Sculpture Journal最新文献_第6页

Sculpture and representation: apprehending marble portrait sculpture in the eighteenth century 雕塑与表现:了解十八世纪的大理石人像雕塑

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.2

M. Baker

引用次数: 0

A ‘milky mass’ and ‘uniform material’: white marble in eighteenth-century French discourses on sculpture and geology “乳白色的物质”和“均匀的材料”：18世纪法国关于雕塑和地质学的论述中的白色大理石

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.9

Marthe Kretzschmar

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Introduction: Marble 简介：大理石

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.1

Anna Frasca-Rath, Marthe Kretzschmar

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Two sculptor-geologists and the perception of marble in nineteenth-century Britain: Sir Francis Chantrey and William Brindley 两位雕塑家兼地质学家和19世纪英国对大理石的认识:弗朗西斯·钱特雷爵士和威廉·布林德利

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.10

M. Sullivan

引用次数: 1

Impure stone and the threat to decency: marble tints and veins 不洁的石头和对体面的威胁：大理石的色调和纹理

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.3

M. Wagner

{"title":"Impure stone and the threat to decency: marble tints and veins","authors":"M. Wagner","doi":"10.3828/sj.2021.30.2.3","DOIUrl":"https://doi.org/10.3828/sj.2021.30.2.3","url":null,"abstract":"\u0000According to the classical tradition, marble sculptures were to be made of ‘pure’ white material. This remained an aesthetic ideal even after archaeological findings had revealed evidence of ancient polychromy. This article argues that tinting as well as natural staining on marble figures in the late eighteenth and nineteenth centuries were not only aesthetically but also morally reprehensible, because they violated the ideal of homo clausus. This term, coined by the sociologist Norbert Elias, conceptualizes a subject that imposes ‘self-restraint’ to control its physical body and its emotions. Perfect control was seen embodied in the ancient images of the gods, which were assumed to have been made of immaculate white marble. Any colouring, whether of natural origin or deliberately produced, seemed to contaminate this concept. My investigation is focused on the historical justifications for John Gibson’s scandalous Tinted Venus, and figures of veined marble rejected in France on similar grounds in the late eighteenth century, such as Christoph-Gabriel Allegrain’s Venus and Jean-Antoine Houdon’s Frileuse. I examine how the coloured veins and tints of the stone gained semantic qualities in female figures, where a blush or a vein seemed to reveal emotions and desires and thus infringe the ideal.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42351056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Pioneering sculptural workshop techniques: Filippo della Valle and Francesco Cerroti in eighteenth-century Rome 开创性的雕塑车间技术:Filippo della Valle和Francesco Cerroti在18世纪的罗马

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.4

Camilla Parisi

引用次数: 0

On the reception and agency of neoclassical sculpture and its material: case studies from Viennese sculpture galleries (c. 1780-1820) 新古典主义雕塑及其材料的接受和代理:维也纳雕塑画廊的案例研究(约1780-1820年)

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-11-01 DOI: 10.3828/sj.2021.30.2.6

Anna Frasca-Rath

引用次数: 0

Sculpture Journal: Volume 30, Issue 1 雕塑杂志:第30卷，第1期

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-01-01 DOI: 10.3828/sj.2021.30.issue-1

引用次数: 0

The politics of public monuments: parliamentary commissions of monuments for Westminster Abbey in 1798 公共纪念碑的政治:1798年威斯敏斯特教堂纪念碑的议会委员会

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-01-01 DOI: 10.3828/SJ.2021.30.1.2

Susan Jenkins

引用次数: 0

Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective 从制造商的角度重新审视19世纪英国艺术与工业的关系

IF 0.1 3区艺术学

Sculpture Journal Pub Date : 2021-01-01 DOI: 10.3828/SJ.2021.30.1.3

A. Compton

{"title":"Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective","authors":"A. Compton","doi":"10.3828/SJ.2021.30.1.3","DOIUrl":"https://doi.org/10.3828/SJ.2021.30.1.3","url":null,"abstract":"The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.","PeriodicalId":21666,"journal":{"name":"Sculpture Journal","volume":"30 1","pages":"31-52"},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69953123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0