An illustrated encyclopedia with 1000 photos of over 700 nineteenth century French sculptors including Rodin, Barye, d'Angers and Carpeaux, with biographies, listings of works (with size and foundry when known), museum pieces in France and elsewhere, and recent sales. Also provides an overview of 19th century bronze sculpture, the foundries that cast the bronzes, and methods used to cast works.
Using the tools of the "new" art history (feminism, Marxism, social context, etc.) An Introduction to Nineteenth-Century Art offers a richly textured, yet clear and logical, introduction to nineteenth-century art and culture. This textbook will provide readers with a basic historical framework of the period and the critical tools for interpreting and situating new and unfamiliar works of art. Michelle Facos goes beyond existing histories of nineteenth-century art, which often focus solely on France, Britain, and the United States, to incorporate artists and artworks from Scandinavia, Germany, and Eastern Europe. The book expertly balances its coverage of trends and individual artworks: where the salient trends are clear, trend-setting works are highlighted, and the complexity of the period is respected by situating all works in their proper social and historical context. In this way, the student reader achieves a more nuanced understanding of the way in which the story of nineteenth-century art is the story of the ways in which artists and society grappled with the problem of modernity. Key pedagogical features include: Data boxes provide statistics, timelines, charts, and historical information about the period to further situate artworks. Text boxes highlight extracts from original sources, citing the ideas of artists and their contemporaries, including historians, philosophers, critics, and theorists, to place artists and works in the broader context of aesthetic, cultural, intellectual, social, and political conditions in which artists were working. Beautifully illustrated with over 250 color images. Margin notes and glossary definitions. Online resources at www.routledge.com/textbooks/facos with access to a wealth of information, including original documents pertaining to artworks discussed in the textbook, contemporary criticism, timelines and maps to enrich your understanding of the period and allow for further comparison and exploration. Chapters take a thematic approach combined within an overarching chronology and more detailed discussions of individual works are always put in the context of the broader social picture, thus providing students with a sense of art history as a controversial and alive arena of study. Michelle Facos teaches art history at Indiana University, Bloomington. Her research explores the changing relationship between artists and society since the Enlightenment and issues of identity. Prior publications include Nationalism and the Nordic Imagination: Swedish Painting of the 1890s (1998), Art, Culture and National Identity in Fin-de-Siècle Europe, co-edited with Sharon Hirsh (2003), and Symbolist Art in Context (2009).
Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship -- the foreign labors, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi's collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet's museum of religious objects and Goncourt's private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.
Sculpting abroad analyses and reflects upon the international mobility of sculptors and their work in the nineteenth century. The creation of nation-states then coincided with an increasing international focus by artists, their commissioners, sellers, buyers and critics. Sculptors were encouraged to study abroad, and recognized for their experience and success abroad. As they were very much dependent on commissions, they had to travel to provide for their revenues. At the same time they were expected to represent the nation, and showcase their 'national school' with its specific characteristics. This volume reflects upon the theoretical and practical implications of the many aspects of transnationality, travel and (cultural) mobility on nineteenth-century sculptors, their work and their careers, by addressing the role of, among others, education, execution, commissions, exhibitions, art criticism and the art market. The main focus is on French, Belgian, Italian, British and American sculptors and their works, and well-known as well as lesser known sculptors, throughout general articles as well as specific case studies.
The J. Paul Getty Museum’s collection of European sculpture featured in this volume ranges in date from the late fifteenth century to the very early twentieth and includes a wide variety of media: marble, bronze, alabaster, terracotta, plaster, wood, ivory, and gold. The earliest sculpture represented is the mysterious Saint Cyricus by Francesco Laurana; the latest is a shield-like portrait of Medusa by the eccentric Italian sculptor Vincenzo Gemito. Among the more than forty works included in this handsomely illustrated volume are sculptures by Antico (Bust of a Young Man); Cellini (a Satyr designed for Fontainebleau); Giambologna (a Female Figure that may represent Venus); Bernini (Boy with a Dragon); and Carpeaux (Bust of Jean-Léon Gérôme). Well represented here is the Museum’s splendid collection of Mannerist and early Baroque bronzes, including such masterpieces as Johann Gregor van der Schardt’s Mercury and two superb works by Adriaen de Vries: Juggling Man and Rearing Horse. These works are indicative of the extraordinary quality of the J. Paul Getty Museum’s collection of post-Classical European sculpture.
French Sculpture Following the Franco-Prussian War, 1870-80 investigates the role played by the trope of the 'strong woman, fallen man' in re-establishing morale among the French people following the Franco-Prussian War. The study explores how certain French sculptors - including Falgui?, Merci?Barrias, and Rodin - presented this recent history of defeat in commemorative monuments that increasingly dominated public space across France during the final decades of the nineteenth century. Though it focuses on French nationalism and the commemoration of war (or, as is the case with the French following the Franco-Prussian War, the commemoration of defeat), this volume also examines shifts in gender roles in the latter half of the nineteenth century, and the impact of military defeat on relations between the sexes. The book probes the aesthetic discourse of the period concerning the merits of traditional allegorical sculpture versus new-fangled realist sculpture in depicting modern life. Drawing on extensive archival research, Michael Dorsch gives a voice to the sculptures he discusses, restoring these often ignored works to their proper place in history.
This book is the first of its kind to focus on issues concerning sculpture and reproduction, and to explore the theoretical and practical consequences.
"The revised and expanded edition of Nineteenth Century Art: A Critical History embraces many aspects of the so-called 'new' art history - attention to issues of class and gender, reception and spectatorship, racism and Eurocentrism - while at the same time recovering the remarkable vitality, salience and subversiveness of the era's best art. Indeed, the authors insist that there is a profound sympathy between these new perspectives and the art under examination. For it was nineteenth-century artists who first addressed the issues that preoccupy audiences and scholars today: the relation between popular and elite culture, the legacy of the Enlightenment, the question of the canon, and the representation of workers, women and non-whites."--BOOK JACKET.
This is a review of 190 years of literature on copper and its alloys. It integrates information on pigments, corrosion and minerals, and discusses environmental conditions, conservation methods, ancient and historical technologies.
