Thorvaldsens Museum opened in central Copenhagen in 1848. The great Danish sculptor had arranged to donate his own works of art and his collections to the city, provided that the museum be built for the purpose; it would become his tomb. The Museum was decorated with a colourful frieze depicting the triumphant arrival of Thorvaldsen and his magnificent works of art in Copenhagen from the artist's studio in Rome. The dramatic frieze, designed by the Danish artist Jorgen Sonne, made a big splash at the time, and has captivated visitors ever since. In this learned and lively study of the Museum and its frieze, John Henderson shows how the frieze takes inspiration from classical models, including the Parthenon and Roman monuments, in delivering the finest neoclassical art, and its cosmopolitan European culture, to the attention of a newly modernized public. This beautifully illustrated book breaks new ground in Danish History of Art, bringing an important and unique Danish work of art to an international audience with the blessing of the Museum.

Painter, draftsman and engraver, Pierre Lesieur (1922-2011) was one of the most influential French artists of the second half of the 20th century. Trained at the Ecole des Beaux-Arts in Paris - where he took lessons from Andre Lhote - and at the Academie de Montmartre, he had his first exhibition in 1952. Lesieur's paintings of the 1950s are characterised by the use of brightly coloured areas, in line with the work of Henri Matisse and Pierre Bonnard. In the 1960s, this research bordered on abstraction, particularly in still lifes and representations of objects. From the 1970s onwards, through his paintings and drawings, Lesieur took a particular interest in interiors, as well as in portraits and female nudes. Early in his career, Pierre Lesieur was recognised as an important artist. After his first personal exhibition in 1952, his work was regularly shown at the Coard Gallery in Paris. From the 1990s, Lesieur's notoriety became international, resulting in further exhibitions in Japan and the United States. Some of his works are now housed in major museums such as the Center Pompidou, the Metropolitan Museum of Art and the Hiroshima Museum. Text in English and French.

Objects of adornment have been a subject of archaeological, historical, and ethnographic study for well over a century. Within archaeology, personal ornaments have traditionally been viewed as decorative embellishments associated with status and wealth, materializations of power relations and social strategies, or markers of underlying social categories such as those related to gender, class, and ethnic affiliation. Personal Adornment and the Construction of Identity seeks to understand these artefacts not as signals of steady, pre-existing cultural units and relations, but as important components in the active and contingent constitution of identities. Drawing on contemporary scholarship on materiality and relationality in archaeological and social theory, this book uses one genre of material culture - items of bodily adornment - to illustrate how humans and objects construct one another. Providing case studies spanning 10 countries, three continents, and more than 9,000 years of human history, the authors demonstrate the myriad and dynamic ways personal ornaments were intertwined with embodied practice and identity performativity, the creation and remaking of social memories, and relational collections of persons, materials, and practices in the past. The authors’ careful analyses of production methods and composition, curation/heirlooming and reworking, decorative attributes and iconography, position within assemblages, and depositional context illuminate the varied material and relational axes along which objects of adornment contained social value and meaning. When paired with the broad temporal and geographic scope collectively represented by these studies, we gain a deeper appreciation for the subtle but vital roles these items played in human lives.

The Arts and Crafts of the Hunza Valley in Pakistan is a thorough ethnographic field research conducted over a period of twenty years. It is augmented by the author's selection of photographs which add depth to the study by providing a frame of reference for the wide array of crafts and lifestyles that existed and continue to flourish in the area. He delves into the variations of art fostered in the Valley, from woodwork to embroidery, by taking into account the geographical and historical links to Central Asia and Kashmir, hence, exploring the amalgamation of cultures that enrich the work. The author has systematically carried out studies of locals from all walks of life. His interviews of master craftspeople, which are on the verge of disappearing along with the correct indigenous terminology, help enhance the distinct cultures of that region. is book is an important reference material for those who are interested in understanding the Hunza region, its people, and its arts and crafts.

The art and science of audiovisual preservation and access has evolved at breakneck speed in the digital age. The Joint Technical Symposium (JTS) is organized by the Coordinating Council of Audiovisual Archives Associations and brings experts from around the world to learn of technologies and developments in the technical issues affecting the long-term survival and accessibility of audiovisual collections. This collection of essays is derived from presentations made at the 2016 JTS held in Singapore and presents an overview of the latest audiovisual preservation methods and techniques, archival best practices in media storage, as well as analog-to-digital conversion challenges and their solutions.

The installation "Upper Room" comes from over three years of exploration into the concepts of image, self-worth and beauty. It has been an incredible journey producing the work. For many of the women who took part it has been a road into self-evaluation and liberation. The dialogue that is contained within the piece tells the story of this and is flooded with the excitement and enthusiasm that had been part of the collaboration required to produce the piece. There is of course, the darker side of self-doubt and hurt that seem to go hand-in-hand with the consideration of self-image. Upper Room, explores the concepts of beauty, self-worth and faith. The work is a song to challenge the prevailing voice of many contemporary attitudes towards women and body image. It is intended to empower women to believe in who they are and all that they have been given in God. It is a celebration that could just as easily be titled "Fearfully and Wonderfully Made." Deborah works full time from her art studio in the beautiful Stowe Gardens, in Buckingham. She has used her work within the church context for many years helping other to access their faith through creativity and artistic engagement.

The autobiography of Benvenuto Cellini was started in the year 1558 at the age of 58 and ended abruptly just before his last trip to Pisa around the year 1563 when Cellini was approximately 63 years old. The memoirs give a detailed account of his singular career, as well as his loves, hatreds, passions, and delights, written in an energetic, direct, and racy style.

"A beautiful, intricate meditation on creativity and discovery, on fire and rebirth." --Elizabeth Gilbert

Awestruck at the sight of a Grinling Gibbons carving in a London church, David Esterly chose to dedicate his life to woodcarving--its physical rhythms, intricate beauty, and intellectual demands. Forty years later, he is the foremost practitioner of Gibbons's forgotten technique, which revolutionized ornamental sculpture in the late 1600s with its spectacular cascades of flowers, fruits, and foliage.

After a disastrous fire at Henry VIII's Hampton Court Palace, Esterly was asked to replace the Gibbons masterpiece destroyed by the flames. It turned out to be the most challenging year in Esterly's life, forcing him to question his abilities and delve deeply into what it means to make a thing well. Written with a philosopher's intellect and a poet's grace, "The Lost Carving" explores the connection between creativity and physical work and illuminates the passionate pursuit of a vocation that unites head and hand and heart.

Familiar to both locals and visitors, cast iron artistry remains an iconic characteristic of New Orleans. This pictorial study traces the iron work's history from its origins in England in the sixteenth century, to the establishment of the Leeds Iron Foundry in New Orleans in 1825, and cast iron's evolution into contemporary times. Mass-production methods made cast iron available for numerous types of building materials, and it was used for both decorative and structural purposes. In addition to noting the application of the material for bridges, beams, and girders, the book cites cast iron's popularity for fireplace fronts, mantels, and furniture. Because it was more durable than wood and cheaper than wrought iron, cast iron was available in many patterns. Ornate illustrations depict the various patterns of cast iron that have been used over the years, while sections of the text detail the difference between cast iron and wrought iron. Photographs portray examples of cast iron throughout the city of New Orleans, with the address of each establishment as a caption. The book also provides a list of local firms that specialized in ornamental iron working.

A classic tale retold for 21st century London. A tale of love and tragedy, indulgence and excess. Having wowed audiences at Kilburn's Cock Tavern in a record-breaking, sell-out six-month run, Soho Theatre takes on opera for the very first time as Puccini's "La Boheme" is retold for contemporary Soho with a talented, classically trained young cast.

"Yellow Future" examines the emergence and popularity of techno-oriental representations in Hollywood cinema since the 1980s, focusing on the ways East Asian peoples and places have become linked with technology to produce a collective fantasy of East Asia as the future. Jane Chi Hyun Park demonstrates how this fantasy is sustained through imagery, iconography, and performance that conflate East Asia with technology, constituting what Park calls oriental style.
Park provides a genealogy of oriental style through contextualized readings of popular films-from the multicultural city in "Blade Runner "and the Japanese American mentor in "The Karate Kid" to the Afro-Asian reworking of the buddy genre in "Rush Hour "and the mixed-race hero in "The Matrix." Throughout these analyses Park shows how references to the Orient have marked important changes in American popular attitudes toward East Asia in the past thirty years, from abjection to celebration, invisibility to hypervisibility.
Unlike other investigations of racial imagery in Hollywood, "Yellow Future "centers on how the Asiatic is transformed into and performed as style in the backdrop of these movies and discusses the significance of this conditional visibility for representations of racial difference.

A clear, practical introduction to sculpture, filled with instructions and ideas for projects that will guide and inspire students and teachers alike. Originally published in 1929, this remastered edition draws upon the author's twenty years of teaching experience. Illustrated examples demonstrate working techniques for clay, plaster, stone and bronze, whilst the history of sculpture is introduced through a range of masterpieces reaching back to classical times. From delicate natural forms to the challenges of the human figure, Modelling and Sculpture will help your most creative ideas take shape.

ANDY GOLDSWORTHY: TOUCHING NATURE DESCRIPTION

A new and revised edition of our best-selling book on Andy Goldsworthy. A completely rewritten exploration of the sculptor, updated to include recent works such as Night Path (2002) and Chalk Stones (2003) in Sussex, Three Cairns (2002) on the American East and West coasts, Stone Houses (2004) and Garden of Stones (2003) in Gotham, Passage (2005) in London, and Slate Domes (2005) in Washington, DC.

Known as a land, earth, nature or environmental artist, Andy Goldsworthy works with(in) nature. He uses natural materials in natural shapes and forms often set in natural contexts (but also in cities, towns, parks, sculpture parks, and many spaces created or adapted by people). FROM THE INTRODUCTION

In the 1990s, Andy Goldsworthy s art began to rise in popularity: the glossy coffee table book Stone became a bestseller (bear in mind it was then priced at $55). In 1994 Goldsworthy took over some West End galleries with a large one-man show. In 1995 he was part of an intriguing group show at the British Museum (Time Machine), creating sculptures, along with Richard Deacon, Peter Randall-Page and others, in amongst the monumental statuary of the famous Egyptian Hall. Also in 1995, Goldsworthy designed a set of Royal Mail stamps (and again in 2003). Digne in France became an increasingly important Goldsworthy location, with shows in 1995, 1997 and 2000). Prestigious commissions occurred in the US from the mid-1990s onwards. For instance: the giant Wall at Storm King Art Center in 1998; the Three Cairns on the East and West Coasts and Iowa in 2001-02; the stone houses at the Metropolitan Museum in Gotham in 2004; the monument to the Holocaust (also in New York) in 2003; and the slate domes in Washington, DC in 2005. Goldsworthy continues to work in countries such as Japan, Australia, Holland, Canada, North America and France (with France and the US becoming primary centres of Goldsworthy activity), but his home ground of Dumfriesshire in Scotland remains (at) the heart of his work.

AUTHOR BIOGRAPHY

William Malpas has written books on Richard Long and land art, as well as three books on Andy Goldsworthy, including the forthcoming Andy Goldsworthy In America. Malpas s books on Richard Long and Andy Goldsworthy are the only full-length studies of these artists available.

By the late Bronze Age the Irish had become masters in metalworking anf the range of objects produced was in stark contrast to those of the earlie Bronze Age. This study presents a comprehensive analysis and reconstruction of late Bronze Age metalworking practices through artefactual evidence and also experimental work and ethnography. Simon O Faolain's research draws on evidence of raw metal/ingots, clay crucible remains, moulds, wooden templates, metalworking equipment as well as the finished objects themselves, and archaeological evience for sites associated with metal production or associated ritual activities. (A catalogue of metalworking sites is given at the back.) Particular attention is paid to the production of late Bronze Age swords. All the evidence is then summarised and placed within the context of metalworking practices, technology, the organisation of production and late Bronze Age society,

The ancient Mesoamerican city of Izapa in Chiapas, Mexico, is renowned for its extensive collection of elaborate stone stelae and altars, which were carved during the Late Preclassic period (300 BC-AD 250). Many of these monuments depict kings garbed in the costume and persona of a bird, a well-known avian deity who had great significance for the Maya and other cultures in adjacent regions. This Izapan style of carving and kingly representation appears at numerous sites across the Pacific slope and piedmont of Mexico and Guatemala, making it possible to trace political and economic corridors of communication during the Late Preclassic period.

In this book, Julia Guernsey offers a masterful art historical analysis of the Izapan style monuments and their integral role in developing and communicating the institution of divine kingship. She looks specifically at how rulers expressed political authority by erecting monuments that recorded their performance of rituals in which they communicated with the supernatural realm in the persona of the avian deity. She also considers how rulers used the monuments to structure their built environment and create spaces for ritual and politically charged performances. Setting her discussion in a broader context, Guernsey also considers how the Izapan style monuments helped to motivate and structure some of the dramatic, pan-regional developments of the Late Preclassic period, including the forging of a codified language of divine kingship. This pioneering investigation, which links monumental art to the matrices of political, economic, and supernatural exchange, offers an important new understanding of a region, time period, and group of monuments that played a key role in the history of Mesoamerica and continue to intrigue scholars within the field of Mesoamerican studies.

With the aim of building up a much-needed reference collection for the determination of ancient production methods for cast bronze artefacts, a series of experiments were carried out at the University of Sheffield. This volume publishes the methodology and results of these experiments where bronze flat axes were cast using three types of moulds - sand, clay and bronze - under controlled conditions and were cooled using different techniques. The microstructure, malleability and behaviour of the copper alloy elements during melting and casting were then compared. A study with important implications for ancient production methods of cast bronze artefacts.

Some of the loveliest works of Archaic art were the Athenian korai-sculptures of beautiful young women presenting offerings to the goddess Athena that stood on the Acropolis. Sculpted in the sixth and early fifth centuries B.C., they served as votives until Persians sacked the citadel in 480/79 B.C. Subsequently, they were buried as a group and forgotten for nearly twenty-four centuries, until archaeologists excavated them in the 1880s. Today, they are among the treasures of the Acropolis Museum. Mary Stieber takes a fresh look at the Attic korai in this book. Challenging the longstanding view that the sculptures are generic female images, she persuasively argues that they are instead highly individualized, mimetically realistic representations of Archaic young women, perhaps even portraits of real people. Marshalling a wide array of visual and literary evidence to support her claims, she shows that while the korai lack the naturalism that characterizes later Classical art, they display a wealth and realism of detail that makes it impossible to view them as generic, idealized images. This iconoclastic interpretation of the Attic korai adds a new dimension to our understanding of Archaic art and to the distinction between realism and naturalism in the art of all periods.

Despite at times being dismissed as tourist "kitsch, " Tesuque's popular rain god figurines have been continuously produced for more than 120 years, making them the longest-lasting figurative art tradition in the Southwest. What began in the 1880s as souvenirs, emerged decades later as an innovative traditional art form. Featuring more than 400 figures from 74 museums, this book traces the history of rain god makers past and present. Author Duane Anderson, director of the Museum of Indian Arts and Culture (Museum of New Mexico) and an anthropologist, discusses how the figures emerged from the shadow of tourist art, to be recognized as traditional art and sought after by collectors and museums, dozens of which are reproduced here.

Clay figures were part of Pueblo ceremonial life before the Spanish Conquest, and rain gods reflect design motifs long seen in polychrome pottery of the Rio Grande -- just two of the many dimensions explored in this book.

Claude Levi-Strauss's fascination with Northwest Coast Indian art dates back to the late 1930s. "Sometime before the outbreak of the Second World War," he writes, "I had already bought in Paris a Haida slate panel pipe." In New York in the early forties, he shared his enthusiasm with a group of Surrealist refugee artists with whom he was associated. "Surely it will not be long," he wrote in an article published in 1943, "before we see the collections from this part of the world moved from ethnographic to fine arts museums to take their just place amidst the antiquities of Egypt of Persia and the works of medieval Europe. For this art is not unequal to the greatest, and, in the course of the century and a half of its history that is known to us, it has shown evidence of a superior diversity and has demonstrated apparently inexhaustible talents for renewal." In The Way of the Masks, first published more than thirty years later, he returned to this material, seeking to unravel a persistent problem that he associated with a particular mask, the Swaihwe, which is found among certain tribes of coastal British Columbia. This book, now available for the first time in an English translation, is a vivid, audacious illustration of Levi-Strauss's provocative structural approach to tribal art and culture. Bringing to bear on the Swaihwe masks his theory that mythical representations cannot be understood as isolated objects, Levi-Strausss began to look for links among them, as well as relationships between these and other types of masks and myths, treating them all as parts of a dialogue that has been going on for generations among neighboring tribes. The wider system that emerges form his investigation uncovers the association of the masks with Northwest coppers and with hereditary status and wealth, and takes the reader as far north as the Dene of Alaska, as far south as the Yurok of northern California, and as far away in time and space as medieval Europe. As one reader said of this book, "It will be controversial, as his work always is, and it will stimulate more scholarship on the Northwest Coast than any other single book that I can think of."