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{{Short description|Sculpture of a person's head and shoulders}} | {{Short description|Sculpture of a person's head and shoulders}} | ||
{{Use shortened footnotes|date=February 2021}} | {{Use shortened footnotes|date=February 2021}} | ||
{{Multiple image | |||
| image1 = Nofretete Neues Museum.jpg | |||
| alt1 = Bust of Nefertiti | |||
| caption1 = The [[Nefertiti Bust]] of Ancient Egypt | |||
| image2 = Adiyogi 2.jpg | |||
| alt2 = Adiyogi Shiva bust outside during an event | |||
| caption2 = The colossal [[Adiyogi Shiva bust|''Adiyogi'' Shiva bust]] in [[Coimbatore]], India | |||
| image3 = The Veiled Nun.jpg | |||
| alt3 = Marble bust of nun wearing veil | |||
| caption3 = ''[[The Veiled Nun]]'' by an unknown Italian workshop | |||
| perrow = 2 / 2 | |||
| image4 = Bust Antinous Hermitage GR-4220 n1.jpeg | |||
| alt4 = Marble bust of Antinous | |||
| caption4 = The [[Antinous-Dionysus (Hermitage)|bust of Antinous-Dionysus]] in the [[Hermitage Museum|Hermitage]] | |||
| width = 150 | |||
}} | |||
A sculpture that only includes the head, perhaps with the neck, is more strictly called a "head", but this distinction is not always observed. Display often involves an integral or separate [[display stand]]. The [[Adiyogi Shiva statue]] located in India representative of Hindu God Shiva is the world's largest bust sculpture and is 112 | A '''bust''' is a [[Sculpture|sculpted]] or cast representation of the upper part of the [[human figure|human body]], depicting a [[person|person's]] [[Human head|head]] and [[neck]], and a variable portion of the [[chest]] and [[shoulder]]s. The piece is normally supported by a [[plinth]]. The bust is generally a portrait intended to record the appearance of an individual, but may sometimes represent a type. They may be of any [[List of art media|medium]] used for sculpture, such as [[marble]], [[bronze]], [[terracotta]], [[plaster]], wax or wood. | ||
As a format that allows the most distinctive characteristics of an individual to be depicted with much less work, and therefore expense, and occupying far less space than a full-length [[statue]], the bust has been since ancient times a popular style of life-size portrait sculpture. | |||
A sculpture that only includes the head, perhaps with the neck, is more strictly called a "head", but this distinction is not always observed. Display often involves an integral or separate [[display stand]]. The [[Adiyogi Shiva statue]] located in India representative of Hindu God Shiva is the world's largest bust sculpture and is {{Convert|112|ft|m}} tall. | |||
==History== | ==History== | ||
{{Globalize|date=April 2024|2=Europe}} | |||
[[File:Joseph Nollekens by Lemuel Francis Abbott.jpg|thumb|''[[Portrait of Joseph Nollekens (Abbott)|Portrait of Joseph Nollekens]]'' by [[Lemuel Francis Abbott]], 1797. It depicts one of the leading [[Neoclassicism|Neoclassical]] sculptors with one of his best known busts]] | |||
===Antiquity=== | ===Antiquity=== | ||
Sculptural portrait heads from [[classical antiquity]], stopping at the neck, are sometimes displayed as busts. However, these are often fragments from full-body statues, or were created to be inserted into an existing body, a common Roman practice;<ref>Stewart, 47</ref> these portrait heads are not included in this article. Equally, sculpted heads stopping at the neck are sometimes mistakenly called busts. | Sculptural portrait heads from [[classical antiquity]], stopping at the neck, are sometimes displayed as busts. However, these are often fragments from full-body statues, or were created to be inserted into an existing body, a common Roman practice;<ref>Stewart, 47</ref> these portrait heads are not included in this article. Equally, sculpted heads stopping at the neck are sometimes mistakenly called busts. | ||
| Line 18: | Line 36: | ||
===Middle Ages=== | ===Middle Ages=== | ||
Some [[reliquaries]] were formed as busts, notably the famous [[Bust of Charlemagne]] in gold, still in the [[Aachen Cathedral]] treasury, from | Some [[reliquaries]] were formed as busts, notably the famous [[Bust of Charlemagne]] in gold, still in the [[Aachen Cathedral]] treasury, from {{circa|1350}}. Otherwise it was a rare format. | ||
===Renaissance=== | ===Renaissance=== | ||
| Line 24: | Line 42: | ||
===Baroque=== | ===Baroque=== | ||
Under the [[Baroque]] school the round-bottomed Roman style, including, or designed to be placed on, a [[Socle (architecture)|socle]] (a short [[plinth]] or pedestal), became most common. [[Gian Lorenzo Bernini]], based in Rome, did portrait busts of popes, cardinals, and foreign monarchs such as [[Louis XIV]]. His [[Bust of King Charles I (Bernini)|Bust of King Charles I]] of England (1638) is now lost; artist and subject never met, and Bernini worked from the [[Charles I in Three Positions|triple portrait painted by Van Dyck]], which was sent to Rome. Nearly 30 years later, his [[Bust of Louis XIV (Bernini)|Bust of the young Louis XIV]] was hugely influential on French sculptors. Bernini's rival [[Alessandro Algardi]] was another leading sculptor in Rome.<ref>{{Cite web|url=https://www.taylorfrancis.com/chapters/edit/10.4324/9781315613161-48/baroque-sculpture-materiality-question-movement-nigel-llewellyn|title=Baroque sculpture: Materiality and the question of movement|doi=10.4324/9781315613161-48|doi-broken-date=11 July 2025|access-date=19 June 2024|archive-date=19 June 2024|archive-url=https://web.archive.org/web/20240619234718/https://www.taylorfrancis.com/chapters/edit/10.4324/9781315613161-48/baroque-sculpture-materiality-question-movement-nigel-llewellyn|url-status=live}}</ref> | |||
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==See also== | ==See also== | ||
| Line 72: | Line 52: | ||
==References== | ==References== | ||
*[[Hans Belting|Belting, Hans]], ''An Anthropology of Images: Picture, Medium, Body'', 2014, Princeton University Press, {{ISBN|0691160961}}, 9780691160962, [https://books.google. | *[[Hans Belting|Belting, Hans]], ''An Anthropology of Images: Picture, Medium, Body'', 2014, Princeton University Press, {{ISBN|0691160961}}, 9780691160962, [https://books.google.com/books?id=0Oo9DwAAQBAJ&pg=PA116 google books] | ||
*Stewart, Peter, ''Statues in Roman Society: Representation and Response'', 2003, Oxford University Press, {{ISBN|0199240949}}, 9780199240944, [https://books.google. | *Stewart, Peter, ''Statues in Roman Society: Representation and Response'', 2003, Oxford University Press, {{ISBN|0199240949}}, 9780199240944, [https://books.google.com/books?id=9OfnCwAAQBAJ&pg=PA46 google books] | ||
==External links== | ==External links== | ||
{{Commons category|Busts|lcfirst=yes}} | {{Commons category|Busts|lcfirst=yes}} | ||
{{Wiktionary|bust}} | {{Wiktionary|bust}} | ||
* [https://www.livius.org/gi-gr/greeks/greeks.html Livius.org: Bust gallery of famous ancient Greeks] | * [https://www.livius.org/gi-gr/greeks/greeks.html Livius.org: Bust gallery of famous ancient Greeks] {{Webarchive|url=https://web.archive.org/web/20180115190535/https://www.livius.org/gi-gr/greeks/greeks.html |date=2018-01-15 }} | ||
* [http://www.askoxford.com/concise_oed/bust_1?view=uk Oxford definition] | * [https://web.archive.org/web/20050205092629/http://www.askoxford.com/concise_oed/bust_1?view=uk Oxford definition] | ||
* [http://dictionary.reference.com/browse/bust Dictionary.com definition] | * [http://dictionary.reference.com/browse/bust Dictionary.com definition] | ||
{{Sculptures}} | |||
{{Authority control}} | {{Authority control}} | ||
| Line 87: | Line 68: | ||
[[Category:Busts (sculpture)| ]] | [[Category:Busts (sculpture)| ]] | ||
[[oc:Bust]] | [[oc:Bust]] | ||
Latest revision as of 04:16, 5 February 2026
The Nefertiti Bust of Ancient Egypt
The colossal Adiyogi Shiva bust in Coimbatore, India
The Veiled Nun by an unknown Italian workshop
The bust of Antinous-Dionysus in the Hermitage
A bust is a sculpted or cast representation of the upper part of the human body, depicting a person's head and neck, and a variable portion of the chest and shoulders. The piece is normally supported by a plinth. The bust is generally a portrait intended to record the appearance of an individual, but may sometimes represent a type. They may be of any medium used for sculpture, such as marble, bronze, terracotta, plaster, wax or wood.
As a format that allows the most distinctive characteristics of an individual to be depicted with much less work, and therefore expense, and occupying far less space than a full-length statue, the bust has been since ancient times a popular style of life-size portrait sculpture.
A sculpture that only includes the head, perhaps with the neck, is more strictly called a "head", but this distinction is not always observed. Display often involves an integral or separate display stand. The Adiyogi Shiva statue located in India representative of Hindu God Shiva is the world's largest bust sculpture and is 112 feet (34 m) tall.
History[edit | edit source]
 | The examples and perspective in this article deal primarily with Europe and do not represent a worldwide view of the subject. (April 2024) |
Antiquity[edit | edit source]
Sculptural portrait heads from classical antiquity, stopping at the neck, are sometimes displayed as busts. However, these are often fragments from full-body statues, or were created to be inserted into an existing body, a common Roman practice;[1] these portrait heads are not included in this article. Equally, sculpted heads stopping at the neck are sometimes mistakenly called busts.
The portrait bust was a Hellenistic Greek invention (although the Egyptian bust presented below precedes Hellenic productions by five centuries), though very few original Greek examples survive, as opposed to many Roman copies of them. There are four Roman copies as busts of Pericles with the Corinthian helmet, but the Greek original was a full-length bronze statue. They were very popular in Roman portraiture.[2]
The Roman tradition may have originated in the tradition of Roman patrician families keeping wax masks, perhaps death masks, of dead members, in the atrium of the family house. When another family member died, these were worn by people chosen for the appropriate build in procession at the funeral, in front of the propped-up body of the deceased, as an "astonished" Polybius reported, from his long stay in Rome beginning in 167 BC.[3] Later these seem to have been replaced or supplemented by sculptures. Possession of such imagines maiorum ("portraits of the ancestors") was a requirement for belonging to the Equestrian order.[4]
Middle Ages[edit | edit source]
Some reliquaries were formed as busts, notably the famous Bust of Charlemagne in gold, still in the Aachen Cathedral treasury, from c. 1350. Otherwise it was a rare format.
Renaissance[edit | edit source]
Busts began to be revived in a variety of materials, including painted terracotta or wood, and marble. Initially most were flat-bottomed, stopping slightly below the shoulders. Francesco Laurana, born in Dalmatia, but who worked in Italy and France, specialized in marble busts, mostly of women.
Baroque[edit | edit source]
Under the Baroque school the round-bottomed Roman style, including, or designed to be placed on, a socle (a short plinth or pedestal), became most common. Gian Lorenzo Bernini, based in Rome, did portrait busts of popes, cardinals, and foreign monarchs such as Louis XIV. His Bust of King Charles I of England (1638) is now lost; artist and subject never met, and Bernini worked from the triple portrait painted by Van Dyck, which was sent to Rome. Nearly 30 years later, his Bust of the young Louis XIV was hugely influential on French sculptors. Bernini's rival Alessandro Algardi was another leading sculptor in Rome.[5]
See also[edit | edit source]
Notes[edit | edit source]
- ↑ Stewart, 47
- ↑ Stewart, 46-47
- ↑ Belting, 116-117
- ↑ Belting, 116
- ↑ "Baroque sculpture: Materiality and the question of movement". doi:10.4324/9781315613161-48 ( (inactive $1) 11 July 2025). Archived from the original on 19 June 2024. Retrieved 19 June 2024.
{{cite web}}: CS1 maint: DOI inactive as of July 2025 (link)
References[edit | edit source]
- Belting, Hans, An Anthropology of Images: Picture, Medium, Body, 2014, Princeton University Press, ISBN 0691160961, 9780691160962, google books
- Stewart, Peter, Statues in Roman Society: Representation and Response, 2003, Oxford University Press, ISBN 0199240949, 9780199240944, google books