Modern Wood Carving

Modern wood carving is an art form that has been around for a long time. This style of wood carving has long been a part of the furniture industry. Today, some of the most popular wood carving is created by artists like Andrianna Shamaris, Ambass Austria, and Hap Sakwa.

Modern Wood Carving

Aron Demetz

Aron Demetz modern wood carving fuses traditional techniques with modern materials, forming works of art with a distinctive physical presence. His work combines three techniques-carving, burning, and covering with resin-to create a reinterpretation of the material’s texture and spiritual essence. The human figures in his pieces are charged with strong ethical and existential valences, and their faces and bodies appear to have undergone a process of purification.

In this exhibition, the artist traces the entire research of his career, creating sculptures ranging from realistic human figures to tiny bozzetti that show the artist’s creative process. Born in Val Gardena, he chose wood sculpture as his medium and explores the possibilities of the material through his work.

Michael Pacher

Michael Pacher is an Austrian artist whose work combines wood carving and painting. He spent much of his life in the south Tyrol region. His wood carving exemplifies the German Gothic style. His paintings reflect the Italian Renaissance, and his paintings were among the first to introduce German-speaking artists to the techniques of Renaissance art. His St Wolfgang Altarpiece, which is one of the largest altarpieces in all of European art, is his most famous work.

The influence of northern Italian painting and sculpture is clear in Pacher’s wood sculpture, which shares many similarities with Andrea Mantegna. His fusion of Italian Renaissance styles with Northern Gothic realism, however, helped to create a personal style of painting that is distinctly his own.

Jorg Zurn

A lifesize wooden carving of Archangel Michael by Jorg Zurn sold for $250,000 at an art exhibition in New York in 2002. The artist was the eldest son of sculptor Hans Zurn the Elder. Jorg Zurn was apprenticed to his father and also trained at several workshops in southern Bavaria.

Zurn carved altars and other religious objects during the German Baroque period. One of his works is the five-storey High Altar of the Virgin Mary, which is located in the Church of Saint Nicholas in Uberlingen. The altar’s sculptural style borrows elements from early Baroque but is a dynamic composition comparable to German Gothic sculpture.

Veit Stoss

Veit Stoss was an internationally acclaimed woodcarver. He had many clients throughout Europe, including Portugal and Italy. His sculptures included huge carved figures and scenes from the lives of Christ and Mary. These works express the fervor of late Gothic culture. Giorgio Vasari described his work as ‘a wonder in wood.’

The boxwood figure that Veit Stoss created reveals an affinity with other great masterworks, and was created soon after the Cracow Crucifix. It could have been carved after, or even before, the corpora of Nuremberg. Its intricate design and sculptural technique make it an important object to study.

Veit Stoss’s Crucifixes demonstrate a unique mode of representation. They merge naturalistic observation with mannered exaggeration. Some scholars have speculated that Stoss learned to carve athletic anatomy in Cracow, and perhaps he observed doctors performing dissections.

Barbara Hepworth

Barbara Hepworth is one of the most influential artists of her generation. During the 1930s, she lived in a small house in St Ives with her friends. Although she struggled to carve, she continued to work on her drawings at night. These drawings explored ideas that she couldn’t express in three dimensions. They contained hints of colour and string-like elements and gestured toward a mathematical harmony.

Hepworth’s childhood fascination with forms and textures in nature inspired her sculpture. In later years, her fascination with landscapes continued to influence her work. She once wrote in a 1943 essay that her sculpture grew out of the landscape. She was also dissatisfied with flat backgrounds, so she often photographed her artworks in their natural surroundings.

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