Some pretty cool storytelling here for a pair, in this varsity maize, black and sail colorway, that dropped in superlimited fashion.
As one sneaker blogger pointed out , the varsity maize NFR 1s only went on sale in one location in the United States — the Jumpman store in downtown Los Angeles. There was a wider release of the same shoe, but in a varsity red, black and sail colorway.
And guess what? Sneakerheads still resold both pairs of NFR 1s like crazy. These shoes are just superclean, and the light blue threading adds a nice touch. So unless you had an overseas plug, they were very hard to find, especially at a reasonable price. So this year, the Jordan Brand gave Sylvester his own signature model of the shoe — which is all about the details. The discolored kicks look worn, with handmade distress marks to mimic the same ones he picked up on his pairs of AJ1s that he rocked while mastering tricks.
Because in late October — when the shoes were subtly put on display at a staged booth during the Rose Bowl Flea Market in Pasadena, California — many sneakerheads were fooled , as hidden cameras rolled. But they are. Take a closer look, because the Union AJ1s are absolutely incredible. The design is from the mind of Chris Gibbs, owner of Union L. Gibbs and the Jordan Brand ended up designing two different pairs — each of which merges two original colorways with contrasting yellow stitching.
A lot of work was put into these shoes, including nine attempts to recreate the fuzzy ankle heel from the original AJ1s. This is the probably the closest many sneakerheads have ever gotten to wearing an OG AJ1. They are shown with the horses that pulled their chariots across the sky, suggesting that the birth of Athena occurred at dawn: a time when both the sun and the moon are visible. The West pediment— the side most visible when ascending the Athenian Acropolis— depicts the contest between Athena and her uncle Poseidon to determine who would become the patron Greek god of Athens.
Each deity offered the city a gift. Poseidon struck the rock with his trident and a saltwater spring arose, representing a powerful navy and prosperous sea trade. Athena struck the rock with her spear and an olive tree sprang up, representing olives, wood, and oil. Being a lover of Art, having spent many years in collecting paintings, having found great pleasure and satisfaction in possessing and living with them, it has occurred to me that through these paintings and the gift of them to the city of Nashville, I might be able, in my humble way to express to the citizens of that State, to some extent at least, the love and reverence I entertain for Tennessee.
And it will be my hope that what has given me pleasure in collecting and studying for a great portion of my life, may prove to be of permanent benefit and afford real pleasure to the friends and citizens and coming generations of the State I love above all others.
Archaeological evidence indicates the existence and use of temporary superstructures, such as cranes, to control the vertical lifting of stones in Greece dates back to at least the 5th century BCE. Construction of the Parthenon BCE involved extracting large pieces of marble— some weighing tons— from nearby Mt. A sledge roller system was used to remove the selected pieces from the quarry where they were then loaded onto ox-drawn carts for the 10 mile trip from the Mt.
Pentelikon quarry to the Acropolis. There, mule teams transported the marble along an incline to the construction site nearly feet above the city. The construction devices used by architects Iktinos and Kallikrates included four massive cranes, one on each side of the building.
Each crane was 90 feet high and was placed on rollers along a track for ease of movement along that side of the structure. Two important considerations for the use of these huge devices - ground stability and base stability - were solved with the implementation of stone tracks to prevent the crane from sinking, and the use of counterweights at the base so that the magnitude and movement of the load would not cause the crane to topple.
The use of ropes, pulleys and a ratchet system permitted large wheels on each side of the crane to hoist the huge pieces of marble into place. The inclusion of ladders and platforms within the structure of the crane allowed builders opportunities to monitor construction from above. The construction techniques are indicative of simple machines inclines, ropes and pulleys as well as the Principle of Conservation of Energy energy is proportional to force multiplied by distance.
Lifting an object of mass m to a height h above its initial position transfers gravitational potential energy [Ep] to the object. This model is made of the same wood oak, beech, ash used in the crane from antiquity. The wood varieties selected originated from Tennessee, as does the limestone column drum. There was certainly a desire for Tennessee, as a southern state, to show how much it had progressed in the 30 years since the end of the Civil War.
Increased commerce in Nashville would not only provide an economic boost, the thinking went; it would also promote peace by helping heal the wounds of sectional division. Crass commercialism was not the driving force behind the Centennial Exposition, however; its leaders emphasized history and culture over business, the ideal over the material, education and patriotism over monetary gains.
Note: Throughout the following section, suggestions marked by an asterisk or other symbol are linked to assignment ideas in the At the End of Class section below. In reviewing some of the most common art history survey textbooks currently in use, I selected twelve sculptors who appear most often in such texts.
I also tried to focus on works by these twelve sculptors where material could be found on the Internet about the artists and their works in English and works that were part of major museum collections. The strongest work of the period in question was produced in France, and thus the lesson focuses primarily on French sculpture. However, the Italian Antonio Canova cannot be omitted, as his reputation and influence flowed far and wide, and the artworks of the Americans Hiram Powers, Harriet Hosmer, and Augustus Saint-Gaudens are crucial to the understanding of the cross-influence between Europe and the United States at the time the sculptures were made.
This material can be explored in an hour and fifteen minutes through a variety of examples, including :. Additive sculpture : sculpture created by building up or modeling e. Cast : to form into a three-dimensional shape by pouring materials e. Cast can also refer to an impression formed in a mold or matrix.
Chasing might be done in order to remove the imperfections and rough spots on a bronze cast that necessarily form in the casting process. Chasing might also be done in order to ornament metal surfaces by embossing or hollowing them with tools. When the mold is heated, the wax melts away so that molten metal can replace it, reproducing exactly the original wax sculpture. In-the-round sculpture : to be viewed from all sides; freestanding; the opposite of relief.
When referring to sculpture, in-the-round sculpture is surrounded on all sides by space. Maquette : a small sculpture made as a preparatory study or model for a full-scale work.
Bronze objects often develop a green patina. There are three degrees or types of relief: high, low, and sunken. In high relief, the forms stand far out from the background. In low relief also known as bas-relief , they are shallow. In sunken relief, also called hollow or intaglio, the backgrounds are not cut back and the points in highest relief are level with the original surface of the material being carved. Sand-casting method : a method of casting in metal in which a mold is made by firmly packing layers of very fine damp sand around a sculpture.
When the original is removed, an exact impression is left in the sand. Subtractive sculpture : sculpture created by removing material from a larger source e.
The playful and erotic characteristics of the Rococo style are best exemplified by the small-scale terracotta sculptures of Claude Michel, the artist known as Clodion — Sculptures such as The Intoxication of Wine c. Terracotta sculptures were very popular among art collectors in the eighteenth century for a number of reasons. One is that they were small and appropriate for display in a home or study. They were also often less costly than works in marble and bronze that required more time and labor.
By the s, the Rococo style had fallen out of favor in France, due to the reaction against artworks that lacked a moral message or a reference to antique art and subject matter; however, Clodion continued to have success with his tabletop sculptures. He later adapted the Neoclassical style to his work.
Clodion would have worked this sculpture on a trestle table, that is, a special table that has an adjustable top that could turn.
This small sculpture in the round was rendered to a heightened polish from all sides, and evokes a powerful sense of movement and dynamism that was highly prized by viewers. He specialized in busts and full-length figures of important contemporary Enlightenment figures. Due to the diplomatic friendliness of France and the United States during those years, he received many commissions for portraits from American politicians, including Benjamin Franklin and Thomas Jefferson.
His statue of George Washington , made between and , was commissioned by the Virginia State Legislature to be placed in their state house. The sculpture is replete with classical references, including the plowshare— a reference to the ancient Roman soldier Cincinnatus who, like Washington, returned to his farm after his great military victories rather than seek greater political power.
The ancient symbol of the fasces , or bound bundle of rods, is also included. The fasces is an ancient Etruscan symbol of strength through unity and collective power. Houdon included thirteen rods in this bundle to represent the thirteen colonies. Washington is dressed in contemporary clothing, and he successfully adapted a contemporary figure to a concept replete with ancient political symbols.
He created both large-scale public monuments and sculptures for private patrons. It was thus placed in a private room at the Borghese Villa, where it was shown only to their intimate guests, often by candlelight. Canova utilized different-colored marbles and gilding in the work in reference to ancient Roman sculpture, but the sculpture was also very innovative, as it contained a motor that allowed it to rotate for the viewer. Canova thereby challenged age-old complaints that sculpture was static and stiff and that a viewer had to walk around a sculpture to fully experience it.
After the fall of Napoleon, Canova negotiated for the return of looted art taken from Italy by France.
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