Amongst many elements of Stanford and the College of California, Berkeley’s historic rivalry, none has stood the take a look at of time higher than that between the 2 college’s iconic public artworks. I’ll overview well-known sculptures, statues and mosaics on the 2 campuses, presenting them of their glory.
Battle of Nineteenth-century determine sculptures: “The Soccer Gamers” vs. “The Burghers of Calais”
Berkeley alum and deaf sculptor Douglas Tilden’s “The Soccer Gamers” (1893) is an attention-grabbing a part of the lore round Stanford vs. Cal rivalry. A solid and recreation of the sculpture was promised to the winner of back-to-back Massive Video games, and Cal managed to take “The Soccer Gamers” house after successful the video games in 1898 and 1899. The sculpture now resides close to Berkeley’s first athletic subject. The sculpture has rusted and eroded with time, and the inconspicuous faces include little visible intrigue.
Auguste Rodin’s “The Burghers of Calais” (1884-1895), located in Stanford’s Memorial Courtroom, commemorated the Hundred Years’ Struggle, which passed off within the 14th and fifteenth centuries. The attract of The Burghers of Calais comes from the expressive composition of every modeled sculpture, all emoting despair and struggling. The physique language and facial expressions have interaction observers in an interactive, face-to-face expertise. These figures stay a surprising campus icon within the photograph ops of scholars and guests alike.
Summary sculpture wars: “Sieve of Eratosthenes” vs. “Outgrown Pyramid #1”
No sculpture higher embodies abstraction than Stanford’s personal “Sieve of Eratosthenes” (1999) by Mark di Suvero, positioned between Stern Eating and Crothers Corridor. The huge statue, generally coined “Clifford,” is known as after an historic mannequin to search out prime numbers. The tall metal sculpture has 4 legs and a vibrant crimson floor, and its head is a mesh of geometric components that obtrude outwards. Past a rendezvous level and a sight many see on their commute to class, the Sieve is irrelevant to most campus actions.
The sculpture contender on the Berkeley facet is Richard Hunt’s “Outgrown Pyramid #1” (1973), positioned at North Gate. Adjoining to numerous greenery, the smaller sculpture seems identical to its title would recommend: a rusted metal pyramid with a phase sprouting on its facet that resembles a half-arrow. This piece juxtaposes geometric parts and pure growths. Though it feels static, upon nearer remark the pyramidal construction is displayed in its full glory, because it turns into an extension of the pure environment.
Mosaic insanity: Memorial Church vs. “Outdated Artwork Gallery Mosaics”
The Stanford Memorial Church was commissioned by Jane Stanford to honor her late husband Leland Stanford, founding father of the College. The colourful grand mosaic and stained-glass home windows gracing the church’s outer entrance invitations an ongoing non secular dialogue amongst passersby and church-goers alike. These completely different mediums all contribute to the larger-than-life impact of the inventive artifact. The mosaic’s intricate portrayal of figures and panorama add liveliness and character to the Foremost Quad space.
Contending for Berkeley is the “Outdated Artwork Gallery Mosaics” (1936) by Helen Bruton and Florence Swift. Positioned northeast of Sprout Corridor and Strawberry Creek, these items have been the primary public artworks created by girls on Berkeley’s campus. The person tiles forming the mosaic make a textured, geometrical look that harmoniously shapes the detailed actions of the dancers and sculptor. Intriguingly, Bruton and Swift current the pure softness of the depicted figures’ face and physique in an angular method.
Mystical maidens: “The Angel of Grief” vs. “The Final Dryad”
Stanford’s “The Angel of Grief Weeping on the Dismantled Altar of Life” (1894, solid 1900 to 1901) is located close to the Mausoleum within the Stanford Arboretum. This piece, initially designed by William Wetmore Story and carved by the Bernieri Brothers, was commemorated by Jane Stanford to honor her late brother, Henry Clay Lathrop. The white statue depicts an angel, donning classical Roman garb, collapsing atop a funeral altar. Notably, the face of the angel isn’t seen, so the angel’s sorrow is expressed purely from its physique language. The Angel of Grief expresses the anguish and heartache skilled by these left behind.
Stirling Calder’s “The Final Dryad” (1921) discovered its place on Berkeley campus 20 years after the artist’s demise. The dryad, a nymph from Greek mythology, symbolizes the intersection of female divinity and the pure world. On account of its perceived express nudity, the statue shifted places on the Berkeley campus till the Seventies, when it lastly settled within the College Glade. Positioned towards lush greenery and bushes, the sculpture blends the feminine physique with surrounding nature, fascinating passersby with its magnificence.
Editor’s Notice: This text is a overview and contains subjective ideas, opinions and critiques.