Histories of sculpture within the Nordic region are under-studied and the region's influence upon and translation of influences from elsewhere in Europe remain insufficiently traced. This volume brings to light individual histories of sculptural mobility from the early modern period onwards. Examining the movement of sculptures, sculptors, practices, skills, styles and motifs across borders, through studios and public architectures, within popular and print culture and via texts, the essays collected here consider the extent to which the sculptural artwork is changed by its physical movement and its transfigurations in other media. How does the meaning and form of these objects performatively respond to the pressure of their relocations and rematerialisations? Conversely, how do sculptures impact their new contexts of display? The contributing authors engage with a wide variety of objects and media in their essays. Each focuses on the contextualisation of sculpture in an original and timely way, exploring how mobility acts as a filter offering new perspectives on iconography, memorialisation, collecting, iconoclasm and exhibiting. From the stave churches of early Norway to the decoration of International Style monoliths of the twentieth century, from Italian quarries to Baroque palaces, from fountains to figurines, from text to performance, these wide-ranging and fascinating case studies contribute to the rich history of the Nordic region's sculptural production.

This is the first full-length, English-language study of eleventh-century figural sculpture produced in Dalmatia and Croatia. Challenging the dependency on stylistic analysis in previous scholarship, Magdalena Skoblar contextualises the visual presence of these relief carvings in their local communities, focusing on five critical sites. Alongside an examination of architectural setting and iconography, this book also investigates archaeological and textual evidence to establish the historical situation within which these sculptures were produced and received. Croatia and Dalmatia in the eleventh century were a borderland between Byzantium and the Latin west where the balance of power was constantly changing. These sculptures speak of the fragmented and hybrid nature of the Adriatic and the Mediterranean as a whole, where well-connected trade routes and porous boundaries informed artistic production. Moreover, in contrast to elsewhere in Europe where contemporary figural sculpture was spurred on by monastic communities, this book argues that the patronage of such artworks in Dalmatia and Croatia was driven by members of the local secular elites. For the first time, these sculptures are being introduced to Anglophone scholarship, and this book contributes to a fuller understanding of the profound changes in medieval attitudes towards sculpture after the year 1000.

The first book to devote serious attention to questions of scale in contemporary sculpture, this study considers the phenomenon within the interlinked cultural and socio-historical framework of the legacies of postmodern theory and the growth of global capitalism. In particular, the book traces the impact of postmodern theory on concepts of measurement and exaggeration, and analyses the relationship between this philosophy and the sculptural trend that has developed since the early 1990s. Rachel Wells examines the arresting international trend of sculpture exploring scale, including American precedents from the 1970s and 1980s and work by the 'Young British Artists'. Noting that the emergence of this sculptural trend coincides with the end of the Cold War, Wells suggests a similarity between the quantitative ratio of scale and the growth of global capitalism that has replaced the former status quo of qualitatively opposed systems. This study also claims the allegorical nature of scale in contemporary sculpture, outlining its potential for critique or complicity in a system dominated by quantitative criteria of value. In a period characterised by uncertainty and incommensurability, Wells demonstrates that scale in contemporary sculpture can suggest the possibility of, and even an unashamed reliance upon, comparison and external difference in the construction of meaning.

Made from Bronze with eyes inlaid with glass pupils set in metal rings, the 'Meroe Head' is a magnificent portrait of Julius Caesar's great nephew and adopted heir Augustus (63 BC-AD 14). Once forming part of a statue of Rome's revered first true emperor - one of many such statues that were erected in Egyptian towns - the head was violently separated from the body and carried away in triumph by ancient Meroitic tribesman shortly after its creation. For nearly two millennia it remained buried in front of a temple in their capital city of Meroe (modern Sudan), so that worshippers ritually had to trample the face of the supreme leader of Rome. The head was recovered in 1910 and remarkably well preserved, is one of the British Museum's most treasured objects. This book reveals the significance of the head in light of Augustus' rise to power and the role of portraits in the Roman world. Accompanied by a series of new photographs that highlight the wonderful, dramatic qualities of the head, this is an absorbing introduction about a portrait which was made as a continuous reminder of the all-embracing power of Rome, yet whose fate is a graphic illustration of resistance to its rule.

The world that shaped Europe's first national sculptor-celebrities, from Schadow to David d'Angers, from Flaxman to Gibson, from Canova to Thorvaldsen, was the city of Rome. Until around 1800, the Holy See effectively served as Europe's cultural capital, and Roman sculptors found themselves at the intersection of the Italian marble trade, Grand Tour expenditure, the cult of the classical male nude, and the Enlightenment republic of letters. Two sets of visitors to Rome, the David circle and the British traveler, have tended to dominate Rome's image as an open artistic hub, while the lively community of sculptors of mixed origins has not been awarded similar attention. Rome, Travel and the Sculpture Capital, c.1770-1825 is the first study to piece together the labyrinthine sculptors' world of Rome between 1770 and 1825. The volume sheds new light on the links connecting Neo-classicism, sculpture collecting, Enlightenment aesthetics, studio culture, and queer studies. The collection offers ideal introductory reading on sculpture and Rome around 1800, but its combination of provocative perspectives is sure to appeal to a readership interested in understanding a modernized Europe's overwhelmingly transnational desire for Neo-classical, Roman sculpture.

First published in 1935, this book was intended to provide westerners with a more definite and comprehensive understanding of Chinese Art and its achievements. Newly available opportunities to study authentic examples, such as the Royal Academy exhibition that provided the impetus for this volume, allowed for greater opportunities to conduct in-depth examination than had previously been possible. Following an introduction giving an overview of Chinese art and its history in the west, six chapters cover painting and calligraphy, sculpture and lacquer, 'the potter's art', bronzes and cloisonne enamel, jades, and textiles - supplemented by a chronology of Chinese epochs, a selected bibliography and 25 images.

Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children. Published to accompany an exhibition at the National Gallery of Scotland, June-October 2019.

Bringing together established and emerging specialists in seventeenth-century Italian sculpture, Material Bernini is the first sustained examination of the conspicuous materiality of Bernini's work in sculpture, architecture, and paint. The various essays demonstrate that material Bernini has always been tied (whether theologically, geologically, politically, or in terms of art theory) to his immaterial twin. Here immaterial Bernini and the historiography that sustains him is finally confronted by material Bernini. Central to the volume are Bernini's works in clay, a fragmentary record of a large body of preparatory works by a sculptor who denied any direct relation between sketches of any kind and final works. Read together, the essays call into question why those works in which Bernini's bodily relation to the material of his art is most evident, his clay studies, have been configured as a point of unmediated access to the artist's mind, to his immaterial ideas. This insight reveals a set of values and assumptions that have profoundly shaped Bernini studies from their inception, and opens up new and compelling avenues of inquiry within a field that has long remained remarkably self-enclosed.

On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Miroslaw Balka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for 'archival' media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.

Aimed at both the beginner and more experienced modeller, this is a guide to the design, planning and creation of realistic models in 1:285 and 1:32 scales. Covering British, French and German trenches of the Western Front, this book includes the different construction, materials and repair methods used during the conflict. Each chapter includes the historical background, together with step-by-step instructions. With over 300 photographs, this book includes: why trenches were a necessity to save lives and how they adapted through the war; how to build models of British 'ideal' and typical trenches, a wet soil trench, improved shell hole, front line dugout, tunnels and mines, and a hospital tent. Construction advice is given for typical French and German trenches, together with a reversed German trench (modelled under British control) and a German concrete bunker. The creation of artillery models, realistic groundwork and plants is covered along with perfecting fine details such as tools, clothes, mess tins, shaving equipment, cigarette packets and letters from home. Finally, there is a guide to visiting the trenches today, a trench glossary and useful measurements at 1:32 scale.

An incisive history revealing Britain's conquest of the Kingdom of Benin and the plunder of its fabled Bronzes. The Benin Bronzes are among the British Museum's most prized possessions. Celebrated for their great beauty, they embody the history, myth and artistry of the ancient Kingdom of Benin, once West Africa's most powerful, and today part of Nigeria. But despite the Bronzes' renown, little has been written about the brutal imperial violence with which they were plundered. Paddy Docherty's searing new history tells that story: the 1897 British invasion of Benin. Armed with shocking details discovered in the archives, Blood and Bronze sets this assault in its late Victorian context. As British power faced new commercial and strategic pressures elsewhere, it ruthlessly expanded in West Africa. Revealing both the extent of African resistance and previously concealed British outrages, this is a definitive account of the destruction of Benin. Laying bare the Empire's true motives and violent means, including the official coverup of grotesque sexual crimes, Docherty demolishes any moral argument for Britain retaining the Bronzes, making a passionate case for their immediate repatriation to Nigeria.

Ron Athey is one of the most important, prolific and influential performance artists of the past four decades. A singular example of lived creativity, his radical performances are at odds with the art worlds and art marketplaces that have increasingly dominated contemporary art and performance art over the period of his career. Queer Communion, an exploration of Athey's career, refuses the linear narratives of art discourse and instead pays homage to the intensities of each mode of Athey's performative practice and each community he engages. Emphasizing the ephemeral and largely uncollectible nature of his work, the book places Athey's own writing at its centre, turning to memoir, memory recall and other modes of retrieval and narration to archive his performances. In addition to documenting Athey's art, ephemera, notes and drawings, the volume features commissioned essays, concise 'object lessons' on individual objects in the Athey archive, and short testimonials by friends and collaborators including Dominic Johnson, Amber Musser, Julie Tolentino, Ming Ma, David Getsy, Alpesh Patel and Zackary Drucker, among others. Together they form Queer Communion, a counter history of contemporary art.

Turn a block of wood into an elegant (and functional) heirloom-to-be! A complete compilation of woodcarving projects from the acclaimed magazine, Woodcarving Illustrated, 12 Spoons, 2 Bowls, and a Knife features 15 step-by-step, beginner-friendly projects ranging from rustic coffee scoops and simple love spoons to salad servers, cereal spoons, bread bowls, jam knives, and more. Showcasing the beautiful work from an array of talented wood artists, craftsmen, and Woodcarving Illustrated contributors, this guide is a must-have for every carver of every skill level to learn the basic tools and techniques for carving wooden spoons, bowls, and knives!

Although a quintessentially English sculptor, Henry Moore experienced outstanding success in the United States. A man much admired and revered, he was the natural choice for corporate and civil commissions, with many seeing ownership of his work as an expression of rank and aspiring wealth. The fact that the United States contains the greatest number of his sculptures, as opposed to his home country, cannot simply be attributed to superior spending power. Based on original sources, and containing many previously unpublished images, Pauline Rose's book explores the reasons for Moore's fame in America, and the construction of his American persona. An autonomous, creative genius was a seductive and popular idea for the Americans, a perception encouraged by the photographs, films and writings of him in the press. The impact of Moore's presence was likely even stronger precisely because he did not fulfil the expected traits of either the modern artist or the modern celebrity. Rose's work focuses on contextual factors surrounding Moore's reception: political and economic imperatives within the United Kingdom and the transatlantic Special Relationship between the United Kingdom and America. Exploring the ways in which Moore was presented to an American audience via text and imagery and the influential network of his supporters which spanned the two countries, this insightful book examines a range of sculptural commissions in key American cities. His popularity is likely to be related to the ambitions of politicians and businessmen alike who perceived Moore's monumental sculptures as expressions of citizenship and humanity, particularly against the backdrop of the Cold War. This text is a valuable and innovative addition to studies on Moore. It will be indispensable to all those interested in twentieth century art history and cultural studies, Anglo-American relations, and the vibrant relationship between text and image.

Modelling British Aircraft of World War II provides essential guidance for modellers of all levels of experience. It gives advice on how to get started, from choosing the best kit to preparing your workspace with the right tools, paints and equipment. Tips on the use of reference material, construction techniques and painting recipes are given. The book provides step-by-step building and painting techniques of the following models: 1/48 Hurricane Mk IIc, 1/32 Spitfire Mk IIa, 1/48 Mosquito Mk VI, 1/48 Swordfish Mk II and 1/72 Lancaster B III. Instructional use of after-market detailing kits and accessories is given as well as advice on fitting a base or creating a diorama. Finally, there is a chapter on Royal Air Force camouflage and markings.

The Ashmolean Museum houses one of the most extensive collections of wood engravings in the world. The collection effectively began with the gift in 1964, by Arthur Mitchell, of over 3,000 prints, including a large group of wood engravings. During the 1980s and 1990s, it expanded remarkably with acquisitions of large groups of prints, often as gifts from the artists, resulted in a succession of monographic exhibitions on some of the most important wood engravers. They included John Farleigh (1986), John Buckland Wright (1990), Clare Leighton (1992), Monica Poole (1993) and Anne Desmet (1998). A key point in this period of expansion was the acquisition of a comprehensive body of work by Gertrude Hermes and Blair Hughes-Stanton in 1995 from the artists' family, which resulted in a memorable exhibition organised by Katharine Eustace. More recently, the Ashmolean has formed a close partnership with the SWE, and has been keeping the collection up to date by acquiring work by members, both at the Society's annual exhibition and privately.

Whittling is more than just a way of busying idle hands - it is a pastime for those who love the texture of wood and a way of life for those who feel a special connection between people and trees. This beautiful and practical guide to the art of whittling offers the perfect antidote to the stresses of modern life and a means of getting back to basics and creating unique items from scratch. Inside you will learn about the ancient art of whittling as one of the earliest forms of artistic expression; the different types of wood to use in your work; the simple tools you need to get started; and the various cutting techniques. The Art of Whittling also preaches the idea of Danish hygge - translating to coziness and being with friends and family in a warm atmosphere. Here, author Niklas Karlsson gives us an insight into why the Danes are considered the happiest people in the world - and how you can bring some hygge into your own lives. More than just a manual, this book offers a contemplative view on a skill that is more popular than ever.

A must-have project guide for chip carvers of any skill level, Everyday Chip Carving Designs features a compilation of 45 original projects from the archives of Woodcarving Illustrated. Useful as they are decorative, carve a collection of achievable chip carved designs for your home and everyday life! Each original project includes detailed step-by-step instructions, coordinating photography, full-size chip carving patterns, complete supplies and tools lists, and expert tips.

Discover the wealth of creative possibilities that versatile and colorful polymer clay has to offer. Here are all the techniques you need to create oven-clay projects: buttons, beads, jewelry, figurines, boxes, mosaics, and frames. The book begins with some basic techniques to get you started, including rolling, baking, and gluing. It then moves on to marbling effects, simulating textiles, making frames, building miniature pots, and creating faux stones. Inspirational examples of work from some of the best polymer clay artists in the world will fire your imagination and provide ideas for developing your own designs.

Recent representations of the Holocaust have increasingly required us to think beyond rigid demarcations of nation and history, medium and genre. Holocaust Intersections sets out to investigate the many points of conjunction between these categories in recent images of genocide. The book examines transnational constellations in Holocaust cinema and television in Europe disclosing instances of border-crossing and boundary-troubling at levels of production, distribution and reception. It highlights intersections between film genres, through intertextuality and pastiche, and the deployment of audio-visual Holocaust memory and testimony. Finally, the volume addresses connections between the Holocaust and other histories of genocide in the visual culture of the new millennium, engaging with the questions of transhistoricity and intercultural perspective. Drawing on a wide variety of different media - from cinema and television to installation art and the internet - and on the most recent scholarship on responses to the Holocaust, the volume aims to update our understanding of how visual culture looks at the Holocaust and genocide today.

Taking its departure point from the 1933 surrealist photographs of 'involuntary sculptures' by Brassai and Dali, Found Sculpture and Photography from Surrealism to Contemporary Art offers fresh perspectives on the sculptural object by relating it to both surrealist concerns with chance and the crucial role of photography in framing the everyday. This collection of essays questions the nature of sculptural practice, looking to forms of production and reproduction that blur the boundaries between things that are made and things that are found. One of the book's central themes is the interplay of presence and absence in sculpture, as it is highlighted, disrupted, or multiplied through photography's indexical nature. The essays examine the surrealist three-dimensional object, its relation to and transformation through photographs, as well as the enduring legacies of such concerns for the artwork's materiality and temporality in performance and conceptual practices from the 1960s through the present. Found Sculpture and Photography sheds new light on the shifts in status of the art object, challenging the specificity of visual practices, pursuing a radical interrogation of agency in modern and contemporary practices, and exploring the boundaries between art and everyday life.

For Neophytes - to learn the fundamentals, and appreciate the main features of a model, its qualities and weaknesses. For amateurs - to create the desire to know more about fine watches. For connoisseurs - to revise important concepts and even increase their knowledge. This new edition includes new illustrations. What is a beautiful watch? How do you make a good choice? The Magic of Watches explains how and why these little objects are so precious, fascinating and exciting. The book presents paradoxes: why a one-million-dollar watch might be less precise and more fragile than one that costs 15 dollars. It comes back to the origins of the measurement of time: how did we go from the water clock to the wristwatch? The book goes on to technique: how does a mechanical movement work? How does a quartz one work?; delves into details: what is a 'complication' and when do we speak about 'chronometer'?; showcases art: how do we enamel a dial? The Magic of Watches is unique: it focuses in detail on the basics in order to understand and love watches better.