe figurative sculpture greatly reduced, and remained a less common element in art than relief decoration of practical objects until the Roman period, despite some works such as the Gundestrup cauldron from the European Iron Age and the Bronze Age Trundholm sun chariot.


title: Sculpture

text: From the ancient Near East, the over-life sized stone Urfa Man from modern Turkey comes from about 9,000 BCE, and the 'Ain Ghazal Statues from around 7200 and 6500 BCE. These are from modern Jordan, made of lime plaster and reeds, and about half life-size; there are 15 statues, some with two heads side by side, and 15 busts. Small clay figures of people and animals are found at many sites across the Near East from the Pre-Pottery Neolithic, and represent the start of a more-or-less continuous tradition in the region.


title: Sculpture

text: The Protoliterate period in Mesopotamia, dominated by Uruk, saw the production of sophisticated works like the Warka Vase and cylinder seals. The Guennol Lioness is an outstanding small limestone figure from Elam of about 3000–2800 BCE, part human and part lioness. A little later there are a number of figures of large-eyed priests and worshippers, mostly in alabaster and up to a foot high, who attended temple cult images of the deity, but very few of these have survived. Sculptures from the Sumerian and Akkadian period generally had large, staring eyes, and long beards on the men. Many masterpieces have also been found at the Royal Cemetery at Ur (c. 2650 BCE), including the two figures of a "Ram in a Thicket", the "Copper Bull" and a bull's head on one of the Lyres of Ur.


title: Sculpture

text: From the many subsequent periods before the ascendency of the Neo-Assyrian Empire in the 10th century BCE, Mesopotamian art survives in a number of forms: cylinder seals, relatively small figures in the round, and reliefs of various sizes, including cheap plaques of moulded pottery for the home, some religious and some apparently not. The Burney Relief is an unusually elaborate and relatively large (20 x 15 inches, 50 x 37 cm) terracotta plaque of a naked winged goddess with the feet of a bird of prey, and attendant owls and lions. It comes from the 18th or 19th century BCE, and may also be moulded. Stone stelae, votive offerings, or ones probably commemorating victories and showing feasts, are also found from temples, which unlike more official ones lack inscriptions that would explain them; the fragmentary Stele of the Vultures is an early example of the inscribed type, and the Assyrian Black Obelisk of Shalmaneser III a large and solid late one.


title: Sculpture

text: The conquest of the whole of Mesopotamia and much surrounding territory by the Assyrians created a larger and wealthier state than the region had known before, and very grandiose art in palaces and public places, no doubt partly intended to match the splendour of the art of the neighbouring Egyptian empire. Unlike earlier states, the Assyrians could use easily carved stone from northern Iraq, and did so in great quantity. The Assyrians developed a style of extremely large schemes of very finely detailed narrative low reliefs in stone for palaces, with scenes of war or hunting; the British Museum has an outstanding collection, including the "Lion Hunt of Ashurbanipal" and the Lachish reliefs showing a campaign. They produced very little sculpture in the round, except for colossal guardian figures of the human-headed lamassu, which are sculpted in high relief on two sides of a rectangular block, with the heads effectively in the round (and also five legs, so that both views seem complete). Even before dominating the region they had continued the cylinder seal tradition with designs which are often exceptionally energetic and refined.


title: Sculpture

text: The monumental sculpture of ancient Egypt is world-famous, but refined and delicate small works exist in much greater numbers. The Egyptians used the distinctive technique of sunk relief, which is well suited to very bright sunlight. The main figures in reliefs adhere to the same figure convention as in painting, with parted legs (where not seated) and head shown from the side, but the torso from the front, and a standard set of proportions making up the figure, using 18 "fists" to go from the ground to the hair-line on the forehead. This appears as early as the Narmer Palette from Dynasty I. However, there as elsewhere the convention is not used for minor figures shown engaged in some activity, such as the captives and corpses. Other conventions make statues of males darker than females ones. Very conventionalized portrait statues appear from as early as Dynasty II, before 2,780 BCE, and with the exception of the art of the Amarna period of Ahkenaten, and some other periods such as Dynasty XII, the idealized features of rulers, like other Egyptian artistic conventions, changed little until after the Greek conquest.


title: Sculpture

text: Egyptian pharaohs were always regarded as deities, but other deities are much less common in large statues, except when they represent the pharaoh "as" another deity; however the other deities are frequently shown in paintings and reliefs. The famous row of four colossal statues outside the main temple at Abu Simbel each show Rameses II, a typical scheme, though here exceptionally large. Small figures of deities, or their animal personifications, are very common, and found in popular materials such as pottery. Most larger sculpture survives from Egyptian temples or tombs; by Dynasty IV (2680–2565 BCE) at the latest the idea of the Ka statue was firmly established. These were put in tombs as a resting place for the "ka" portion of the soul, and so we have a good number of less conventionalized statues of well-off administrators and their wives, many in wood as Egypt is one of the few places in the world where the climate allows wood to survive over millennia. The so-called reserve heads, plain hairless heads, are especially naturalistic. Early tombs also contained small models of the slaves, animals, buildings and objects such as boats necessary for the deceased to continue his lifestyle in the afterworld, and later "Ushabti" figures.


title: Sculpture

text: The first distinctive style of ancient Greek sculpture developed in the Early Bronze Age Cycladic period (3rd millennium BCE), where marble figures, usually female and small, are represented in an elegantly simplified geometrical style. Most typical is a standing pose with arms crossed in front, but other figures are shown in different poses, including a complicated figure of a harpist seated on a chair.


title: Sculpture

text: The subsequent Minoan and Mycenaean cultures developed sculpture further, under influence from Syria and elsewhere, but it is in the later Archaic period from around 650 BCE that the kouros developed. These are large standing statues of naked youths, found in temples and tombs, with the kore as the clothed female equivalent, with elaborately dressed hair; both have the "archaic smile". They seem to have served a number of functions, perhaps sometimes representing deities and sometimes the person buried in a grave, as with the Kroisos Kouros. They are clearly influenced by Egyptian and Syrian styles, but the Greek artists were much more ready to experiment within the style.


title: Sculpture

text: During the 6th century Greek sculpture developed rapidly, becoming more naturalistic, and with much more active and varied figure poses in narrative scenes, though still within idealized conventions. Sculptured pediments were added to temples, including the Parthenon in Athens, where the remains of the pediment of around 520 using figures in the round were fortunately used as infill for new buildings after the Persian sack in 480 BCE, and recovered from the 1880s on in fresh unweathered condition. Other significant remains of architectural sculpture come from Paestum in Italy, Corfu, Delphi and the Temple of Aphaea in Aegina (much now in Munich). Most Greek sculpture originally included at least some colour; the Ny Carlsberg Glyptotek Museum in Copenhagen, Denmark, has done extensive research and recreation of the original colours.


title: Sculpture

text: There are fewer original remains from the first phase of the Classical period, often called the Severe style; free-standing statues were now mostly made in bronze, which always had value as scrap. The Severe style lasted from around 500 in reliefs, and soon after 480 in statues, to about 450. The relatively rigid poses of figures relaxed, and asymmetrical turning positions and oblique views became common, and deliberately sought. This was combined with a better understanding of anatomy and the harmonious structure of sculpted figures, and the pursuit of naturalistic representation as an aim, which had not been present before. Excavations at the Temple of Zeus, Olympia since 1829 have revealed the largest group of remains, from about 460, of which many are in the Louvre.


title: Sculpture

text: The "High Classical" period lasted only a few decades from about 450 to 400, but has had a momentous influence on art, and retains a special prestige, despite a very restricted number of original survivals. The best known works are the Parthenon Marbles, traditionally (since Plutarch) executed by a team led by the most famous ancient Greek sculptor Phidias, active from about 465–425, who was in his own day more famous for his colossal chryselephantine Statue of Zeus at Olympia (c. 432), one of the Seven Wonders of the Ancient World, his "Athena Parthenos" (438), the cult image of the Parthenon, and "Athena Promachos", a colossal bronze figure that stood next to the Parthenon; all of these are lost but are known from many representations. He is also credited as the creator of some life-size bronze statues known only from later copies whose identification is controversial, including the "Ludovisi Hermes".


title: Sculpture

text: The High Classical style continued to develop realism and sophistication in the human figure, and improved the depiction of drapery (clothes), using it to add to the impact of active poses. Facial expressions were usually very restrained, even in combat scenes. The composition of groups of figures in reliefs and on pediments combined complexity and harmony in a way that had a permanent influence on Western art. Relief could be very high indeed, as in the Parthenon illustration below, where most of the leg of the warrior is completely detached from the background, as were the missing parts; relief this high made sculptures more subject to damage. The Late Classical style developed the free-standing female nude statue, supposedly an innovation of Praxiteles, and developed increasingly complex and subtle poses that were interesting when viewed from a number of angles, as well as more expressive faces; both trends were to be taken much further in the Hellenistic period.


title: Sculpture

text: The Hellenistic period is conventionally dated from the death of Alexander the Great in 323 BCE, and ending either with the final conquest of the Greek heartlands by Rome in 146 BCE or with the final defeat of the last remaining successor-state to Alexander's empire after the Battle of Actium in 31 BCE, which also marks the end of Republican Rome. It is thus much longer than the previous periods, and includes at least two major phases: a "Pergamene" style of experimentation, exuberance and some sentimentality and vulgarity, and in the 2nd century BCE a classicising return to a more austere simplicity and elegance; beyond such generalizations dating is typically very uncertain, especially when only later copies are known, as is usually the case. The initial Pergamene style was not especially associated with Pergamon, from which it takes its name, but the very wealthy kings of that state were among the first to collect and also copy Classical sculpture, and also commissioned much new work, including the famous Pergamon Altar whose sculpture is now mostly in Berlin and which exemplifies the new style, as do the Mausoleum at Halicarnassus (another of the Seven Wonders), the famous "Laocoön and his Sons" in the Vatican Museums, a late example, and the bronze original of "The Dying Gaul" (illustrated at top), which we know was part of a group actually commissioned for Pergamon in about 228 BCE, from which the Ludovisi Gaul was also a copy. The group called the Farnese Bull, possibly a 2nd-century marble original, is still larger and more complex,


title: Sculpture

text: Hellenistic sculpture greatly expanded the range of subjects represented, partly as a result of greater general prosperity, and the emergence of a very wealthy class who had large houses decorated with sculpture, although we know that some examples of subjects that seem best suited to the home, such as children with animals, were in fact placed in temples or other public places. For a much more popular home decoration market there were Tanagra figurines, and those from other centres where small pottery figures were produced on an industrial scale, some religious but others showing animals and elegantly dressed ladies. Sculptors became more technically skilled in representing facial expressions conveying a wide variety of emotions and the portraiture of individuals, as well representing different ages and races. The reliefs from the Mausoleum are rather atypical in that respect; most work was free-standing, and group compositions with several figures to be seen in the round, like the "Laocoon" and the Pergamon group celebrating victory over the Gauls became popular, having been rare before. The Barberini Faun, showing a satyr sprawled asleep, presumably after drink, is an example of the moral relaxation of the period, and the readiness to create large and expensive sculptures of subjects that fall short of the heroic.


title: Sculpture

text: After the conquests of Alexander Hellenistic culture was dominant in the courts of most of the Near East, and some of Central Asia, and increasingly being adopted by European elites, especially in Italy, where Greek colonies initially controlled most of the South. Hellenistic art, and artists, spread very widely, and was especially influential in the expanding Roman Republic and when it encountered Buddhism in the easternmost extensions of the Hellenistic area. The massive so-called Alexander Sarcophagus found in Sidon in modern Lebanon, was probably made there at the start of the period by expatriate Greek artists for a Hellenized Persian governor. The wealth of the period led to a greatly increased production of luxury forms of small sculpture, including engraved gems and cameos, jewellery, and gold and silverware.


title: Sculpture

text: Early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced by their Greek trading partners. An Etruscan speciality was near life size tomb effigies in terracotta, usually lying on top of a sarcophagus lid propped up on one elbow in the pose of a diner in that period. As the expanding Roman Republic began to conquer Greek territory, at first in Southern Italy and then the entire Hellenistic world except for the Parthian far east, official and patrician sculpture became largely an extension of the Hellenistic style, from which specifically Roman elements are hard to disentangle, especially as so much Greek sculpture survives only in copies of the Roman period. By the 2nd century BCE, "most of the sculptors working at Rome" were Greek, often enslaved in conquests such as that of Corinth (146 BCE), and sculptors continued to be mostly Greeks, often slaves, whose names are very rarely recorded. Vast numbers of Greek statues were imported to Rome, whether as booty or the result of extortion or commerce, and temples were often decorated with re-used Greek works.


title: Sculpture

text: A native Italian style can be seen in the tomb monuments, which very often featured portrait busts, of prosperous middle-class Romans, and portraiture is arguably the main strength of Roman sculpture. There are no survivals from the tradition of masks of ancestors that were worn in processions at the funerals of the great families and otherwise displayed in the home, but many of the busts that survive must represent ancestral figures, perhaps from the large family tombs like the Tomb of the Scipios or the later mausolea outside the city. The famous bronze head supposedly of Lucius Junius Brutus is very variously dated, but taken as a very rare survival of Italic style under the Republic, in the preferred medium of bronze. Similarly stern and forceful heads are seen on coins of the Late Republic, and in the Imperial period coins as well as busts sent around the Empire to be placed in the basilicas of provincial cities were the main visual form of imperial propaganda; even Londinium had a near-colossal statue of Nero, though far smaller than the 30-metre-high Colossus of Nero in Rome, now lost.


title: Sculpture

text: The Romans did not generally attempt to compete with free-standing Greek works of heroic exploits from history or mythology, but from early on produced historical works in relief, culminating in the great Roman triumphal columns with continuous narrative reliefs winding around them, of which those commemorating Trajan (CE 113) and Marcus Aurelius (by 193) survive in Rome, where the Ara Pacis ("Altar of Peace", 13 BCE) represents the official Greco-Roman style at its most classical and refined. Among other major examples are the earlier re-used reliefs on the Arch of Constantine and the base of the Column of Antoninus Pius (161), Campana reliefs were cheaper pottery versions of marble reliefs and the taste for relief was from the imperial period expanded to the sarcophagus. All forms of luxury small sculpture continued to be patronized, and quality could be extremely high, as in the silver Warren Cup, glass Lycurgus Cup, and large cameos like the Gemma Augustea, Gonzaga Cameo and the "Great Cameo of France". For a much wider section of the population, moulded relief decoration of pottery vessels and small figurines were produced in great quantity and often considerable quality.


title: Sculpture

text: After moving through a late 2nd-century "baroque" phase, in the 3rd century, Roman art largely abandoned, or simply became unable to produce, sculpture in the classical tradition, a change whose causes remain much discussed. Even the most important imperial monuments now showed stumpy, large-eyed figures in a harsh frontal style, in simple compositions emphasizing power at the expense of grace. The contrast is famously illustrated in the Arch of Constantine of 315 in Rome, which combines sections in the new style with roundels in the earlier full Greco-Roman style taken from elsewhere, and the "Four Tetrarchs" (c. 305) from the new capital of Constantinople, now in Venice. Ernst Kitzinger found in both monuments the same "stubby proportions, angular movements, an ordering of parts through symmetry and repetition and a rendering of features and drapery folds through incisions rather than modelling... The hallmark of the style wherever it appears consists of an emphatic hardness, heaviness and angularity—in short, an almost complete rejection of the classical tradition".


title: Sculpture

text: This revolution in style shortly preceded the period in which Christianity was adopted by the Roman state and the great majority of the people, leading to the end of large religious sculpture, with large statues now only used for emperors. However, rich Christians continued to commission reliefs for sarcophagi, as in the Sarcophagus of Junius Bassus, and very small sculpture, especially in ivory, was continued by Christians, building on the style of the consular diptych.


title: Sculpture

text: The Early Christians were opposed to monumental religious sculpture, though continuing Roman traditions in portrait busts and sarcophagus reliefs, as well as smaller objects such as the consular diptych. Such objects, often in valuable materials, were also the main sculptural traditions (as far as is known) of the barbaric civilizations of the Migration period, as seen in the objects found in the 6th-century burial treasure at Sutton Hoo, and the jewellery of Scythian art and the hybrid Christian and animal style productions of Insular art. Following the continuing Byzantine tradition, Carolingian art revived ivory carving, often in panels for the treasure bindings of grand illuminated manuscripts, as well as crozier heads and other small fittings.


title: Sculpture

text: Byzantine art, though producing superb ivory reliefs and architectural decorative carving, never returned to monumental sculpture, or even much small sculpture in the round. However, in the West during the Carolingian and Ottonian periods there was the beginnings of a production of monumental statues, in courts and major churches. This gradually spread; by the late 10th and 11th century there are records of several apparently life-size sculptures in Anglo-Saxon churches, probably of precious metal around a wooden frame, like the Golden Madonna of Essen. No Anglo-Saxon example has survived, and survivals of large non-architectural sculpture from before 1,000 are exceptionally rare. Much the finest is the Gero Cross, of 965–970, which is a crucifix, which was evidently the commonest type of sculpture; Charlemagne had set one up in the Palatine Chapel in Aachen around 800. These continued to grow in popularity, especially in Germany and Italy. The runestones of the Nordic world, the Pictish stones of Scotland and possibly the high cross reliefs of Christian Great Britain, were northern sculptural traditions that bridged the period of Christianization.


title: Sculpture

text: From about 1000 there was a general rebirth of artistic production in all Europe, led by general economic growth in production and commerce, and the new style of Romanesque art was the first medieval style to be used in the whole of Western Europe. The new cathedrals and pilgrim's churches were increasingly decorated with architectural stone reliefs, and new focuses for sculpture developed, such as the tympanum over church doors in the 12th century, and the inhabited capital with figures and often narrative scenes. Outstanding abbey churches with sculpture include in France Vézelay and Moissac and in Spain Silos.


title: Sculpture

text: Romanesque art was characterised by a very vigorous style in both sculpture and painting. The capitals of columns were never more exciting than in this period, when they were often carved with complete scenes with several figures. The large wooden crucifix was a German innovation right at the start of the period, as were free-standing statues of the enthroned Madonna, but the high relief was above all the sculptural mode of the period. Compositions usually had little depth, and needed to be flexible to squeeze themselves into the shapes of capitals, and church typanums; the tension between a tightly enclosing frame, from which the composition sometimes escapes, is a recurrent theme in Romanesque art. Figures still often varied in size in relation to their importance portraiture hardly existed.


title: Sculpture

text: Objects in precious materials such as ivory and metal had a very high status in the period, much more so than monumental sculpture — we know the names of more makers of these than painters, illuminators or architect-masons. Metalwork, including decoration in enamel, became very sophisticated, and many spectacular shrines made to hold relics have survived, of which the best known is the Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun. The bronze Gloucester candlestick and the brass font of 1108–17 now in Liège are superb examples, very different in style, of metal casting, the former highly intricate and energetic, drawing on manuscript painting, while the font shows the Mosan style at its most classical and majestic. The bronze doors, a triumphal column and other fittings at Hildesheim Cathedral, the Gniezno Doors, and the doors of the Basilica di San Zeno in Verona are other substantial survivals. The aquamanile, a container for water to wash with, appears to have been introduced to Europe in the 11th century, and often took fantastic zoomorphic forms; surviving examples are mostly in brass. Many wax impressions from impressive seals survive on charters and documents, although Romanesque coins are generally not of great aesthetic interest.


title: Sculpture

text: The Cloisters Cross is an unusually large ivory crucifix, with complex carving including many figures of prophets and others, which has been attributed to one of the relatively few artists whose name is known, Master Hugo, who also illuminated manuscripts. Like many pieces it was originally partly coloured. The Lewis chessmen are well-preserved examples of small ivories, of which many pieces or fragments remain from croziers, plaques, pectoral crosses and similar objects.


title: Sculpture

text: The Gothic period is essentially defined by Gothic architecture, and does not entirely fit with the development of style in sculpture in either its start or finish. The facades of large churches, especially around doors, continued to have large typanums, but also rows of sculpted figures spreading around them. The statues on the Western (Royal) Portal at Chartres Cathedral (c. 1145) show an elegant but exaggerated columnar elongation, but those on the south transept portal, from 1215 to 1220, show a more naturalistic style and increasing detachment from the wall behind, and some awareness of the classical tradition. These trends were continued in the west portal at Reims Cathedral of a few years later, where the figures are almost in the round, as became usual as Gothic spread across Europe.


title: Sculpture

text: In Italy Nicola Pisano (1258–1278) and his son Giovanni developed a style that is often called Proto-Renaissance, with unmistakable influence from Roman sarcophagi and sophisticated and crowded compositions, including a sympathetic handling of nudity, in relief panels on their pulpit of Siena Cathedral (1265–68), the Fontana Maggiore in Perugia, and Giovanni's pulpit in Pistoia of 1301. Another revival of classical style is seen in the International Gothic work of Claus Sluter and his followers in Burgundy and Flanders around 1400. Late Gothic sculpture continued in the North, with a fashion for very large wooden sculpted altarpieces with increasingly virtuoso carving and large numbers agitated expressive figures; most surviving examples are in Germany, after much iconoclasm elsewhere. Tilman Riemenschneider, Veit Stoss and others continued the style well into the 16th century, gradually absorbing Italian Renaissance influences.


title: Sculpture

text: Life-size tomb effigies in stone or alabaster became popular for the wealthy, and grand multi-level tombs evolved, with the Scaliger Tombs of Verona so large they had to be moved outside the church. By the 15th century there was an industry exporting Nottingham alabaster altar reliefs in groups of panels over much of Europe for economical parishes who could not afford stone retables. Small carvings, for a mainly lay and often female market, became a considerable industry in Paris and some other centres. Types of ivories included small devotional polyptychs, single figures, especially of the Virgin, mirror-cases, combs, and elaborate caskets with scenes from Romances, used as engagement presents. The very wealthy collected extravagantly elaborate jewelled and enamelled metalwork, both secular and religious, like the Duc de Berry's Holy Thorn Reliquary, until they ran short of money, when they were melted down again for cash.


title: Sculpture

text: Renaissance sculpture proper is often taken to begin with the famous competition for the doors of the Florence Baptistry in 1403, from which the trial models submitted by the winner, Lorenzo Ghiberti, and Filippo Brunelleschi survive. Ghiberti's doors are still in place, but were undoubtedly eclipsed by his second pair for the other entrance, the so-called "Gates of Paradise", which took him from 1425 to 1452, and are dazzlingly confident classicizing compositions with varied depths of relief allowing extensive backgrounds. The intervening years had seen Ghiberti's early assistant Donatello develop with seminal statues including his "Davids" in marble (1408–09) and bronze (1440s), and his Equestrian statue of Gattamelata, as well as reliefs. A leading figure in the later period was Andrea del Verrocchio, best known for his equestrian statue of Bartolomeo Colleoni in Venice; his pupil Leonardo da Vinci designed an equine sculpture in 1482 "The Horse" for Milan, but only succeeded in making a clay model which was destroyed by French archers in 1499, and his other ambitious sculptural plans were never completed.


title: Sculpture

text: The period was marked by a great increase in patronage of sculpture by the state for public art and by the wealthy for their homes; especially in Italy, public sculpture remains a crucial element in the appearance of historic city centres. Church sculpture mostly moved inside just as outside public monuments became common. Portrait sculpture, usually in busts, became popular in Italy around 1450, with the Neapolitan Francesco Laurana specializing in young women in meditative poses, while Antonio Rossellino and others more often depicted knobbly-faced men of affairs, but also young children. The portrait medal invented by Pisanello also often depicted women; relief plaquettes were another new small form of sculpture in cast metal.


title: Sculpture

text: Michelangelo was an active sculptor from about 1500 to 1520, and his great masterpieces including his "David", "Pietà", "Moses", and pieces for the Tomb of Pope Julius II and Medici Chapel could not be ignored by subsequent sculptors. His iconic David (1504) has a "contrapposto" pose, borrowed from classical sculpture. It differs from previous representations of the subject in that David is depicted before his battle with Goliath and not after the giant's defeat. Instead of being shown victorious, as Donatello and Verocchio had done, David looks tense and battle ready.


title: Sculpture

text: As in painting, early Italian Mannerist sculpture was very largely an attempt to find an original style that would top the achievement of the High Renaissance, which in sculpture essentially meant Michelangelo, and much of the struggle to achieve this was played out in commissions to fill other places in the Piazza della Signoria in Florence, next to Michelangelo's "David". Baccio Bandinelli took over the project of "Hercules and Cacus" from the master himself, but it was little more popular than it is now, and maliciously compared by Benvenuto Cellini to "a sack of melons", though it had a long-lasting effect in apparently introducing relief panels on the pedestal of statues for the first time. Like other works of his, and other Mannerists, it removes far more of the original block than Michelangelo would have done. Cellini's bronze "Perseus with the head of Medusa" is certainly a masterpiece, designed with eight angles of view, another Mannerist characteristic, but is indeed mannered compared to the "David"s of Michelangelo and Donatello. Originally a goldsmith, his famous gold and enamel Salt Cellar (1543) was his first sculpture, and shows his talent at its best. As these examples show, the period extended the range of secular subjects for large works beyond portraits, with mythological figures especially favoured; previously these had mostly been found in small works.


title: Sculpture

text: Small bronze figures for collector's cabinets, often mythological subjects with nudes, were a popular Renaissance form at which Giambologna, originally Flemish but based in Florence, excelled in the later part of the century, also creating life-size sculptures, of which two joined the collection in the Piazza della Signoria. He and his followers devised elegant elongated examples of the "figura serpentinata", often of two intertwined figures, that were interesting from all angles.


title: Sculpture

text: In Baroque sculpture, groups of figures assumed new importance, and there was a dynamic movement and energy of human forms— they spiralled around an empty central vortex, or reached outwards into the surrounding space. Baroque sculpture often had multiple ideal viewing angles, and reflected a general continuation of the Renaissance move away from the relief to sculpture created in the round, and designed to be placed in the middle of a large space—elaborate fountains such as Bernini's Fontana dei Quattro Fiumi (Rome, 1651), or those in the Gardens of Versailles were a Baroque speciality. The Baroque style was perfectly suited to sculpture, with Gian Lorenzo Bernini the dominating figure of the age in works such as "The Ecstasy of St Theresa" (1647–1652). Much Baroque sculpture added extra-sculptural elements, for example, concealed lighting, or water fountains, or fused sculpture and architecture to create a transformative experience for the viewer. Artists saw themselves as in the classical tradition, but admired Hellenistic and later Roman sculpture, rather than that of the more "Classical" periods as they are seen today.


title: Sculpture

text: The Protestant Reformation brought an almost total stop to religious sculpture in much of Northern Europe, and though secular sculpture, especially for portrait busts and tomb monuments, continued, the Dutch Golden Age has no significant sculptural component outside goldsmithing. Partly in direct reaction, sculpture was as prominent in Roman Catholicism as in the late Middle Ages. Statues of rulers and the nobility became increasingly popular. In the 18th century much sculpture continued on Baroque lines—the Trevi Fountain was only completed in 1762. Rococo style was better suited to smaller works, and arguably found its ideal sculptural form in early European porcelain, and interior decorative schemes in wood or plaster such as those in French domestic interiors and Austrian and Bavarian pilgrimage churches.


title: Sculpture

text: The Neoclassical style that arrived in the late 18th century gave great emphasis to sculpture. Jean-Antoine Houdon exemplifies the penetrating portrait sculpture the style could produce, and Antonio Canova's nudes the idealist aspect of the movement. The Neoclassical period was one of the great ages of public sculpture, though its "classical" prototypes were more likely to be Roman copies of Hellenistic sculptures. In sculpture, the most familiar representatives are the Italian Antonio Canova, the Englishman John Flaxman and the Dane Bertel Thorvaldsen. The European neoclassical manner also took hold in the United States, where its pinnacle occurred somewhat later and is exemplified in the sculptures of Hiram Powers.


title: Sculpture

text: Greco-Buddhist art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between the Classical Greek culture and Buddhism, which developed over a period of close to 1000 years in Central Asia, between the conquests of Alexander the Great in the 4th century BCE, and the Islamic conquests of the 7th century CE. Greco-Buddhist art is characterized by the strong idealistic realism of Hellenistic art and the first representations of the Buddha in human form, which have helped define the artistic (and particularly, sculptural) canon for Buddhist art throughout the Asian continent up to the present. Though dating is uncertain, it appears that strongly Hellenistic styles lingered in the East for several centuries after they had declined around the Mediterranean, as late as the 5th century CE. Some aspects of Greek art were adopted while others did not spread beyond the Greco-Buddhist area; in particular the standing figure, often with a relaxed pose and one leg flexed, and the flying cupids or victories, who became popular across Asia as apsaras. Greek foliage decoration was also influential, with Indian versions of the Corinthian capital appearing.


title: Sculpture

text: The origins of Greco-Buddhist art are to be found in the Hellenistic Greco-Bactrian kingdom (250–130 BCE), located in today's Afghanistan, from which Hellenistic culture radiated into the Indian subcontinent with the establishment of the small Indo-Greek kingdom (180–10 BCE). Under the Indo-Greeks and then the Kushans, the interaction of Greek and Buddhist culture flourished in the area of Gandhara, in today's northern Pakistan, before spreading further into India, influencing the art of Mathura, and then the Hindu art of the Gupta empire, which was to extend to the rest of South-East Asia. The influence of Greco-Buddhist art also spread northward towards Central Asia, strongly affecting the art of the Tarim Basin and the Dunhuang Caves, and ultimately the sculpted figure in China, Korea, and Japan.


title: Sculpture

text: Chinese ritual bronzes from the Shang and Western Zhou Dynasties come from a period of over a thousand years from c. 1500 BCE, and have exerted a continuing influence over Chinese art. They are cast with complex patterned and zoomorphic decoration, but avoid the human figure, unlike the huge figures only recently discovered at Sanxingdui. The spectacular Terracotta Army was assembled for the tomb of Qin Shi Huang, the first emperor of a unified China from 221 to 210 BCE, as a grand imperial version of the figures long placed in tombs to enable the deceased to enjoy the same lifestyle in the afterlife as when alive, replacing actual sacrifices of very early periods. Smaller figures in pottery or wood were placed in tombs for many centuries afterwards, reaching a peak of quality in Tang dynasty tomb figures. The tradition of unusually large pottery figures persisted in China, through Tang sancai tomb figures to later Buddhist statues such as the near life-size set of Yixian glazed pottery luohans and later figures for temples and tombs. These came to replace earlier equivalents in wood.


title: Sculpture

text: Native Chinese religions do not usually use cult images of deities, or even represent them, and large religious sculpture is nearly all Buddhist, dating mostly from the 4th to the 14th century, and initially using Greco-Buddhist models arriving via the Silk Road. Buddhism is also the context of all large portrait sculpture; in total contrast to some other areas, in medieval China even painted images of the emperor were regarded as private. Imperial tombs have spectacular avenues of approach lined with real and mythological animals on a scale matching Egypt, and smaller versions decorate temples and palaces.


title: Sculpture

text: Small Buddhist figures and groups were produced to a very high quality in a range of media, as was relief decoration of all sorts of objects, especially in metalwork and jade. In the earlier periods, large quantities of sculpture were cut from the living rock in pilgrimage cave-complexes, and as outside rock reliefs. These were mostly originally painted. In notable contrast to literati painters, sculptors of all sorts were regarded as artisans and very few names are recorded. From the Ming dynasty onwards, statuettes of religious and secular figures were produced in Chinese porcelain and other media, which became an important export.


title: Sculpture

text: Towards the end of the long Neolithic Jōmon period, some pottery vessels were "flame-rimmed" with extravagant extensions to the rim that can only be called sculptural, and very stylized pottery dogū figures were produced, many with the characteristic "snow-goggle" eyes. During the Kofun period of the 3rd to 6th century CE, haniwa terracotta figures of humans and animals in a simplistic style were erected outside important tombs. The arrival of Buddhism in the 6th century brought with it sophisticated traditions in sculpture, Chinese styles mediated via Korea. The 7th-century Hōryū-ji and its contents have survived more intact than any East Asian Buddhist temple of its date, with works including a "Shaka Trinity" of 623 in bronze, showing the historical Buddha flanked by two bodhisattvas and also the Guardian Kings of the Four Directions.


title: Sculpture

text: Jōchō is said to be one of the greatest Buddhist sculptors not only in Heian period but also in the history of Buddhist statues in Japan. Jōchō redefined the body shape of Buddha statues by perfecting the technique of "yosegi zukuri" (寄木造り) which is a combination of several woods. The peaceful expression and graceful figure of the Buddha statue that he made completed a Japanese style of sculpture of Buddha statues called "Jōchō yō" (Jōchō style, 定朝様) and determined the style of Japanese Buddhist statues of the later period. His achievement dramatically raised the social status of "busshi" (Buddhist sculptor) in Japan.


title: Sculpture

text: In the Kamakura period, the Minamoto clan established the Kamakura shogunate and the samurai class virtually ruled Japan for the first time. Jocho's successors, sculptors of the Kei school of Buddhist statues, created realistic and dynamic statues to suit the tastes of samurai, and Japanese Buddhist sculpture reached its peak. Unkei, Kaikei, and Tankei were famous, and they made many new Buddha statues at many temples such as Kofuku-ji, where many Buddha statues had been lost in wars and fires.


title: Sculpture

text: Almost all subsequent significant large sculpture in Japan was Buddhist, with some Shinto equivalents, and after Buddhism declined in Japan in the 15th century, monumental sculpture became largely architectural decoration and less significant. However sculptural work in the decorative arts was developed to a remarkable level of technical achievement and refinement in small objects such as inro and netsuke in many materials, and metal "" or Japanese sword mountings. In the 19th century there were export industries of small bronze sculptures of extreme virtuosity, ivory and porcelain figurines, and other types of small sculpture, increasingly emphasizing technical accomplishment.


title: Sculpture

text: The first known sculpture in the Indian subcontinent is from the Indus Valley civilization (3300–1700 BCE), found in sites at Mohenjo-daro and Harappa in modern-day Pakistan. These include the famous small bronze female dancer and the so-called "Priest-king". However, such figures in bronze and stone are rare and greatly outnumbered by pottery figurines and stone seals, often of animals or deities very finely depicted. After the collapse of the Indus Valley civilization there is little record of sculpture until the Buddhist era, apart from a hoard of copper figures of (somewhat controversially) c. 1500 BCE from Daimabad. Thus the great tradition of Indian monumental sculpture in stone appears to begin, relative to other cultures, and the development of Indian civilization, relatively late, with the reign of Asoka from 270 to 232 BCE, and the Pillars of Ashoka he erected around India, carrying his edicts and topped by famous sculptures of animals, mostly lions, of which six survive. Large amounts of figurative sculpture, mostly in relief, survive from Early Buddhist pilgrimage stupas, above all Sanchi; these probably developed out of a tradition using wood that also embraced Hinduism.


title: Sculpture

text: The pink sandstone Hindu, Jain and Buddhist sculptures of Mathura from the 1st to 3rd centuries CE reflected both native Indian traditions and the Western influences received through the Greco-Buddhist art of Gandhara, and effectively established the basis for subsequent Indian religious sculpture. The style was developed and diffused through most of India under the Gupta Empire (c. 320–550) which remains a "classical" period for Indian sculpture, covering the earlier Ellora Caves, though the Elephanta Caves are probably slightly later. Later large-scale sculpture remains almost exclusively religious, and generally rather conservative, often reverting to simple frontal standing poses for deities, though the attendant spirits such as apsaras and yakshi often have sensuously curving poses. Carving is often highly detailed, with an intricate backing behind the main figure in high relief. The celebrated bronzes of the Chola dynasty (c. 850–1250) from south India, many designed to be carried in processions, include the iconic form of Shiva as Nataraja, with the massive granite carvings of Mahabalipuram dating from the previous Pallava dynasty.


title: Sculpture

text: The sculpture of the region tends to be characterised by a high degree of ornamentation, as seen in the great monuments of Hindu and Buddhist Khmer sculpture (9th to 13th centuries) at Angkor Wat and elsewhere, the enormous 9th-century Buddhist complex at Borobudur in Java, and the Hindu monuments of Bali. Both of these include many reliefs as well as figures in the round; Borobudur has 2,672 relief panels, 504 Buddha statues, many semi-concealed in openwork stupas, and many large guardian figures.


title: Sculpture

text: In Thailand and Laos, sculpture was mainly of Buddha images, often gilded, both large for temples and monasteries, and small figurines for private homes. Traditional sculpture in Myanmar emerged before the Bagan period. As elsewhere in the region, most of the wood sculptures of the Bagan and Ava periods have been lost.


title: Sculpture

text: Traditional Anitist sculptures from the Philippines are dominated by Anitist designs mirroring the medium used and the culture involved, while being highlighted by the environments where such sculptures are usually placed on. Christian and Islamic sculptures from the Philippines have different motifs compared to other Christian and Islamic sculptures elsewhere. In later periods Chinese influence predominated in Vietnam, Laos and Cambodia, and more wooden sculpture survives from across the region.


title: Sculpture

text: Islam is famously aniconic, so the vast majority of sculpture is arabesque decoration in relief or openwork, based on vegetable motifs, but tending to geometrical abstract forms. In the very early Mshatta Facade (740s), now mostly in Berlin, there are animals within the dense arabesques in high relief, and figures of animals and men in mostly low relief are found in conjunction with decoration on many later pieces in various materials, including metalwork, ivory and ceramics.


title: Sculpture

text: Figures of animals in the round were often acceptable for works used in private contexts if the object was clearly practical, so medieval Islamic art contains many metal animals that are aquamaniles, incense burners or supporters for fountains, as in the stone lions supporting the famous one in the Alhambra, culminating in the largest medieval Islamic animal figure known, the Pisa Griffin. In the same way, luxury hardstone carvings such as dagger hilts and cups may be formed as animals, especially in Mughal art. The degree of acceptability of such relaxations of strict Islamic rules varies between periods and regions, with Islamic Spain, Persia and India often leading relaxation, and is typically highest in courtly contexts.


title: Sculpture

text: Historically, with the exception of some monumental Egyptian sculpture, most African sculpture was created in wood and other organic materials that have not survived from earlier than a few centuries ago; older pottery figures are found from a number of areas. Masks are important elements in the art of many peoples, along with human figures, often highly stylized. There is a vast variety of styles, often varying within the same context of origin depending on the use of the object, but wide regional trends are apparent; sculpture is most common among "groups of settled cultivators in the areas drained by the Niger and Congo rivers" in West Africa. Direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies; today many are made for tourists as "airport art". African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction.


title: Sculpture

text: The Nubian Kingdom of Kush in modern Sudan was in close and often hostile contact with Egypt, and produced monumental sculpture mostly derivative of styles to the north. In West Africa, the earliest known sculptures are from the Nok culture which thrived between 500 BCE and 500 CE in modern Nigeria, with clay figures typically with elongated bodies and angular shapes. Later West African cultures developed bronze casting for reliefs to decorate palaces like the famous Benin Bronzes, and very fine naturalistic royal heads from around the Yoruba town of Ife in terracotta and metal from the 12th–14th centuries. Akan goldweights are a form of small metal sculptures produced over the period 1400–1900, some apparently representing proverbs and so with a narrative element rare in African sculpture, and royal regalia included impressive gold sculptured elements.


title: Sculpture

text: Many West African figures are used in religious rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the same region make pieces of wood with broad, flat surfaces and arms and legs are shaped like cylinders. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles and dots.


title: Sculpture

text: Populations in the African Great Lakes are not known for their sculpture. However, one style from the region is pole sculptures, carved in human shapes and decorated with geometric forms, while the tops are carved with figures of animals, people, and various objects. These poles are, then, placed next to graves and are associated with death and the ancestral world. The culture known from Great Zimbabwe left more impressive buildings than sculpture but the eight soapstone Zimbabwe Birds appear to have had a special significance and were mounted on monoliths. Modern Zimbabwean sculptors in soapstone have achieved considerable international success. Southern Africa's oldest known clay figures date from 400 to 600 CE and have cylindrical heads with a mixture of human and animal features.


title: Sculpture

text: The creation of sculptures in Ethiopia and Eritrea can be traced back to its ancient past with the kingdoms of Dʿmt and Aksum. Christian art was established in Ethiopia with the conversion from paganism to Christianity in the 4th century CE, during the reign of king Ezana of Axum. Christian imagery decorated churches during the Asksumite period and later eras. For instance, at Lalibela, life-size saints were carved into the Church of Bet Golgotha; by tradition these were made during the reign of the Zagwe ruler Gebre Mesqel Lalibela in the 12th century, but they were more likely crafted in the 15th century during the Solomonic dynasty. However, the Church of Saint George, Lalibela, one of several examples of rock cut architecture at Lalibela containing intricate carvings, was built in the 10th–13th centuries as proven by archaeology.


title: Sculpture

text: In ancient Sudan, the development of sculpture stretches from the simple pottery of the Kerma culture beginning around 2500 BCE to the monumental statuary and architecture of the Kingdom of Kush, its last phase—the Meroitic period—ending around 350 CE (with its conquest by Ethiopia's Aksum). Beyond pottery items, the Kerma culture also made furniture that contained sculptures, such as gold cattle hoofs as the legs of beds. Sculpture during the Kingdom of Kush included full-sized statues (especially of kings and queens), smaller figurines (most commonly depicting royal servants), and reliefs in stone, which were influenced by the contemporary ancient Egyptian sculptural tradition.


title: Sculpture

text: Sculpture in what is now Latin America developed in two separate and distinct areas, Mesoamerica in the north and Peru in the south. In both areas, sculpture was initially of stone, and later of terracotta and metal as the civilizations in these areas became more technologically proficient. The Mesoamerican region produced more monumental sculpture, from the massive block-like works of the Olmec and Toltec cultures, to the superb low reliefs that characterize the Mayan and Aztec cultures. In the Andean region, sculptures were typically small, but often show superb skill.


title: Sculpture

text: In North America, wood was sculpted for totem poles, masks, utensils, War canoes and a variety of other uses, with distinct variation between different cultures and regions. The most developed styles are those of the Pacific Northwest Coast, where a group of elaborate and highly stylized formal styles developed forming the basis of a tradition that continues today. In addition to the famous totem poles, painted and carved house fronts were complemented by carved posts inside and out, as well as mortuary figures and other items. Among the Inuit of the far north, traditional carving styles in ivory and soapstone are still continued.


title: Sculpture

text: The arrival of European Catholic culture readily adapted local skills to the prevailing Baroque style, producing enormously elaborate retablos and other mostly church sculptures in a variety of hybrid styles. The most famous of such examples in Canada is the altar area of the Notre Dame Basilica in Montreal, Quebec, which was carved by peasant "habitant" labourers. Later, artists trained in the Western academic tradition followed European styles until in the late 19th century they began to draw again on indigenous influences, notably in the Mexican baroque grotesque style known as Churrigueresque. Aboriginal peoples also adapted church sculpture in variations on Carpenter Gothic; one famous example is the "Church of the Holy Cross" in Skookumchuck Hot Springs, British Columbia.


title: Sculpture

text: The history of sculpture in the United States after Europeans' arrival reflects the country's 18th-century foundation in Roman republican civic values and Protestant Christianity. Compared to areas colonized by the Spanish, sculpture got off to an extremely slow start in the British colonies, with next to no place in churches, and was only given impetus by the need to assert nationality after independence. American sculpture of the mid- to late-19th century was often classical, often romantic, but showed a bent for a dramatic, narrative, almost journalistic realism. Public buildings during the last quarter of the 19th century and the first half of the 20th century often provided an architectural setting for sculpture, especially in relief. By the 1930s the International Style of architecture and design and art deco characterized by the work of Paul Manship and Lee Lawrie and others became popular. By the 1950s, traditional sculpture education would almost be completely replaced by a Bauhaus-influenced concern for abstract design. Minimalist sculpture replaced the figure in public settings and architects almost completely stopped using sculpture in or on their designs. Modern sculptors (21st century) use both classical and abstract inspired designs. Beginning in the 1980s, there was a swing back toward figurative public sculpture; by 2000, many of the new public pieces in the United States were figurative in design.


title: Sculpture

text: Modern classicism contrasted in many ways with the classical sculpture of the 19th century which was characterized by commitments to naturalism (Antoine-Louis Barye)—the melodramatic (François Rude) sentimentality (Jean-Baptiste Carpeaux)—or a kind of stately grandiosity (Lord Leighton). Several different directions in the classical tradition were taken as the century turned, but the study of the live model and the post-Renaissance tradition was still fundamental to them.


title: Sculpture

text: Auguste Rodin was the most renowned European sculptor of the early 20th century. He is often considered a sculptural Impressionist, as are his students including Camille Claudel, and Hugo Rheinhold, attempting to model of a fleeting moment of ordinary life.


title: Sculpture

text: Modern classicism showed a lesser interest in naturalism and a greater interest in formal stylization. Greater attention was paid to the rhythms of volumes and spaces—as well as greater attention to the contrasting qualities of surface (open, closed, planar, broken etc.) while less attention was paid to story-telling and convincing details of anatomy or costume. Greater attention was given to psychological effect than to physical realism, and influences from earlier styles worldwide were used.


title: Sculpture

text: Early masters of modern classicism included: Aristide Maillol, Alexander Matveyev, Joseph Bernard, Antoine Bourdelle, Georg Kolbe, Libero Andreotti, Gustav Vigeland, Jan Stursa, Constantin Brâncuși. As the century progressed, modern classicism was adopted as the national style of the two great European totalitarian empires: Nazi Germany and Soviet Russia, who co-opted the work of earlier artists such as Kolbe and Wilhelm Lehmbruck in Germany and Matveyev in Russia. Over the 70 years of the USSR, new generations of sculptors were trained and chosen within their system, and a distinct style, socialist realism, developed, that returned to the 19th century's emphasis on melodrama and naturalism.


title: Sculpture

text: Classical training was rooted out of art education in Western Europe (and the Americas) by 1970 and the classical variants of the 20th century were marginalized in the history of modernism. But classicism continued as the foundation of art education in the Soviet academies until 1990, providing a foundation for expressive figurative art throughout eastern Europe and parts of the Middle East. By 2000, the European classical tradition retains a wide appeal to the public but awaits an educational tradition to revive its contemporary development.


title: Sculpture

text: Some of the modern classical became either more decorative/art deco (Paul Manship, Jose de Creeft, Carl Milles) or more abstractly stylized or more expressive (and Gothic) (Anton Hanak, Wilhelm Lehmbruck, Ernst Barlach, Arturo Martini)—or turned more to the Renaissance (Giacomo Manzù, Venanzo Crocetti) or stayed the same (Charles Despiau, Marcel Gimond).


title: Sculpture

text: Modernist sculpture movements include Cubism, Geometric abstraction, De Stijl, Suprematism, Constructivism, Dadaism, Surrealism, Futurism, Formalism, Abstract expressionism, Pop-Art, Minimalism, Land art, and Installation art among others.


title: Sculpture

text: In the early days of the 20th century, Pablo Picasso revolutionized the art of sculpture when he began creating his "constructions" fashioned by combining disparate objects and materials into one constructed piece of sculpture; the sculptural equivalent of the collage in two-dimensional art. The advent of Surrealism led to things occasionally being described as "sculpture" that would not have been so previously, such as "involuntary sculpture" in several senses, including coulage. In later years Picasso became a prolific potter, leading, with interest in historic pottery from around the world, to a revival of ceramic art, with figures such as George E. Ohr and subsequently Peter Voulkos, Kenneth Price, and Robert Arneson. Marcel Duchamp originated the use of the "found object" (French: objet trouvé) or "readymade" with pieces such as "Fountain" (1917).


title: Sculpture

text: Similarly, the work of Constantin Brâncuși at the beginning of the century paved the way for later abstract sculpture. In revolt against the naturalism of Rodin and his late-19th-century contemporaries, Brâncuși distilled subjects down to their essences as illustrated by the elegantly refined forms of his "Bird in Space" series (1924).


title: Sculpture

text: Brâncuși's impact, with his vocabulary of reduction and abstraction, is seen throughout the 1930s and 1940s, and exemplified by artists such as Gaston Lachaise, Sir Jacob Epstein, Henry Moore, Alberto Giacometti, Joan Miró, Julio González, Pablo Serrano, Jacques Lipchitz and by the 1940s abstract sculpture was impacted and expanded by Alexander Calder, Len Lye, Jean Tinguely, and Frederick Kiesler who were pioneers of Kinetic art.


title: Sculpture

text: Modernist sculptors largely missed out on the huge boom in public art resulting from the demand for war memorials for the two World Wars, but from the 1950s the public and commissioning bodies became more comfortable with Modernist sculpture and large public commissions both abstract and figurative became common. Picasso was commissioned to make a maquette for a huge -high public sculpture, the so-called "Chicago Picasso" (1967). His design was ambiguous and somewhat controversial, and what the figure represents is not clear; it could be a bird, a horse, a woman or a totally abstract shape.


title: Sculpture

text: During the late 1950s and the 1960s abstract sculptors began experimenting with a wide array of new materials and different approaches to creating their work. Surrealist imagery, anthropomorphic abstraction, new materials and combinations of new energy sources and varied surfaces and objects became characteristic of much new modernist sculpture. Collaborative projects with landscape designers, architects, and landscape architects expanded the outdoor site and contextual integration. Artists such as Isamu Noguchi, David Smith, Alexander Calder, Jean Tinguely, Richard Lippold, George Rickey, Louise Bourgeois, Philip Pavia and Louise Nevelson came to characterize the look of modern sculpture.


title: Sculpture

text: By the 1960s Abstract expressionism, Geometric abstraction and Minimalism, which reduces sculpture to its most essential and fundamental features, predominated. Some works of the period are: the Cubi works of David Smith, and the welded steel works of Sir Anthony Caro, as well as welded sculpture by a large variety of sculptors, the large-scale work of John Chamberlain, and environmental installation scale works by Mark di Suvero. Other Minimalists include Tony Smith, Donald Judd, Robert Morris, Anne Truitt, Giacomo Benevelli, Arnaldo Pomodoro, Richard Serra, Dan Flavin, Carl Andre, and John Safer who added motion and monumentality to the theme of purity of line.


title: Sculpture

text: During the 1960s and 1970s figurative sculpture by modernist artists in stylized forms was made by artists such as Leonard Baskin, Ernest Trova, George Segal, Marisol Escobar, Paul Thek, Robert Graham in a classic articulated style, and Fernando Botero bringing his painting's 'oversized figures' into monumental sculptures.


title: Sculpture

text: Site specific and environmental art works are represented by artists: Andy Goldsworthy, Walter De Maria, Richard Long, Richard Serra, Robert Irwin, George Rickey and Christo and Jeanne-Claude led contemporary abstract sculpture in new directions. Artists created environmental sculpture on expansive sites in the 'land art in the American West' group of projects. These land art or 'earth art' environmental scale sculpture works exemplified by artists such as Robert Smithson, Michael Heizer, James Turrell (Roden Crater). Eva Hesse, Sol LeWitt, Jackie Winsor, Keith Sonnier, Bruce Nauman and Dennis Oppenheim among others were pioneers of Postminimalist sculpture.


title: Sculpture

text: Also during the 1960s and 1970s artists as diverse as Eduardo Paolozzi, Chryssa, Claes Oldenburg, George Segal, Edward Kienholz, Nam June Paik, Wolf Vostell, Duane Hanson, and John DeAndrea explored abstraction, imagery and figuration through video art, environment, light sculpture, and installation art in new ways.


title: Sculpture

text: Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. Works include "One and Three Chairs", 1965, is by Joseph Kosuth, and "An Oak Tree" by Michael Craig-Martin, and those of Joseph Beuys, James Turrell and Jacek Tylicki.


title: Sculpture

text: Some modern sculpture forms are now practiced outdoors, as environmental art and environmental sculpture, often in full view of spectators. Light sculpture, street art sculpture and site-specific art also often make use of the environment. Ice sculpture is a form of ephemeral sculpture that uses ice as the raw material. It is popular in China, Japan, Canada, Sweden, and Russia. Ice sculptures feature decoratively in some cuisines, especially in Asia. Kinetic sculptures are sculptures that are designed to move, which include mobiles. Snow sculptures are usually carved out of a single block of snow about on each side and weighing about 20–30 tons. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall. Sound sculptures take the form of indoor sound installations, outdoor installations such as aeolian harps, automatons, or be more or less near conventional musical instruments. Sound sculpture is often site-specific. Art toys have become another format for contemporary artists since the late 1990s, such as those produced by Takashi Murakami and Kid Robot, designed by Michael Lau, or hand-made by Michael Leavitt (artist).


title: Sculpture

text: Sculptures are sensitive to environmental conditions such as temperature, humidity and exposure to light and ultraviolet light. Acid rain can also cause damage to certain building materials and historical monuments. This results when sulfuric acid in the rain chemically reacts with the calcium compounds in the stones (limestone, sandstone, marble and granite) to create gypsum, which then flakes off. Severe air pollution also causes damage to historical monuments.


title: Sculpture

text: At any time many contemporary sculptures have usually been on display in public places; theft was not a problem as pieces were instantly recognisable. In the early 21st century the value of metal rose to such an extent that theft of massive bronze sculpture for the value of the metal became a problem; sculpture worth millions being stolen and melted down for the relatively low value of the metal, a tiny fraction of the value of the artwork.


title: Civil Services Examination

text: The Civil Services Examination (CSE) is a national competitive examination in India conducted by the Union Public Service Commission for recruitment to higher Civil Services of the Government of India, including the Indian Administrative Service, Indian Foreign Service, and Indian Police Service. In simple terms it is referred as UPSC examination, and is conducted in three phases: a preliminary examination consisting of two objective-type papers (General Studies Paper I and General Studies Paper II also popularly known as Civil Service Aptitude Test or CSAT), and a main examination consisting of nine papers of conventional (essay) type, in which two papers are qualifying and only marks of seven are counted followed by a personality test (interview). A successful candidate sits for 32 hours of examination during the complete process spanning around one year.


title: Civil Services Examination

text: The Civil Services Examination is based on the British era Imperial Civil Service tests, as well as the civil service tests conducted by old Indian empires such as the Mauryan Empire and Mughal Empire. It is one of the most difficult competitive examinations in India. A single attempt can take two complete years of preparation - one year before the prelims and one year from prelims to interview. On average, 900,000 to 1,000,000 candidates apply every year and the number of candidates sitting in the preliminary examination is approximately 550,000. Results for the Prelims are published in mid-August, while the final result is published in May of the next year.


title: Civil Services Examination

text: After the completion of Medical examination of the successful candidates and other necessary formalities, the training program for the selected candidates usually commences the following September.


title: Civil Services Examination

text: The following candidates are also eligible, but must submit proof of their eligibility from a competent authority at their institute/university at the time of the main examination, failing which they will not be allowed to attend the exam.


title: Civil Services Examination

text: The candidate must have attained the age of 21 years and must not have attained the age of 32 years (for the General category candidate) on 1 August of the year of examination. Prescribed age limits vary with respect to caste reservations.


title: Civil Services Examination

text: Appearing to attempt one of the papers in the preliminary examination is counted as an attempt, including disqualification/ cancellation of candidature. However, applying to sit the exam but failing to attend is not counted as an attempt.


title: Civil Services Examination

text: Generally the number of vacancies varies every year. The number of candidates that pass the preliminary examination is generally 11 or 12 times the number of vacancies, and the number of candidates selected for the final interview is twice the number of vacancies. As per existing policies, reservation for SC/ST/OBC is applied to each level of the selection process.


title: Civil Services Examination

text: The pattern of the Preliminary examination up to 2010 was based on the recommendations of the Kothari Commission (1979). It included two examinations, one on general studies worth 150 marks, and the second on one of 23 optional subjects worth 300 marks. Until 2011, when it was revamped, the preliminary pattern was sustained with only minor changes once every ten to fifteen years.


title: Civil Services Examination

text: From 2011 onwards, the preliminary examination intends to focus on analytical abilities and understanding rather than the ability to memorize. The new pattern includes two papers of two hours duration and 200 marks each. Both papers have multiple choice objective type questions only. They are as follows:


title: Civil Services Examination

text: In August 2014, the Centre announced that English marks in CSAT will not be included for gradation or merit and 2011 candidates may get a second chance to appear for the test next year.


title: Civil Services Examination

text: In May 2015, the Government of India announced that Paper II of the preliminary examination will be qualifying in nature i.e. it will not be graded for eligibility in Mains Examination and a candidate will need to score at least 33% to be eligible for grading on the basis of marks of Paper I of the Preliminary Examination. Those who qualify in the Prelims become eligible for the Mains.


title: Civil Services Examination

text: The Civil Services Main written examination consists of nine papers, two qualifying and seven ranking in nature. The range of questions may vary from just one mark to sixty marks, twenty words to 600 words answers. Each paper is of a duration of 3 hours. Candidates who pass qualifying papers are ranked according to marks and a selected number of candidates are called for interview or a personality test at the Commission's discretion.


title: Civil Services Examination

text: According to the new marks allocations in Civil Service Examination 2013 there are some changes made in the examination according to the suggestion of the Prof. Arun. S. Nigavekar Committee. However, after some controversy, the qualifying papers for Indian languages and English were restored.


title: Civil Services Examination

text: 1.The paper A on Indian Language will not, however, be compulsory for candidates hailing from the states of Arunachal Pradesh, Manipur, Meghalya, Mizoram, Nagaland and Sikkim.


title: Civil Services Examination

text: Unofficially called the "interview", the objective of the interview is to assess the personal suitability of the candidate for a career in public service by a board of competent and unbiased observers. The test is intended to evaluate the mental calibre of a candidate. In broad terms, this is really an assessment of not only a candidate's intellectual qualities, but also social traits and interest in current affairs. Some of the qualities to be judged are mental alertness, critical powers of assimilation, clear and logical exposition, balance of judgement, variety and depth of interest, ability for social cohesion and leadership, and intellectual and moral integrity.


title: Civil Services Examination

text: The technique of the interview is not that of a strict cross-examination, but of a natural, though directed and purposeful conversation that is intended to reveal the mental qualities of the candidate.


title: Civil Services Examination

text: The interview is not intended to test either of the specialized or general knowledge of the candidate, which has been already tested through written papers. Candidates are expected to have taken an intelligent interest not only in their special subjects of academic study, but also in the events which are happening around them both within and outside their own state or country as well as in modern currents of thought and in new discoveries which should rouse the curiosity of all well-educated youth. The interview standards are very high and require thorough preparation as well as commitment.


title: Monoamine oxidase inhibitor

text: Monoamine oxidase inhibitors (MAOIs) are a class of drugs that inhibit the activity of one or both monoamine oxidase enzymes: monoamine oxidase A (MAO-A) and monoamine oxidase B (MAO-B). They are best known as effective antidepressants, especially for treatment-resistant depression and atypical depression. They are also used to treat panic disorder, social anxiety disorder, Parkinson's disease, and several other disorders.


title: Monoamine oxidase inhibitor

text: Reversible inhibitors of monoamine oxidase A (RIMAs) are a subclass of MAOIs that selectively and reversibly inhibit the MAO-A enzyme. RIMAs are used clinically in the treatment of depression and dysthymia. Due to their reversibility, they are safer in single-drug overdose than the older, irreversible MAOIs, and weaker in increasing the monoamines important in depressive disorder. RIMAs have not gained widespread market share in the United States.


title: Monoamine oxidase inhibitor

text: MAOIs have been found to be effective in the treatment of panic disorder with agoraphobia, social phobia, atypical depression or mixed anxiety disorder and depression, bulimia, and post-traumatic stress disorder, as well as borderline personality disorder, and Obsessive Compulsive Disorder (OCD). MAOIs appear to be particularly effective in the management of bipolar depression according to a retrospective-analysis from 2009. There are reports of MAOI efficacy in obsessive-compulsive disorder (OCD), trichotillomania, body dysmorphic disorder, and avoidant personality disorder, but these reports are from uncontrolled case reports.


title: Monoamine oxidase inhibitor

text: MAOIs can also be used in the treatment of Parkinson's disease by targeting MAO-B in particular (therefore affecting dopaminergic neurons), as well as providing an alternative for migraine prophylaxis. Inhibition of both MAO-A and MAO-B is used in the treatment of clinical depression and anxiety.


title: Monoamine oxidase inhibitor

text: MAOIs appear to be particularly indicated for outpatients with dysthymia complicated by panic disorder or hysteroid dysphoria


title: Monoamine oxidase inhibitor

text: Newer MAOIs such as selegiline (typically used in the treatment of Parkinson's disease) and the reversible MAOI moclobemide provide a safer alternative and are now sometimes used as first-line therapy.


title: Monoamine oxidase inhibitor

text: People taking MAOIs generally need to change their diets to limit or avoid foods and beverages containing tyramine, which is found in products such as cheese, soy sauce, and salami. If large amounts of tyramine are consumed, they may develop a hypertensive crisis, which can be fatal. Examples of foods and beverages with potentially high levels of tyramine include animal liver and fermented substances, such as alcoholic beverages and aged cheeses. Excessive concentrations of tyramine in blood plasma can lead to hypertensive crisis by increasing the release of norepinephrine (NE), which causes blood vessels to constrict by activating alpha-1 adrenergic receptors. Ordinarily, MAO-A would destroy the excess NE; when MAO-A is inhibited, however, NE levels get too high, leading to dangerous increases in blood pressure.


title: Monoamine oxidase inhibitor

text: RIMAs are displaced from MAO-A in the presence of tyramine, rather than inhibiting its breakdown in the liver as general MAOIs do. Additionally, MAO-B remains free and continues to metabolize tyramine in the stomach, although this is less significant than the liver action. Thus, RIMAs are unlikely to elicit tyramine-mediated hypertensive crisis; moreover, dietary modifications are not usually necessary when taking a reversible inhibitor of MAO-A (i.e., moclobemide) or low doses of selective MAO-B inhibitors (e.g., selegiline 6 mg/24 hours transdermal patch).


title: Monoamine oxidase inhibitor

text: The most significant risk associated with the use of MAOIs is the potential for drug interactions with over-the-counter, prescription, or illegally obtained medications, and some dietary supplements (e.g., St. John's wort, tryptophan). It is vital that a doctor supervise such combinations to avoid adverse reactions. For this reason, many users carry an MAOI-card, which lets emergency medical personnel know what drugs to avoid (e.g. adrenaline [epinephrine] dosage should be reduced by 75%, and duration is extended.)


title: Monoamine oxidase inhibitor

text: MAOIs should not be combined with other psychoactive substances (antidepressants, painkillers, stimulants, including prescribed, OTC and illegally acquired drugs, etc.) except under expert care. Certain combinations can cause lethal reactions; common examples including SSRIs, tricyclics, MDMA, meperidine, tramadol, dextromethorphan, LSD, Psilocybin, and DMT. Drugs that affect the release or reuptake of epinephrine, norepinephrine, or dopamine typically need to be administered at lower doses due to the resulting potentiated and prolonged effect. MAOIs also interact with tobacco-containing products (e.g. cigarettes) and may potentiate the effects of certain compounds in tobacco. This may be reflected in the difficulty of smoking cessation, as tobacco contains naturally occurring MAOI compounds in addition to the nicotine.


title: Monoamine oxidase inhibitor

text: While safer than general MAOIs, still possess significant and potentially serious drug interactions with many common drugs; in particular, they can cause serotonin syndrome or hypertensive crisis when combined with almost any antidepressant or stimulant, common migraine medications, certain herbs, or most cold medicines (including decongestants, antihistamines, and cough syrup).


title: Monoamine oxidase inhibitor

text: Ocular alpha-2 agonists such as brimonidine and apraclonidine are glaucoma medications which reduce intraocular pressure by decreasing aqueous production. These alpha-2 agonists should not be given with oral MAOIs due to the risk of hypertensive crisis.


title: Monoamine oxidase inhibitor

text: Antidepressants including MAOIs have some dependence-producing effects, the most notable one being a discontinuation syndrome, which may be severe especially if MAOIs are discontinued abruptly or too rapidly. The dependence-producing potential of MAOIs or antidepressants in general is not as significant as benzodiazepines, however. Discontinuation symptoms can be managed by a gradual reduction in dosage over a period of days, weeks or sometimes months to minimize or prevent withdrawal symptoms.


title: Monoamine oxidase inhibitor

text: MAOIs, as with most antidepressant medication, may not alter the course of the disorder in a significant, permanent way, so it is possible that discontinuation can return the patient to the pre-treatment state. This consideration complicates prescribing between an MAOI and an SSRI, because it is necessary to clear the system completely of one drug before starting another. One physician organization recommends the dose to be tapered down over a minimum of four weeks, followed by a two-week washout period. The result is that a depressed patient will have to bear the depression without chemical help during the drug-free interval. This may be preferable to risking the effects of an interaction between the two drugs.


title: Monoamine oxidase inhibitor

text: MAOIs act by inhibiting the activity of monoamine oxidase, thus preventing the breakdown of monoamine neurotransmitters and thereby increasing their availability. There are two isoforms of monoamine oxidase, MAO-A and MAO-B. MAO-A preferentially deaminates serotonin, melatonin, epinephrine, and norepinephrine. MAO-B preferentially deaminates phenethylamine and certain other trace amines; in contrast, MAO-A preferentially deaminates other trace amines, like tyramine, whereas dopamine is equally deaminated by both types.


title: Monoamine oxidase inhibitor

text: The early MAOIs covalently bound to the monoamine oxidase enzymes, thus inhibiting them irreversibly; the bound enzyme could not function and thus enzyme activity was blocked until the cell made new enzymes. The enzymes turn over approximately every two weeks. A few newer MAOIs, a notable one being moclobemide, are reversible, meaning that they are able to detach from the enzyme to facilitate usual catabolism of the substrate. The level of inhibition in this way is governed by the concentrations of the substrate and the MAOI.


title: Monoamine oxidase inhibitor

text: Harmaline found in "Peganum harmala", "Banisteriopsis caapi", and "Passiflora incarnata" is a reversible inhibitor of monoamine oxidase A (RIMA).


title: Monoamine oxidase inhibitor

text: In addition to reversibility, MAOIs differ by their selectivity of the MAO enzyme subtype. Some MAOIs inhibit both MAO-A and MAO-B equally, other MAOIs have been developed to target one over the other.


title: Monoamine oxidase inhibitor

text: MAO-A inhibition reduces the breakdown of primarily serotonin, norepinephrine, and dopamine; selective inhibition of MAO-A allows for tyramine to be metabolised via MAO-B. Agents that act on serotonin if taken with another serotonin-enhancing agent may result in a potentially fatal interaction called serotonin syndrome or with irreversible and unselective inhibitors (such as older MAOIs), of MAO a hypertensive crisis as a result of tyramine food interactions is particularly problematic with older MAOIs. Tyramine is broken down by MAO-A and MAO-B, therefore inhibiting this action may result in its excessive build-up, so diet must be monitored for tyramine intake.


title: Monoamine oxidase inhibitor

text: MAO-B inhibition reduces the breakdown mainly of dopamine and phenethylamine so there are no dietary restrictions associated with this. MAO-B would also metabolize tyramine, as the only differences between dopamine, phenethylamine, and tyramine are two phenylhydroxyl groups on carbons 3 and 4. The 4-OH would not be a steric hindrance to MAO-B on tyramine. Selegiline is selective for MAO-B at low doses, but non-selective at higher doses.


title: Monoamine oxidase inhibitor

text: The knowledge of MAOIs began with the serendipitous discovery that iproniazid was a potent MAO inhibitor (MAOI). Originally intended for the treatment of tuberculosis, in 1952, iproniazid's antidepressant properties were discovered when researchers noted that the depressed patients given iproniazid experienced a relief of their depression. Subsequent in vitro work led to the discovery that it inhibited MAO and eventually to the monoamine theory of depression. MAOIs became widely used as antidepressants in the early 1950s. The discovery of the 2 isoenzymes of MAO has led to the development of selective MAOIs that may have a more favorable side-effect profile.


title: Monoamine oxidase inhibitor

text: The older MAOIs' heyday was mostly between the years 1957 and 1970. The initial popularity of the 'classic' non-selective irreversible MAO inhibitors began to wane due to their serious interactions with sympathomimetic drugs and tyramine-containing foods that could lead to dangerous hypertensive emergencies. As a result, the use by medical practitioners of these older MAOIs declined. When scientists discovered that there are two different MAO enzymes (MAO-A and MAO-B), they developed selective compounds for MAO-B, (for example, selegiline, which is used for Parkinson's disease), to reduce the side-effects and serious interactions. Further improvement occurred with the development of compounds (moclobemide and toloxatone) that not only are selective but cause reversible MAO-A inhibition and a reduction in dietary and drug interactions. Moclobemide, was the first reversible inhibitor of MAO-A to enter widespread clinical practice.


title: Monoamine oxidase inhibitor

text: A transdermal patch form of the MAOI selegiline, called Emsam, was approved for use in depression by the Food and Drug Administration in the United States on 28 February 2006.


title: Monoamine oxidase inhibitor

text: Methylthioninium chloride (methylene blue), the antidote indicated for drug-induced methemoglobinemia on the World Health Organization's List of Essential Medicines, among a plethora of other off-label uses, is a highly potent, reversible MAO inhibitor.


title: Dave Filoni

text: David Filoni (born June 7, 1974) is an American director, producer, screenwriter, and voice actor. He has worked on "", "The Mandalorian", and on the theatrical film and television series of "". He was also the creator and an executive producer on "Star Wars Rebels" for all four seasons, and served as its supervising director for all but the third season, in which Justin Ridge served as supervising director while Filoni accepted a promotion to oversee all of Lucasfilm Animation projects. Filoni is also credited as one of the writers and executive producers of the web series "Star Wars Forces of Destiny", and as the creator of the 2018–2020 animated series "Star Wars Resistance" and the 2021 animated series "", which has been renewed for a second season.


title: Dave Filoni

text: Dave Filoni was born in Mt. Lebanon, Pennsylvania, a suburb of Pittsburgh, on June 7, 1974. He graduated from Mt. Lebanon High School in 1992 and Edinboro University of Pennsylvania in 1996. Filoni's father was an opera and a classical music fan, according to composer Kevin Kiner (who did most of the music for "The Clone Wars" and "Rebels"); as such, he inherited appreciation for classical music and helped with the collaboration process, with Kiner crediting Filoni for suggesting the organ in Grand Admiral Thrawn's theme from "Rebels". Filoni has also said that his grandfather and uncle were pilots, with the latter specializing in restoring planes. He cited this as a significant influence with regard to the concept of "Star Wars Resistance".


title: Dave Filoni

text: Prior to his work with Lucasfilm Animation, Filoni worked as a storyboard artist and/or assistant director for various animated series, including Mike Judge's "King of the Hill", Phil Walsh's "Teamo Supremo", and Disney's "Kim Possible", before moving on to direct many of Nickelodeon's first-season episodes of the animated series "".


title: Dave Filoni

text: An avid "Star Wars" fan, particularly of character Plo Koon, Filoni dressed up as the Jedi Master for the opening of "". Filoni left Nickelodeon after George Lucas offered him a job, helping him develop a "Star Wars" animated series. While on "The Star Wars Show", Filoni revealed that he originally believed he was being pranked when given the "Star Wars" job.


title: Dave Filoni

text: Filoni's office, as seen in the extra features on the "" DVD, is filled with Plo Koon paraphernalia. He has a bust of Plo Koon's head, a model of Plo Koon's ship, an autographed portrait by the actor who played Plo Koon, a replica of Plo Koon's lightsaber on his desk, and his personal Plo Koon costume on display. Filoni also has a notebook-sized planner on his desk with Plo Koon's picture taped to the outside, and he has written the words "Plo Kool" on concept art designs for the Clone Wars, indicating that he liked those designs. Filoni also has a small model of the character Appa on his desk, from "Avatar: The Last Airbender." Filoni has attended all the "Clone Wars" premieres and attended the fifth-season premiere in Orlando, Florida during the special event Celebration VI on August 24, 2012. He is most associated with developing the characters of Ahsoka Tano and Captain Rex.


title: Dave Filoni

text: In 2008, he served as director of the "" animated feature film, and the supervising director of the "" animated series.


title: Dave Filoni

text: Filoni made an appearance at Celebration IV in May 2007 with producer Catherine Winder to discuss the beginnings of the new television series and reveal how "The Clone Wars" is being created. At the time, he announced he would be writing for the Clone Wars monthly comic. Filoni voices the bounty hunter Embo during various episodes in different seasons. In February 2009, Filoni was inducted as an Honorary Member of the 501st Legion international costuming organization in recognition of his contributions to the continuing "Star Wars" saga.


title: Dave Filoni

text: Filoni was as an executive producer of "Star Wars Rebels", which debuted in fall 2014, alongside Greg Weisman and Simon Kinberg. For the first two seasons he also served as its supervising director. He appointed Justin Ridge as his successor for the remainder of the show, though he still remained as executive producer. Filoni departed as supervising director in September 2016 when he was given the job as overseer of all future and current Lucasfilm Animation projects. He returned as supervising director for season four.


title: Dave Filoni

text: In 2019, Jon Favreau invited Filoni to work with him to create "The Mandalorian", a live action Star Wars television series that premiered on Disney+ in November 2019. Referred to as a "Lucas encyclopedia", he contributes to and consults on many aspects of the series' production and began influencing the direction of the story in season two. He is an executive producer of the show and made his live action debut as the director of episode one of the first season.


title: Dave Filoni

text: In mid-2020, Lucasfilm quietly promoted Filoni as executive producer and executive creative director for the studio. His promotion was not announced to the public until Lucasfilm updated its list of their executives on its website with the addition of Filoni in May 2021.


title: Dave Filoni

text: Filoni provided the voice of the bounty hunter Embo and the droid CH-33P ("Cheep") in "". In the "Star Wars Rebels" season three episodes "The Holocrons of Fate" and "Legacy of Mandalore", Filoni voiced a Rebel Crewman, Stormtroopers, and Mandalorian Warrior, respectively. He also voiced Chopper for the entirety of the show, a fact not revealed until the series finale.


title: Dave Filoni

text: Filoni made his live action acting debut in "The Mandalorian" as an X-Wing pilot named Trapper Wolf in . He later reprised the character in .


title: Abscess

text: An abscess is a collection of pus that has built up within the tissue of the body. Signs and symptoms of abscesses include redness, pain, warmth, and swelling. The swelling may feel fluid-filled when pressed. The area of redness often extends beyond the swelling. Carbuncles and boils are types of abscess that often involve hair follicles, with carbuncles being larger.