Imageessay

Francisco Mariscal Serrano. (1958). Cartel Semana Santa Sevilla. Poster.
Auguste Rodin. (Modeled 1897, cast 1972). Final Study for the Monument to Honor de Balzac.
Bronze. 41 3/4 17 1/2 16 1/2 in. The Metropolitan Museum of Art

Stephen De Staebler. (1991), Man and Woman Walking, Bronze, AP/UC, 72 x 24.5 x 32 in.
Joseph Havel. (1999). Drape. Bronze. 119 x 56 x 56 inches. Collection of the Modern Art
Museum of Fort Worth

Heyman, D., Barron, D. (Producers), & Yates, D. (Director). (2007). Harry Potter and the Order
of the Phoenix [Motion Picture]. United Kingdom: Heyday Films.
Kielnhofer, M. [Manfred Kielnhofer]. (2015, Nov 21). Contemporary art sculpture Guardians of
Time Guardians of Time by Manfred Kielnhofer [Video File, Still Image].

Joseph Havel, an American sculpture artist, explores the relationship between the delicate
treatment and execution of hard unyielding materials as seen in his bronze sculpture Drape.
Havel draws upon the natural forms found within drapery, focusing on the gentle folds within the
fabric and the way gravity influences the material, and experiments with the different ways it can
be manipulated by the artists hands. The meticulous process in the development of Havels
work has led to ethereal sculptures that evoke the human figure, as though there is an unseen
figure that has pulled the bronze over itself as if to wear a cloak. These are not ideas exclusive to
Havel as various groups and persons have expressed their interest in these ideas throughout
history. The desire to experiment with hard materials to depict soft lifelike forms and the
inclusion of cloaked forms within different contexts has always existed among artists.
This image essay explores a chronological history in the depiction of cloaked figures
within the artworld and visual imagery and the connection to the utilization of bronze sculpture
in the depiction of soft forms. Cloaked figures can be symbols of many different ideas, as the
image essay explores, ranging from religious devotion to ethereal figures. Bronze sculpture,
using the lost wax process, is a long practiced traditional technique that originated with Ancient
Greece that focused primarily on human qualities. The combination of these two elements create
strong themes that develop over the course of the image essay
Francisco Mariscal Serranos poster Cartel Semana Santa Sevilla serves as the beginning
of this image essay. The Cartel Semana Santa Sevilla features a cloaked figure with a hood
holding a candle against a background featuring a church. The Serranos poster introduces the
idea of concealed figures as a symbol of religion and the implied power that comes from the
association from the church and was likely used as a form of propaganda to spread the word of
the church through accessible art forms. These ideas develop later into Auguste Rodin's sculpture
Final Study for the Monument to Honor de Balzac. Auguste Rodin's sculpture depicts a figure
wearing a full-length cape that is rich with deep folds. This sculptural study acts as a simplified
portrait that attempts to convey the strength and power of Balzac, shown in the close detailing of
his robes, as an allusion to Serranos poster. Rodin definitely had a lasting impact on bronze
sculpture artists that followed him which can be observed throughout the image essay.
Stephen De Staebler sculpture Man and Woman Walking continues to depict human
figures yet steps away from the regular cloak imagery. However, the bodies in the sculpture are
marred with deep cracks and folds that may suggest a non-traditional form of cloak, perhaps as
an abstract take on the theme. Later, Joseph Havels Drape serves as a reconnection Stephen De
Staeblers Man and Woman Walking and Auguste Rodin's Final Study for the Monument to
Honor de Balzac by combining their unique qualities. The delicate portrayal of drapey in
Rodins sculpture and the strange figural forms in Staeblers sculpture are combined in Havels
Drape, creating a turning point in the image essay.
Harry Potter and the Order of the Phoenix continues the depiction of ethereal humanoid
figures within the context of filmography, however, the figures take on more sinister tones
compared to the other figures within the essay. The Dementors are ghostly beings that are
enveloped in dark robes that cover their bodies, sans their face, and are portrayed as nearly
unstoppable forces within the Harry Potter series. Havels Drape could have likely been an
influence on the otherworldly feel that the Dementors take on. Kielnhofers monk-like sculptures
can be read in a similar fashion, as they seem detached from this world, yet they invoke the
ancient imagery of cloaked and hooded figures that were portrayed as wise and powerful, like in
Serranos poster. The image essay connects traditional religious depictions to developing bronze
sculptures in a way that develops naturally and is constantly influenced by its predecessors.

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Francisco Mariscal Serrano. (1958). Cartel Semana Santa Sevilla. Poster.

Bronze. 41 3/4 17 1/2 16 1/2 in. The Metropolitan Museum of Art

Museum of Fort Worth

of the Phoenix [Motion Picture]. United Kingdom: Heyday Films.

Time Guardians of Time by Manfred Kielnhofer [Video File, Still Image].

Drape, creating a turning point in the image essay.

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