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The name of the sculpture owes its existence to the early Stone Age - the Palaeolithic era. Maybe, it is also so because it was in the Stone Age, when the first actual pieces of art of ancient man were found - totemic figures of women with exaggerated features of female mothers. Now all museums around the world are full of these “Venus.” Such sculptures symbolized sexuality, fertility, possession of many children, that is reproduction of the human race. Paleolithic was a long era of matriarchy, and a woman-mother was a leading figure of a tribe - a pledge of the future of human tribes, boundless land settlement of the planet, human victory in the struggle for survival lay in abundant gentility. So humankind survived, populated all the land, all the continents. The sculpture by Vladimirov gives evidence of it. Strong, very thick and vigorous shape of mother’s hips, bosom, and breasts emphasize this in every way. This beauty of hypertrophic forms of a sculpture of mother lies precisely in functional and vital feasibility.
The name of the sculpture owes its existence to the early Stone Age - the Palaeolithic era. Maybe, it is also so because it was in the Stone Age, when the first actual pieces of art of ancient man were found - totemic figures of women with exaggerated features of female mothers. Now all museums around the world are full of these “Venus.” Such sculptures symbolized sexuality, fertility, possession of many children, that is reproduction of the human race. Paleolithic was a long era of matriarchy, and a woman-mother was a leading figure of a tribe - a pledge of the future of human tribes, boundless land settlement of the planet, human victory in the struggle for survival lay in abundant gentility. So humankind survived, populated all the land, all the continents. The sculpture by Vladimirov gives evidence of it. Strong, very thick and vigorous shape of mother’s hips, bosom, and breasts emphasize this in every way. This beauty of hypertrophic forms of a sculpture of mother lies precisely in functional and vital feasibility.
The name of the sculpture owes its existence to the early Stone Age - the Palaeolithic era. Maybe, it is also so because it was in the Stone Age, when the first actual pieces of art of ancient man were found - totemic figures of women with exaggerated features of female mothers. Now all museums around the world are full of these “Venus.” Such sculptures symbolized sexuality, fertility, possession of many children, that is reproduction of the human race. Paleolithic was a long era of matriarchy, and a woman-mother was a leading figure of a tribe - a pledge of the future of human tribes, boundless land settlement of the planet, human victory in the struggle for survival lay in abundant gentility. So humankind survived, populated all the land, all the continents. The sculpture by Vladimirov gives evidence of it. Strong, very thick and vigorous shape of mother’s hips, bosom, and breasts emphasize this in every way. This beauty of hypertrophic forms of a sculpture of mother lies precisely in functional and vital feasibility.

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Torso "New-Neolith" Sculpture

Alexey Vladimirov

Sculpture, Bronze on Bronze

Size: 4.7 W x 9.4 H x 4.3 D in

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Originally listed for $2,190

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ABOUT THE ARTWORK

The name of the sculpture owes its existence to the early Stone Age - the Palaeolithic era. Maybe, it is also so because it was in the Stone Age, when the first actual pieces of art of ancient man were found - totemic figures of women with exaggerated features of female mothers. Now all museums around the world are full of these “Venus.” Such sculptures symbolized sexuality, fertility, possession of many children, that is reproduction of the human race. Paleolithic was a long era of matriarchy, and a woman-mother was a leading figure of a tribe - a pledge of the future of human tribes, boundless land settlement of the planet, human victory in the struggle for survival lay in abundant gentility. So humankind survived, populated all the land, all the continents. The sculpture by Vladimirov gives evidence of it. Strong, very thick and vigorous shape of mother’s hips, bosom, and breasts emphasize this in every way. This beauty of hypertrophic forms of a sculpture of mother lies precisely in functional and vital feasibility.

DETAILS AND DIMENSIONS
Sculpture:

Bronze on Bronze

Original:

One-of-a-kind Artwork

Size:

4.7 W x 9.4 H x 4.3 D in

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Alexey Vladimirov was born in 1957 on Kuban. In 1984 graduated Kiev The state Art institute. With 1987 – a member of the National Union Artists of Ukraine. Aleksey Vladimirov's name well-known, as in Ukraine, and abroad. A.Vladimirov's works are in 17 galleries and museums of Ukraine, including in National Museum Ukrainian Arts (Kiev), The Kiev museum of Russian Arts, National museums of a history of Ukraine (Kiev) and etc. Works of the master are in private collections in Ukraine, Sweden, Austria, England, Germany, Holland, France, Italy and USA. In opinion of American critics, during carrying out of a personal exhibition in California, A.Vladimirov works have defined determined «A new era of a sculpture». With 1984 the artist accepts active participation in symposiums – open-airs, a stone and wooden sculpture. He organized the International symposium in Ujnoukrainsk (Ukraine 2002) and was the leader of International sculpture symposium in Gurzuf (Crimea, 2006). Alexey is the author such prizes: The international festival Hairdressing Art «The World of beauty 2000», Festival of Haute couture «Steps to the Sky» - «Gold scissors» which have been handed patriarchs of haute couture – Hertz Meppen, Michael Voronin, Pierre Cardin.

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