Relief
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb levo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone or wood is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise with little artistic effect if the lowered background is left plain, as is often the case. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting.
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Famous quotes containing the word relief:
“Men always sell strawberries, women, blackberries, your all- knowing Creole friend says. ‘Why?’ you ask. ‘Ah, it has always been that way.’ When you get to know Creoles better, you realize that the phrase ‘It has always been that way’ justifies everything.”
—For the City of New Orleans, U.S. public relief program (1935-1943)
“Do not be discouraged, if in a thousand instances you find your kindness rejected and wronged, your good evil-spoken of, and the hand you extend for the relief of others, cast insultingly away; the benevolence which cannot outlive these trials of its purity and strength, is not like the self-sacrifice of him, who went about doing good.”
—C., U.S. women’s magazine contributor. American Ladies Magazine, pp. 331-4 (July 1828)
“Hard times accounted in large part for the fact that the exposition was a financial disappointment in its first year, but Sally Rand and her fan dancers accomplished what applied science had failed to do, and the exposition closed in 1934 with a net profit, which was donated to participating cultural institutions, excluding Sally Rand.”
—For the State of Illinois, U.S. public relief program (1935-1943)