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40-651: Fine Arts Building may refer to: Fine Arts Building (Los Angeles) , a.k.a. The Standard Oil Building , in Los Angeles, California Fine Arts Building (Chicago) , Illinois, a.k.a. The Studebaker Building , listed on the National Register of Historic Places in Chicago, Illinois A demolished theater on Grand Park Centre , Detroit, Michigan Exhibitors Building (Grand Rapids, Michigan) (formerly Fine Arts Building), listed on

80-494: A ceramic glaze. Terracotta sculptures in the West were rarely left in their "raw" fired state until the 18th century. Terracotta female figurines were uncovered by archaeologists in excavations of Mohenjo-daro , Pakistan (3000–1500 BCE). Along with phallus-shaped stones, these suggest some sort of fertility cult. The Burney Relief is an outstanding terracotta plaque from Ancient Mesopotamia of about 1950 BCE. In Mesoamerica ,

120-645: A large impact on the appearance of temples and other buildings in the classical architecture of Europe , as well as in the Ancient Near East . This article covers the senses of terracotta as a medium in sculpture, as in the Terracotta Army and Greek terracotta figurines , and architectural decoration. East Asian and European sculpture in porcelain is not covered. Prior to firing, terracotta clays are easy to shape. Shaping techniques include throwing , slip casting as well as others . After drying, it

160-496: A rounded arch that rises the height of two storeys. This deep, splayed passageway has an arched lintel decorated with plant motifs that introduces serried ranks of arches on either side. They are resting alternately on small columns and pillars variously decorated with fantastic creatures and inlaid geometric patterns. The wall beneath the great arch is densely worked with volutes of acanthus leaves and concatenated circles simulating rope made entirely of terracotta reliefs. The entrance

200-411: A speciality of terracotta temples, with the sculpted decoration from the same material as the main brick construction. Terracotta tiles have also been used extensively for floors since ancient times. The quality of terracotta floor tiles depends on the suitability of the clay, the manufacturing methods (kiln-fired being more durable than sun baked), and whether the terracotta tiles are sealed or not. In

240-469: A striking façade with a trapezoidal profile. The building's streetside elevation is divided into three horizontal registers that echo the classic arrangement of a Renaissance palace in distinct lower, central and upper sections. As in Italian antiquity, the section closest to the viewer is given the greatest architectural definition. The façade's central axis is emphasized by a large entrance portal , with

280-526: A very early date. The famous Terracotta Army of Emperor Qin Shi Huang , 209–210 BCE, was somewhat untypical, and two thousand years ago reliefs were more common, in tombs and elsewhere. Later Buddhist figures were often made in painted and glazed terracotta, with the Yixian glazed pottery luohans , probably of 1150–1250, now in various Western museums, among the most prominent examples. Brick-built tombs from

320-586: Is a clay -based non-vitreous ceramic fired at relatively low temperatures. It is therefore a term used for earthenware objects of certain types, as set out below. Usage and definitions of the term vary, such as: Glazed architectural terracotta and its unglazed version as exterior surfaces for buildings were used in East Asia for centuries before becoming popular in the West in the 19th century. Architectural terracotta can also refer to decorated ceramic elements such as antefixes and revetments , which had

360-401: Is a limit on the stress that can be imposed on terracotta, and terracotta statues of unsupported standing figures are limited to well under life-size unless extra structural support is added. This is also because large figures are extremely difficult to fire, and surviving examples often show sagging or cracks. The Yixian figures were fired in several pieces, and have iron rods inside to hold

400-487: Is different from Wikidata All article disambiguation pages All disambiguation pages Buildings and structures disambiguation pages Fine Arts Building (Los Angeles) The building was designed by the architects Albert Raymond Walker (1881–1958) and Percy Augustus Eisen (1885–1946) in 1927. It is a compact twelve-storey block on a H-shaped layout plan with a façade of smooth and squared slabs of light-colored stone. The first three stories present

440-416: Is divided in two by a column of green marble with a capital and decorated entablature on which the two smaller arches rest. Echoes of the architecture of the temple and the religious edifice return boldly in the three uppermost storeys, with a double order of arches on spiral columns, capitals decorated with foliage, and keystones with small animal heads. A tympanum with a curious internal colonnade crowns

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480-522: Is placed in a kiln or, more traditionally, in a pit covered with combustible material, then fired . The typical firing temperature is around 1,000 °C (1,830 °F), though it may be as low as 600 °C (1,112 °F) in historic and archaeological examples. During this process, the iron oxides in the body reacts with oxygen, often resulting in the reddish colour known as terracotta . However, color can vary widely, including shades of yellow, orange, buff, red, pink, grey or brown. A final method

520-479: Is seasonal, reaching its peak during the harvest festival, when new pottery and votive idols are required. During the rest of the year, the makers rely on agriculture or some other means of income. The designs are often redundant as crafters apply similar reliefs and techniques for different subjects. Customers suggest subjects and uses for each piece. To sustain the legacy, the Indian Government has established

560-614: Is to carve fired bricks or other terracotta shapes. This technique is less common, but examples can be found in the architecture of Bengal on Hindu temples and mosques. Terracotta is not watertight , but its porousness decreases when the body is surface-burnished before firing. Glazes can used to decrease permeability and hence increase watertightness. Unglazed terracotta is suitable for use below ground to carry pressurized water (an archaic use), for garden pots and irrigation or building decoration in many environments, and for oil containers, oil lamps, or ovens. Most other uses require

600-639: The Aphrodite Heyl ; the Romans too made great numbers of small figurines, which were often used in a religious context as cult statues or temple decorations. Etruscan art often used terracotta in preference to stone even for larger statues, such as the near life-size Apollo of Veii and the Sarcophagus of the Spouses . Campana reliefs are Ancient Roman terracotta reliefs , originally mostly used to make friezes for

640-552: The Gupta period and the centuries immediately following it. Several vigorous local popular traditions of terracotta folk sculpture remain active today, such as the Bankura horses . Precolonial West African sculpture also made extensive use of terracotta. The regions most recognized for producing terracotta art in that part of the world include the Nok culture of central and north-central Nigeria ,

680-537: The Han dynasty were often finished on the interior wall with bricks decorated on one face; the techniques included molded reliefs. Later tombs contained many figures of protective spirits and animals and servants for the afterlife, including the famous horses of the Tang dynasty ; as an arbitrary matter of terminology these tend not to be referred to as terracottas. European medieval art made little use of terracotta sculpture, until

720-511: The Ife - Benin cultural axis in western and southern Nigeria (also noted for its exceptionally naturalistic sculpture), and the Igbo culture area of eastern Nigeria, which excelled in terracotta pottery. These related, but separate, traditions also gave birth to elaborate schools of bronze and brass sculpture in the area. Chinese sculpture made great use of terracotta, with and without glazing and color, from

760-617: The Queens Campus of Rutgers University Fine Arts Building (Seattle University) , Washington, U.S. Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Fine Arts Building . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Fine_Arts_Building&oldid=1133987299 " Category : Disambiguation pages Hidden categories: Short description

800-400: The 19th century, the possibilities of terracotta decoration for buildings were again appreciated by architects, often using thicker pieces of terracotta and styled surfaces. The American architect Louis Sullivan is well known for his elaborate glazed terracotta ornamentation, designs that would have been impossible to execute in any other medium. Terracotta and tile were used extensively in

840-633: The National Register of Historic Places in Kent County, Michigan American Fine Arts Building , Manhattan, New York Fine Arts Building (Heidelberg University) , formerly listed on the National Register of Historic Places in Seneca County, Ohio Frick Fine Arts Building , at the University of Pittsburgh, in Pittsburgh, Pennsylvania Fine Arts Building, a.k.a. President's House , a former building on

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880-529: The Roman Emperors adorning Hampton Court Palace , by Giovanni da Maiano , 1521, were another example of Italian work in England. They were originally painted but this has now been lost from weathering. In the 18th-century unglazed terracotta, which had long been used for preliminary clay models or maquettes that were then fired, became fashionable as a material for small sculptures including portrait busts. It

920-449: The Romans and is seen nowhere else in the country. Contemporary centres for terracotta figurines include West Bengal , Bihar , Jharkhand , Rajasthan and Tamil Nadu . In Bishnupur , West Bengal, the terracotta pattern–panels on the temples are known for their intricate details. The Bankura Horse is also very famous and belongs to the Bengal school of terracotta. Madhya Pradesh is one of

960-402: The baking time, the colour differed from red to light orange. The Satavahanas used two different moulds- one for the front and the other for the back and kept a piece of clay in each mould and joined them together, making some artefacts hollow from within. Some Satavahana terracotta artefacts also seem to have a thin strip of clay joining the two moulds. This technique may have been imported from

1000-406: The façade in a riot of minute decoration and majestic architectural sculpture groups. The two-storey interior lobby is set in large wall arches that enclose smaller arches on brackets at the lower level. A large balcony-type gallery is above, with spaces designed for artists’ studios. It is modelled on the matroneum overlooking the nave of a church. A shallow pool adorned with bronze sculptures, by

1040-463: The fingers, allows the artist to take a more free and flexible approach. Small details that might be impractical to carve in stone, of hair or costume for example, can easily be accomplished in terracotta, and drapery can sometimes be made up of thin sheets of clay that make it much easier to achieve a realistic effect. Reusable mold-making techniques may be used for production of many identical pieces. Compared to marble sculpture and other stonework,

1080-418: The finished product is far lighter and may be further painted and glazed to produce objects with color or durable simulations of metal patina. Robust durable works for outdoor use require greater thickness and so will be heavier, with more care needed in the drying of the unfinished piece to prevent cracking as the material shrinks. Structural considerations are similar to those required for stone sculpture; there

1120-586: The great majority of Olmec figurines were in terracotta. Many ushabti mortuary statuettes were also made of terracotta in Ancient Egypt . The Ancient Greeks ' Tanagra figurines were mass-produced mold-cast and fired terracotta figurines, that seem to have been widely affordable in the Hellenistic period , and often purely decorative in function. They were part of a wide range of Greek terracotta figurines , which included larger and higher-quality works such as

1160-576: The late 14th century, when it became used in advanced International Gothic workshops in parts of Germany. The Virgin illustrated at the start of the article from Bohemia is the unique example known from there. A few decades later, there was a revival in the Italian Renaissance , inspired by excavated classical terracottas as well as the German examples, which gradually spread to the rest of Europe. In Florence , Luca della Robbia (1399/1400–1482)

1200-413: The material to be glazed, such as tableware, sanitary piping, or building decorations built for freezing environments. Terracotta will also ring if lightly struck, as long as it is not cracked. Painted ( polychrome ) terracotta is typically first covered with a thin coat of gesso , then painted. It is widely used, but only suitable for indoor positions and much less durable than fired colors in or under

1240-506: The most famous is The Abduction of Hippodameia depicting the Greek mythological scene of a centaur kidnapping Hippodameia on her wedding day. Terracotta tiles have a long history in many parts of the world. Many ancient and traditional roofing styles included more elaborate sculptural elements than the plain roof tiles , such as Chinese Imperial roof decoration and the antefix of western classical architecture . In India West Bengal made

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1280-584: The most prominent production centres of terracotta art today. The tribes of the Bastar have a rich tradition. They make intricate designs and statues of animals and birds. Hand-painted clay and terracotta products are produced in Gujarat . The Aiyanar cult in Tamil Nadu is associated with life-size terracotta statues. Traditional terracotta sculptures, mainly religious, also continue to be made. The demand for this craft

1320-457: The outside of buildings, as a cheaper substitute for stone. Indian sculpture made heavy use of terracotta from as early as the Indus Valley civilization (with stone and metal sculpture being rather rare), and in more sophisticated areas had largely abandoned modeling for using molds by the 1st century BCE. This allows relatively large figures, nearly up to life-size, to be made, especially in

1360-424: The reputation of the material. By about 1930, the widespread use of concrete and Modernist architecture largely ended the use of terracotta in architecture. As compared to bronze sculpture , terracotta uses a far simpler and quicker process for creating the finished work with much lower material costs. The easier task of modelling, typically with a limited range of knives and wooden shaping tools, but mainly using

1400-425: The sculptor Burt Johnson , reflects light in the center of the lobby. The lobby walls are decorated with ceramic relief panels, small sculptural inserts, and seventeen showcases made of glass and finely chased bronze like reliquaries. They now display a tenants’ paintings, sculptures and artworks. Oil wildcatter Russell E. Havenstrite owned a penthouse in the building. In June 2012, Los Angeles Fine Arts Building

1440-559: The structure together. Terracotta has been a medium for art since the Harappan civilization, although techniques used differed in each time period. In the Mauryan times, they were mainly figures of mother goddesses, indicating a fertility cult. Moulds were used for the face, whereas the body was hand-modelled. In the Shungan times, a single mould was used to make the entire figure and depending upon

1480-427: The town buildings of Victorian Birmingham , England. Terracotta was marketed as a miracle material, largely impervious to the elements. Terracotta, however, can be damaged by water penetration, exposure, or failure through faulty design or installation. An excessive faith in the durability of the material led to shortcuts in design and execution, coupled with a belief that the material did not require maintenance, tainted

1520-480: Was a sculptor who founded a family dynasty specializing in glazed and painted terracotta, especially large roundels which were used to decorate the exterior of churches and other buildings. These used the same techniques as contemporary maiolica and other tin-glazed pottery . Other sculptors included Pietro Torrigiano (1472–1528), who produced statues, and in England busts of the Tudor royal family. The unglazed busts of

1560-590: Was much easier to work than carved materials, and allowed a more spontaneous approach by the artist. Claude Michel (1738–1814), known as Clodion , was an influential pioneer in France . John Michael Rysbrack (1694–1770), a Flemish portrait sculptor working in England, sold his terracotta modelli for larger works in stone, and produced busts only in terracotta. In the next century the French sculptor Albert-Ernest Carrier-Belleuse made many terracotta pieces, but possibly

1600-470: Was purchased by Sorgente Group of America . The building appears in the film (500) Days of Summer , where the protagonist — an aspiring architect — describes it as his favorite building. The lobby has housed art galleries in recent years. Terracotta Terracotta , also known as terra cotta or terra-cotta ( Italian: [ˌtɛrraˈkɔtta] ; lit.   ' baked earth ' ; from Latin terra cocta  'cooked earth'),

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