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Richard Lytle

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Relief Sculptures, Barone Campus Center

Artist: Richard Lytle (1935 - ) Primary
Date: 1968
20th Century
Object Type: Statue
Creation Place: North America, United States, Connecticut
Medium and Support: Concrete
Credit Line: University commission, 1965
Accession Number: CAC2018.02.01
On View: Barone Campus Center & Tully Dining Commons

In 1965, Richard Lytle was commissioned to create an abstract frieze composed of six concrete panels that would form part of the exterior walls of the new Barone Campus Center, constructed in the International Style. Lytle took as his theme the connection between nature and art; the curvilinear forms on the frieze include elements symbolic of art, music, and dance. The varied depth of its surface takes advantage of the natural light from its original position on the exterior wall of the building.

For more information about this piece, as well as the other sculpture that you can find around the Fairfield University campus, see ourOutdoor Sculpture Audio Guide here.


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Period and styles of painting, sculpture, graphic arts, and architecture dating from the recent past and present. It differs from modern art in that the term 'Contemporary art' does not carry the implication of a non-traditional style, but instead refers only to the time period in which the work was created. 'Modern' and 'Contemporary' are inherently fluid terms. The term 'Contemporary' is sometimes more narrowly used to refer to art from ca. 1960 or 1970 up to the present. To refer to the current time period without reference to style of art, use "contemporary (generic time frame)".
Sculpture in the round, usually but not always depicting humans, animals, mythical beings, or small figure groups. Statues are relatively large in scale, being life-size, larger than life-size, or only slightly smaller than life-size. For small-scale representations of humans, animals, or mythical beings, use "figurines," "statuettes," or another appropriate term. For depictions of humans, animals, or mythical beings in media other than sculpture, use "figures (representations)."
Genre of visual arts in which figurative subjects or other forms are simplified or changed in their representation so that they do not portray a recognizable person, object, thing, etc.; may reference an idea, quality, or state rather than a concrete object. For the process of formulating general concepts by abstracting common properties of instances, prefer "abstraction." For 20th-century art styles that were a reaction against the traditional European conception of art as the imitation of nature, use "Abstract (fine arts style)."
Concrete art
Term coined in 1930 by Theo van Doesburg to characterize a form of non-figurative painting in which the pictorial elements, planes and colors, have no significance other than themselves. He meant to distinguish between other forms of abstraction, indebted to illusionism mimicing the visible or natural world, and paintings that are products of the human mind. The definition was elaborated upon by Max Bill in 1936 in a catalog for the exhibition Zeitprobleme in der Schweizer Malerei und Plastik. In 1960 Bill organized an exhibition of work that fit his definition, and that established Concrete art as an international movement.
A hard, strong construction material comprising a mixture of sand, gravel, crushed rock, or other aggregate, held together, typically by a hardened paste of cement and/or lime. Several types of aggregate are used such as crushed stone, slag, cinders or gravel. Ancient Romans developed pozzolan cement about the 3rd century BCE. Modern concretes use various cements such as portland or hydraulic. Concrete is durable and relatively inexpensive, used for foundations, bridges, dams, walls, and highways. Concrete is strong in compression but weak in tension so it is often reinforced with steel bars or wire netting. Once a concrete mixture is stirred with water and poured into a mold, it is allowed to cure slowly over about a week. Stresses, such as vibration, freezing, and rapid drying, will diminish the strength and durability of the concrete. As it ages, concrete is subject to erosion, spalling, and pollution. Poor mixing can cause erosion. Spalling can be due to freeze-thaw cycles of moisture and ice, salt crystallization, or corrosion of steel reinforcements. Acid rain can deplete the natural alkaline reserve of fresh concrete.

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