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Fine-art objects are not constructed by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not crack, deteriorate, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demand of the laws of physics, not the sculptor¡¯s aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).
Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance?
A. To provide an example of a problem related to the laws of physics that an artist tries to overcome.
B. To argue that fine artists are unconcerned with the laws of physics
C. To contrast the relative sophistication of modern artists in solving problems related to the laws of physics
D. To note an exceptional piece of art constructed without the aid of technology
ÀýÌ⣺
Fine-art objects are not constructed by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress. Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not crack, deteriorate, or discolor. These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work. For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof. This was done because the cannonball was needed to support the weight of the leg. In other words, the demand of the laws of physics, not the sculptor¡¯s aesthetic intentions, placed the ball there. That this device was a necessary structural compromise is clear from the fact that the cannonball disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).
Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance?
A. To provide an example of a problem related to the laws of physics that an artist tries to overcome.
B. To argue that fine artists are unconcerned with the laws of physics
C. To contrast the relative sophistication of modern artists in solving problems related to the laws of physics
D. To note an exceptional piece of art constructed without the aid of technology
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