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:
“If the king is in the palace, nobody looks at the walls. It is when he is gone, and the house is filled with grooms and gazers, that we turn from the people, to find relief in the majestic men that are suggested by the pictures and the architecture.”
—Ralph Waldo Emerson (1803–1882)
“The highway presents an interesting study of American roadside advertising. There are signs that turn like windmills; startling signs that resemble crashed airplanes; signs with glass lettering which blaze forth at night when automobile headlight beams strike them; flashing neon signs; signs painted with professional touch; signs crudely lettered and misspelled.... They extol the virtues of ice creams, shoe creams, cold creams;...”
—For the State of Florida, U.S. public relief program (1935-1943)
“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)