LONDON — Recent reactions to athletes’ statues have sparked humorous comparisons and critiques among art critics and the public alike. Observers noted that the bronze statue of Harry Kane has been likened to a cartoon character with its exaggerated features. Meanwhile, the Dwyane Wade statue in Miami has been remarked upon for resembling actor Laurence Fishburne more than the basketball legend himself. This trend isn’t new; the notorious bust of Cristiano Ronaldo revealed an unflattering visage in 2017, while a statue of Mohamed Salah from 2018 featured an oddly oversized head. Even tennis star Andy Murray found humor in a 2011 terracotta statue, quipping he believed he was more attractive than that depiction.
Interestingly, the artistic standards for creating statues have evolved over time. Lucy Branch, a conservator based in London, elucidates that ancient sculptors often showed no interest in accurate representation, frequently reusing sculptures when a new athlete rose to prominence. According to Branch, the modern expectation that commemorative sculptures closely resemble their subjects is a relatively recent phenomenon in the art world.
To avoid common missteps in sculptural depictions, professionals in the field offer valuable advice. One crucial tip provided by London-based sculptor Hywel Pratley is to conduct thorough research. For a statue of Queen Elizabeth II, Pratley sifted through countless images to capture her likeness accurately. He emphasizes that a successful portrait sculpture results from numerous observations and decisions. Similarly, sculptor Steve Winterburn suggests connecting with a subject’s family and friends to gather insights on key characteristics, pointing out that while precision is important, the work should also possess artistic flair and a sense of soul.
Another aspect to consider is the portrayal of expressions, particularly smiles. The Ronaldo bust featured a crooked smile, while Salah’s statue showed him celebrating a goal with grinned delight. In Wade’s case, the sculpture embodies a moment of exuberance with an open mouth. Pratley advises caution with depicting teeth, as achieving a natural look can be challenging.
Understanding the profile of the individual being sculpted is paramount. According to Pratley, getting the profile correct can serve as a foundational guide throughout the creative process, allowing sculptors to approach the piece with confidence. He explains that sculpting is inherently complex with three dimensions to navigate, making an accurate profile critical to success.
Sculptors like Winterburn also stress the importance of the eyes in their work, believing they convey the subject’s essence. He notes that many public sculptures lack vitality and character, appearing lifeless. For Pratley, the subtleties between the nostrils and mouth often reveal much about a person’s true nature, highlighting that small muscle movements in the face are what make individuals unique.
Historically, commemorative statues have been placed on pedestals to symbolize elevating heroes, as Branch points out. However, the positioning of statues also influences perception; lower sculptures invite closer scrutiny. The recent Kane statue, which portrays him seated, brings viewers in for a more detailed examination, making it more susceptible to critique.
In the UK, the process of selecting sculptors for public monuments sometimes lacks public engagement. Branch advocates for a voting system, suggesting it better captures the community’s opinion and ensures the sculptor is suitable for the task, citing the Emmeline Pankhurst statue in Manchester as a successful example where public input shaped the outcome. Such involvement helps confirm that the chosen artist effectively embodies the spirit of the person being commemorated.
