In-the-round - Philosophical Concept | Alexandria
In-the-round, a designation applied to sculpture, refers to a three-dimensional artwork fully finished on all sides and designed to be viewed from any angle. This characteristic distinguishes it from relief sculpture, which projects from a background. The term implies a complete independence from any single viewpoint, challenging the observer to circumnavigate and discover the artwork through a continuous act of revelation.
The concept of sculpture existing "in-the-round" predates the formal terminology. Examples abound in antiquity, with Paleolithic figurines such as the Venus of Willendorf (c. 28,000-25,000 BCE) serving as prime examples. While concrete linguistic references are absent from the writings of that era, the very existence and artistry of these sculptures testify to an understanding of three-dimensionality intended for complete visual access. Later, classical Greek sculptors, particularly in the Hellenistic period, fully embraced the concept. Their marble and bronze figures, intended for placement in public spaces and private gardens, were celebrated for their aesthetic appeal from an infinite number of perspectives.
The appreciation and interpretation of in-the-round sculpture have evolved through artistic movements and philosophical shifts. The Renaissance saw a revival of classical ideals, and artists such as Michelangelo created monumental sculptures like David, meant to inspire awe from any vantage point. The 20th century witnessed a radical departure from traditional representation, with abstract sculptors exploring form, space, and material in ways that further challenged the viewer's perception. Consider the enigmatic sculptures of Constantin Brancusi, like Bird in Space, which transformed the essence of flight into pure, abstracted form, defying any single, definitive reading.
The legacy of in-the-round sculpture remains vibrant. Contemporary artists continue to explore the possibilities of 360-degree art, using new materials and technologies to create immersive and interactive experiences. From monumental public art installations to intimate gallery pieces, the impulse to create fully dimensional objects persists, urging us to question our assumptions and engage with art in a more holistic way. What undiscovered dimensions and fresh perspectives await those who dare to circle these artistic creations?