Originally published in 1909, this book contains a guide in English and French to the sculptures of Chartres Cathedral. The text is illustrated with over one hundred photographic plates of the sculptures, with an explanation for each in both languages on the facing page. Some of the photographs included are among the earliest published examples of telephotography. This book will be of value to anyone with an interest in French medieval sculpture, the cathedral at Chartres or the history of photography.

A CBC New Brunswick Book List Selection"I start with an original object, break it, and transform parts of the piece into other materials. These pieces gather meaning and explanation as I work with them."Peter Powning is simultaneously referred to as a sculptor and a ceramist, but his art does not fit easy categorization, incorporating and combining elements from one medium into another. His work challenges the viewer to reconsider the object, its form, and its function. This inventiveness has resulted in numerous exhibitions, awards, and commissions for public art sculptures throughout Canada.Featuring 175 full-colour images of Powning's work along with essays by curators and critics, Peter Powning celebrates the career of one of Canada's finest visual artists and accompanies a major retrospective exhibition organized by the Beaverbrook Art Gallery.

Carved for a Roman city prefect who was a newly baptized Christian at his death, the sarcophagus of Junius Bassus is not only a magnificent example of "the fine style" of mid-fourth-century sculpture but also a treasury of early Christian iconography clearly indicating the Christianization of Rome--and the Romanization of Christianity. Whereas most previous scholarship has focused on the style of the sarcophagus, Elizabeth Struthers Malbon explores the perplexing elements of its iconography in their fourth-century context. In so doing she reveals the distinction between "pagan" and Christian images to be less rigid than sometimes thought. Against the background of earlier and contemporary art and religious literature, Malbon explicates the relationship of the facade's two levels of scenes depicting stories from the Old and New Testaments, the connection between the scenes on the facade with those on the lid and ends of the sarcophagus, and the integration of pagan elements within a Christian work. What emerges is a carefully constructed iconographic program shedding light on the development of early Christian art within late antique culture. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Jacobo Castellano, (Jaen, 1976), is one of the most complex and solid contemporary Spanish artists. He uses engraving to create a body of work based on the emotions and sensations that are hidden in his personal memory. In his work he uses elements such as curtains, wire, small piggy banks, coffins or those rhombuses that were placed on the top of the TV screen. These elements are superimposed creating structures that seem to be on the verge of collapse and that seem to want to hide something or point to a place to hide and protect themselves from imminent collapse. The work of Jacobo Castellano follows a defined line in which the recovery of remembrances stored in his memory leads to a deep reflection on essential issues such as identity, or life and death. Numerous collections of contemporary art have their production, like ARTIUM. Basque Center-Museum of Contemporary Art; CAAC. Andalusian Center for Contemporary Art; CGAC. Galician Center of Contemporary Art; Montenmedio Contemporary Art Foundation; or the Rafael Boti Provincial Plastic Arts Foundation, among others. Contents: Rincones polvorientos de la vida / Life's Dusty Corners, by Javier Hontoria El juego sin fin (notas de un coleccionista / The Endless Game (Notes of a Collector) by Luis Caballero Martinez Conversation with Joao Mourao and Luis Silva Text in English and Spanish.

1961, three years after meeting Jeanne-Claude in Paris, Christo made a study of a mammoth project that would wrap one of the city's most emblematic monuments. 60 years, 25,000 square meters of recyclable fabric, and 3,000 meters of rope later, the artists' vision finally came true. Discover their posthumous installation with this book gathering photography, drawings, and a history of the project's making. Like most of Christo and Jeanne-Claude's work, L'Arc de Triomphe, Wrapped is temporary and runs for 16 days from Saturday, September 18 to Sunday, October 3, 2021. Carried out in close collaboration with the Centre des Monuments Nationaux, the historic structure is wrapped in recyclable polypropylene fabric in silvery blue and recyclable red rope. The project is the posthumous realisation of a long-held dream for Christo and Jeanne-Claude, who first drew up plans to wrap the Arc de Triomphe in 1961 while renting a small room near the monument. Published as a tribute to the late artists and their lifelong partnership, the book includes original sketches, technical data, and exclusive photography, creating a fascinating behind-the-scenes look at the genesis of this prodigious artwork.

Rita McBride is a US-American artist whose installations explore cultural and sociological issues using the language of architecture. At first sight, the sculptures and installations are composed of recognizable daily objects - machines, steps, tubes, even water towers - that transport us to a standardized world, where repetition itself establishes a code that facilitates comprehension. However, the familiarity of form is disturbed by the materials used - a car made of raffia, tubes out of marble or ficus leaves modelled in Murano crystal - producing a sensation of unease and uncertain significance. This exhibition catalog includes a photographic essay by the artist and photographer Anne Pohlmann capturing the way in which the museum's activity changes the architecture of its space over the course of a year.

Since Tate Modern opened, the Turbine Hall has hosted some of the most memorable and acclaimed site-specific art installations of the twenty-first century, reaching an audience of millions. This book is published to accompany the inaugaral Hyundai Commission, the first in a new series of annual exhibitions that will give renowned international contemporary artists an opportunity to create new work for one of the world's most iconic museum spaces. Abraham Cruzvillegas (b.1968), one of the key figures to have emerged in Mexico among a new wave of conceptual artists, is best known for his sculptural works made from local found objects and materials. He has titled this body of work autoconstruccion or 'self-construction'. This term usually refers to the way Mexicans of his parents' generation, arriving in the capital from rural areas in the 1960s, self-built their houses in stages, improvising with whatever materials they could source. His approach to sculpture continues the principles of autoconstruccion, recycling locally found objects and improvising new ways to build, design and create. As an artist he is also concerned with how a strong community spirit and hope can be maintained in precarious economic and political conditions. These ideas have led to projects staged in Glasgow, Paris, Oxford, Gwangju, Kassel and many other places. During a residency at Cove Park in Scotland, Cruzvillegas gathered discarded materials such as wool, fencing, a rubber buoy and bits of wood to create a dynamic installation of sculptures. In Glasgow he created a modified bicycle which he pedalled through the city while playing music created in collaboration with local bands. In recent years his work has been exhibited at Haus der Kunst, Munich (2014); Walker Art Center, Minneapolis (2013); Modern Art Oxford (2011) and The New Museum, New York (2011). Created in close collaboration with the artist, the book will feature a fully illustrated survey of Cruzvillegas's life and work and an in-depth interview with curator Mark Godfrey. Exploring in fascinating detail the artistic processes involved in creating this monumental new work, it will include stunning photographs of the awe-inspiring installation to be revealed in the Turbine Hall in October 2015.

In the year 1260 Nicola Pisano, the sculptor who initiated the revival of classicizing ideals that would later form a major component of Italian Renaissance art, created a remarkable and unusual monument for the Baptistry of Pisa, a hexagonal pulpit supported by seven colorful columns and displaying on its parapet five visually compelling narrative reliefs; several years later he designed a second pulpit, this time for the cathedral of Siena. Toward the end of the century, his son Giovanni received a pulpit commission for the parish church of Sant'Andrea, Pistoia, to be followed a few years later (c. 1302) by another one for the cathedral of Pisa. These four extraordinary monuments, each building upon both older traditions and its own immediate predecessors, yet each a highly innovative and original solution, are the primary subject of this book.

Arman was a US-naturalised French painter. This book covers the first twenty years of Arman's artistic production, from the Accumulations of industrial objects and series products to the Poubelles, documenting consumer society's waste; from the famous Coleres, Coupes and Combustions, which through different processes dematerialise objects depriving them of their functionality, to paintings, to actions and monumental works adhering to the 'poetic of things'.

This volume travels through the most important moments and crossroads in the lifetime and career of Christian Boltanski, which have led him into reflecting upon the outcome of some historical events during the twentieth century and on the need to reconsider appropriate representation methods. History, histories and the statute of the image are the fulcrum of the conversation being proposed. In particular, this conversation deals with some fundamental themes: the difference between collective memory, recollection and oblivion; relations between the individual and the crowd; the entity of absence, intended as proof of a destroyed presence, but also as device for the reactivation of memory; the incidence of an isolated glance, that of the observer, upon whose primacy the history of western art has constructed its foundations.

In October 2018 Cornelia Parker's Transitional Object (PsychoBarn) lands in the courtyard of the Royal Academy of Arts, London. This meticulous and unsettling installation - first shown on the roof of The Metropolitan Museum of Art against the skyline of New York's Central Park - is half stage set, half sculpture. The work, which draws on archetypal images of American culture such as the red barn and the infamous Bates motel from Alfred Hitchcock's Psycho, will now be seen against a backdrop of Burlington House's neoclassical buildings. Cornelia Parker was elected a Royal Academician in 2009. She has since had solo shows at the Whitworth Gallery, Manchester, and the Frith Street Gallery, London. She is well known for her installations, including Cold Dark Matter: An Exploded View (1991), a reconstruction of an exploded shed, which now forms part of Tate's collection. Generously illustrated with supporting imagery and installation shots, this book comprises a conversation with the artist and a text on the work's installation in London. Transitional Object (PsychoBarn) will be on display in the courtyard of the Royal Academy of Arts, London, from October 2018 to March 2019.

Benvenuto Cellini is an artist-craftsman, one of the greatest sculptors in the renaissance, passionately devoted to art, the worshipper and frequenter of the great men of his time, the 'divine' Michelangelo, who came to his studio, the 'marvellous' Titian (the adjectives are Cellini's ). He loathed the sculptor Torregiano because he had broken Michelangelo's nose.His autobiography gives a quite extraordinarily vivid account of daily life in Renaissance Florence and Rome, its studios, its taverns, its violence, his loves, the kings, cardinals and popes who commission his works. At 27 he helps direct the defence of the castello San Angelo; his account of his imprisonment there under a mad castellan (who thought he was a bat), his escape by an improvised rope, his recapture, his confinement in 'a cell of tarantulas and venomous worms' is a chapter of adventure equal to any in fact or fiction. Later he describes burning all his furniture to achieve sufficient heat to cast of one of his most famous works, Perseus and the Head of Medusa. Cellini's Life was translated by Goethe into German. The Everyman translation by Anne Macdonell (1903) is widely recognised as the most faithful to the energy and spirit of the original.

Volume 1 of 2. Lorenzo Ghiberti, sculptor and towering figure of the Renaissance, was the creator of the celebrated Bronze Doors of the Baptistery at Florence, a work that occupied him for twenty years and became known (at Michelangelo's suggestion, according to tradition) as the Doors of Paradise. Here Richard Krautheimer takes what Charles S. Seymour, Jr., describes as "a fascinating journey into the mind, career, and inventiveness of one of the indisputably outstanding sculptors of all the Western tradition." This one-volume edition includes an extensive new preface and bibliography by the author. Richard Krautheimer, Professor Emeritus of the Institute of Fine Arts at New York University, currently lives in Rome. He is the author of numerous works, including the Pelican Early Christian and Byzantine Architecture and Rome: Profile of a City, 312-1308 (Princeton). Princeton Monographs in Art and Archaeology, 31. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Volume 2 of 2. Lorenzo Ghiberti, sculptor and towering figure of the Renaissance, was the creator of the celebrated Bronze Doors of the Baptistery at Florence, a work that occupied him for twenty years and became known (at Michelangelo's suggestion, according to tradition) as the Doors of Paradise. Here Richard Krautheimer takes what Charles S. Seymour, Jr., describes as "a fascinating journey into the mind, career, and inventiveness of one of the indisputably outstanding sculptors of all the Western tradition." This one-volume edition includes an extensive new preface and bibliography by the author. Richard Krautheimer, Professor Emeritus of the Institute of Fine Arts at New York University, currently lives in Rome. He is the author of numerous works, including the Pelican Early Christian and Byzantine Architecture and Rome: Profile of a City, 312-1308 (Princeton). Princeton Monographs in Art and Archaeology, 31. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A nucleus of sculptures cast by Andrea di Alessandri, commonly called from his native city, 'Il Bresciano', or from his products, 'Andrea dai bronzi', has been identified over the centuries. His style has been described as having similarities both with the High Renaissance of Sansovino and the Mannerism of Vittoria, the two successive master sculptors of sixteenth-century Venice, though he cast major bronzes for both. Andrea's signed masterpiece is a Paschal Candlestick in bronze, over two metres high and with sixty or more fascinating figures, made for Sansovino's magnificent lost church of Santo Spirito in 1568 and now in Santa Maria della Salute. The author's identification in 1996 of a pair of magnificent Firedogs with sphinx feet (which in 1568 had been recommended to Prince Francesco de'Medici in Florence), and in 2015 of an elaborate figurative bronze Ewer in Verona, have been the culmination of the process of recognition. Archival research has at last revealed the span of Andrea's life as 1524/25-1573, as well as many significant facts about his family and patronage. So the time is ripe for a comprehensive, well-illustrated, book on Il Bresciano, a 'new' and major bronzista in the great tradition of north Italy.

Screening Statues: Sculpture and Cinema is the first book to focus on the relationship between sculpture and the silver screen. It covers a broad range of magical, mystical and phenomenological interactions between the two media, from early film's eroticized tableaux vivants to enigmatic sculptures in modernist cinema. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. The book examines key sculptural motifs and cinematic sculpture in film history through a series of case studies and through an extensive reference gallery of 150 different films. Considering the work of directors like Georges Melies, Jean Cocteau and Alain Resnais, as well as films like House of Wax, Jason and the Argonauts and Clash of the Titans, this is an innovative exploration of two different media, their artistic traditions and their respective theoretical paradigms.

Rodin & Dance: The Essence of Movement is the first serious study of Rodin's late sculptural series known as the Dance Movements. Exploring the artist's fascination with dance and bodies in extreme acrobatic poses, the exhibition and accompanying catalogue give an account of Rodin's passion for new forms of dance - from south-asian dances to the music hall and the avant garde - which began appearing on the French stage around 1900. Rodin made hundreds of drawings and watercolours of dancers. From about 1911 he also gave sculptural expression to this fascination with dancers' bodies and movements in creating the Dance Movements, a series of small clay figure studies (each approx. 30 cm in height) that stretch and twist in unsettling ways. These leaping, turning figures in terracotta and plaster were found in the artist's studio after his death and were not exhibited during Rodin's lifetime or known beyond his close circle. Presented alongside the associated drawings and photographs of some of the dancers, they show a new side to Rodin's art, in which he pushed the boundaries of sculpture, expressing themes of flight and gravity. This exhibition catalogue aims to become the authoritative reference for Rodin's Dance Movements, comprising essays from leading scholars in the field of sculpture. It includes an introductory essay on the history of the bronze casting of the Dance Movements and the critical fortune of the series, an essay on the dancers Rodin admired, and an extensive technical essay. The Catalogue will comprise detailed entries on the works in the exhibition and new technical information on the drawings. Contributors include Alexandra Gerstein, Curator of Sculpture and Decorative Arts, The Courtauld Institute of Art; Antoinette Le Normand-Romain, Director, Institut National d'Histoire de l'Art, Paris; Juliet Bellow, Associate Professor of Art History, American University in Washington, DC and currently Resident Fellow, the Center for Ballet and the Arts, New York University; Francois Blanchetiere, Curator of Sculpture at the Musee Rodin; Agnes Cascio and Juliette Levy, distinguished sculpture conservators; Sophie Biass-Fabiani, Curator of Works on Paper at the Musee Rodin; and Kate Edmonson, Conservator of Works on Paper at The Courtauld Gallery.

Film and video create an illusory world, a reality elsewhere, and a material presence that both dramatizes and demystifies the magic trick of moving pictures. Beginning in the 1960s, artists have explored filmic and televisual phenomena in the controlled environments of galleries and museums, drawing on multiple antecedents in cinema, television, and the visual arts. This volume traces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and video from the 1960s, 1970s, and 1980s. Sound is given due attention, along with the shift from analogue to digital, issues of spectatorship, and the insights of cognitive science. Woven into this genealogy is a discussion of the procedural, political, theoretical, and ideological positions espoused by artists from the mid-twentieth century to the present. Historical constructs such as Peter Gidal's structural materialism, Maya Deren's notion of vertical and horizontal time, and identity politics are reconsidered in a contemporary context and intersect with more recent thinking on representation, subjectivity, and installation art. The book is written by a critic, curator, and practitioner who was a pioneer of British video and feminist art politics in the late 1970s. Elwes writes engagingly of her encounters with works by Anthony McCall, Gillian Wearing, David Hall, and Janet Cardiff, and her narrative is informed by exchanges with other practitioners. While the book addresses the key formal, theoretical, and historical parameters of moving-image installation, it ends with a question: "What's in it for the artist?"

Patricia Wengraf is one of the world's leading dealers in bronzes, sculpture and works of art. In her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. This exquisite catalogue - the first sales catalogue ever published by the dealer - presents a selection of exceptional works. Accompanies an exhibition in New York City.

Carved for a Roman city prefect who was a newly baptized Christian at his death, the sarcophagus of Junius Bassus is not only a magnificent example of "the fine style" of mid-fourth-century sculpture but also a treasury of early Christian iconography clearly indicating the Christianization of Rome--and the Romanization of Christianity. Whereas most previous scholarship has focused on the style of the sarcophagus, Elizabeth Struthers Malbon explores the perplexing elements of its iconography in their fourth-century context. In so doing she reveals the distinction between "pagan" and Christian images to be less rigid than sometimes thought.

Against the background of earlier and contemporary art and religious literature, Malbon explicates the relationship of the facade's two levels of scenes depicting stories from the Old and New Testaments, the connection between the scenes on the facade with those on the lid and ends of the sarcophagus, and the integration of pagan elements within a Christian work. What emerges is a carefully constructed iconographic program shedding light on the development of early Christian art within late antique culture.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.