In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

First published in 1951, as the revised edition of a 1935 original, this volume provides a historical study of English sculpture during the medieval period. It was created as a response to the increasing popularity of art history, providing students with a detailed, yet accessible, introduction to its subject. The text is particularly distinguished by its comprehensive range of illustrative material, containing 683 high-quality photographs from a broad range of sources. This is a fascinating book that will be of value to anyone with an interest in religious art and the development of medieval sculpture.

First published in 1940, this was the first comprehensive book about British alabaster tombs. Originating from an article by the same writer in the Archaeological Journal for 1923, it provides a detailed account of the surviving alabaster monuments, from the earliest examples of around 1330 through to those created at the time of the Reformation. The text contains 305 photographic images of alabaster tombs taken from around the country, together with a list of effigies explaining their relative origins and significance. This is a highly rigorous study that will be of value to anyone with an interest in religious art and British history.

The work of Slovak sculptor Maria Bartuszova (1936-96) was first presented to international audiences in Kassel in 2007. Although her art has appeared in influential exhibitions and been included in prestigious contemporary art collections, up until now, she has yet to receive the widespread recognition she deserves. Dziewanska's book offers distinct perspectives on Bartuszova's work from renowned international critics in an effort to increase our awareness of her sculptures. Working alone behind the Iron Curtain, Bartuszova was one of a number of female artists who not only experimented formally and embarked intuitively on new themes, but who, because they were at odds with mainstream modernist trends, remained in isolation or in a marginalized position. Revealing her dynamic treatment of plaster-a material that, from a sculptor's point of view, is both primitive and common-the book deftly reveals how Bartuszova experimented with materials, never hesitating to treat tradition, accepted norms, and trusted techniques as simply transitory and provisional. Offering a much-needed history of a vibrant body of work, Maria Bartuszova: Provisional Forms is an important contribution to the literature on great female artists.

The recently deceased French-American sculptor Louise Bourgeois (1911-2010) was one of the most important artists of the last century. Her fleshy blobs, skeletal spiders and the aggressive fragility of her work offered a new solution to the antagonism between the figurative and the abstract that had previously been part and parcel of modernism. Bourgeois herself provided a unique interpretive level to modern art through the uses she made of childhood trauma, family life and sexuality. This accessible study serves as both an ideal introduction to the central themes of the late artist's oeuvre and as a commemoration of her one-hundredth birthday. Over the course of nine chapters, it examines her life, her exploration of the works of other artists and the transformation of her emotions into such works of art as the now iconic pieces "Destruction of the Father," "Fillette," "Cells" and "Maman."

From crayons to cough drops, cookies to candles, Beehive Alchemy offers a comprehensive introduction to incorporating the miracle of bees into everyday life. Beehive Alchemy is a continuation of Petra Ahnert's best-selling Beeswax Alchemy. With this new book, beekeepers (and bee lovers) will learn about the benefits and attributes of beeswax, honey, propolis, and more alongside a full range of projects and techniques to process and harness the amazing gifts of bees. Inside, you'll find instructions to make Ahnert's award-winning hand-dipped birthday candles, the classic French dessert canele bordelais, and much more, including: Alchemy for the Body Liquid soap with honey Beard balm Olive and honey lotion Alchemy of Light Taper candles Tea lights Pillars Alchemy for the Home Furniture polish Waxed cotton food wraps Woodcutter incense Alchemy in the Studio Beeswax crayons Encaustic Batik Alchemy in the Kitchen Cookies and candies Beverages Fermentations Whether you keep bees or just love them, Beehive Alchemy will become your go-to comprehensive guide for hive-to-home creations.

From the author of 101 Homemade Products for Your Skin, Health & Home comes an amazing collection of 50 recipes and step-by-step tutorials to create easy, quick and beautiful soaps the truly natural way. With more and more people turning to natural skincare products crafted by hand, Jan Berry delivers soap recipes that come together easily, use sustainable nature-derived ingredients and utilise simple decorations that take your soap to the next level without the headache. Sample recipes include Blue Agave Soap, Wild Rosehips Soap, Double Mint Sage Soap and Dead Sea Mud Spa Bar. The recipes are in tune with today's trends - such as vegan options, shampoo and shaving bars, seasonal soaps such as Pumpkin Spice Soap and soaps highlighting popular ingredients such as goat's milk and sea salt - while still retaining a rustic, old-fashioned feel. Many soapers like to adapt recipes adding their own twist, but the chemistry involved can be a challenge. In addition to the recipes, Jan removes the mystery and shares her expertise, gathered from years of natural soapmaking, on valuable topics such as using plant colourants and herbs, substituting oils, resizing a recipe, making hot versus cold process soap and troubleshooting common issues. This book is perfect for beginners, but even more than that, Jan's unique ingredient combinations and techniques make the book a practical and inspiring choice for the modern-day soapmaker.

Clay artist Lauren Tomlinson is your guide to polymer clay! Learn to create like a pro with a strong basic foundation, artisan techniques, and 15 jewellery and home decor projects.

St Ives has long been a centre of avante-garde art activity. This book is concerned with the artistic events which occured there during the years 1939-75, and the broader circumstances in the art world which they influenced.

Mr Sparrow traces the development of the inscription as a literary form in Renaissance and post-Renaissance Europe. He defines the 'literary' inscription as 'a text composed with a view to its being presented in lines of different lengths, the lineation contributing to or enhancing the meaning, so that someone who does not see it, actually or in the mind's eye, but only hears it read aloud, misses something of the intended effect'. Mr Sparrow attributes the Renaissance concern with the visual presentation of words to the profound interest in epigraphy aroused by the rediscovery of classical inscriptions. This interest was felt mainly by scholars and writers, but it extended to architects, painters, sculptors and designers of monuments - all of whom incorporated inscriptions in their work.

This book explores the role of description in the interpretation of ancient Greek statuary. Although scholars have emphasised the importance of separating objective evaluation of evidence from interpretation, in practice it has proved difficult to draw this distinction. Even at the level of observation and vocabulary, the scholarship on Greek sculpture has been moulded by concepts and convictions that impose particular interpretations on the material. This study examines the scholarship on a select number of well-known Greek statues from the eighteenth century through the present. The impact of the historical, cultural and intellectual contexts that produced this specialised scholarship is demonstrated through considerations of issues such as ethnicity, psychology, theories about artistic form, and evolving conceptions of nude and clothed figures.

Nicola Pisano was a much admired thirteenth-century Italian sculptor and architect, often considered to be the founder of modern sculpture. Within this 1938 text, G. H. and E. R. Crichton begin by giving a biographical background of Pisano, before looking at those early sculptors whose works may have inspired him. In the book's second part, the Crichtons write in detail about the sculptures of Pisano, describing the pulpits at Pisa and Siena as well as the Fountain at Perugia. The Crichtons also discuss those pieces often accredited to Pisano which seem unlikely to be his. Finally, they share their conclusions on Pisano's influence on Italian sculpture. These fascinating accounts of Pisano's life and works are supplemented by numerous illustrative plates. This book will appeal to scholars of art and sculpture in general, as well as of Pisano and thirteenth-century sculpture more specifically.

Adolf Furtw ngler (1853 1907) was a prominent German archaeologist and art historian specialising in classical art. He was appointed assistant Director of the K nigliche Museen zu Berlin in 1880, a position he held until 1894 when he was appointed professor of Classical Archaeology in Munich. He is best known for developing the Kopienkritik approach to studying Roman sculpture, which he introduces in this volume first published in 1885 and translated into English by Eugenie Strong in 1895. Kopienkritik is a methodology which assumes that Roman sculptures are copies of Greek originals, and that by studying the Roman copies the original Greek sculpture can be reconstructed. This approach dominated the study of classical sculpture in the twentieth century and remains influential despite repeated criticism. Furtw ngler compares the styles of known classical Greek sculptors with Roman statues to uncover the original sculptor in this defining example of the Kopienkritic approach.

The first publication of the unknown poetry of a major twentieth-century sculptor In 1955, long before he became famous for his abstract metal sculptures, John Chamberlain lived at Black Mountain College, writing poetry alongside Robert Creeley, Robert Duncan, and Charles Olson. By the time he moved to New York City in 1956 and began to develop his unique sculptural style, Chamberlain had completed a series of poems with marginal comments by Olson and himself, but the work remained unpublished and unknown-until now. In Black Mountain Chamberlain, Julie Sylvester presents a facsimile of this fascinating typescript along with an introduction based on interviews conducted with Chamberlain in the 1980s, conversations in which he described the strong connections between the poems and his later work. At first glance, Chamberlain's delicate and quiet poems appear to be the antithesis of his bold and brash sculpture. But in the introduction Chamberlain says that in fact the way he made poems at Black Mountain influenced the way he made sculptures throughout his career: "It's actually doing things in the same way, with words or with metal. It's all in the fit." Beautifully produced, Black Mountain Chamberlain reveals a remarkable and unexpected new side of an important twentieth-century artist. Distributed for Edition Julie Sylvester

In this book, Sheila Dillon offers the first detailed analysis of the female portrait statue in the Greek world from the fourth century BCE to the third century CE. A major component of Greek sculptural production, particularly in the Hellenistic period, female portrait statues are mostly missing from our histories of Greek portraiture. Whereas male portraits tend to stress their subject's distinctiveness through physiognomic individuality, portraits of women are more idealized and visually homogeneous. In defining their subjects according to normative ideals of beauty rather than notions of corporeal individuality, Dillon argues that Greek portraits of women work differently than those of men and must be approached with different expectations. She examines the historical phenomenon of the commemoration of women in portrait statues and explores what these statues can tell us about Greek attitudes toward the public display of the female body.

Learning to Look at Sculpture is an accessible guide to the study and understanding of three dimensional art. Sculpture is all around us: in public parks, squares, gardens and railway stations, as part of the architecture of buildings, or when used in commemoration and memorials and can even be considered in relation to furniture and industrial design. This book encourages you to consider the multiple forms and everyday guises sculpture can take.

Exploring Western sculpture with examples from antiquity through to the present day, Mary Acton shows you how to analyse and fully experience sculpture, asking you to consider questions such as What do we mean by the sculptural vision? What qualities do we look for when viewing sculpture? How important is the influence of the Classical Tradition and what changed in the modern period? What difference does the scale and context make to our visual understanding?

With chapters on different types of sculpture, such as free-standing figures, group sculpture and reliefs, and addressing how the experience of sculpture is fundamentally different due to the nature of its relationship to the space of its setting, the book also explores related themes, such as sculpture s connection with architecture, drawing and design, and what difference changing techniques can make to the tactile and physical experience of sculpture.

Richly illustrated with over 200 images, including multiple points of view of three dimensional works, examples include the Riace bronzes, Michelangelo s "David," Canova s "The Three Graces," medieval relief sculptures, war memorials and works from modern and contemporary artists, such as Henry Moore, Cornelia Parker and Richard Serra, and three-dimensional designers like Thomas Heatherwick.

A glossary of critical and technical terms, further reading and questions for students, make this the ideal companion for all those studying, or simply interested in, sculpture."

Dramatic social and political change marks the period from the end of the Late Bronze Age into the Iron Age (ca. 1300 700 BCE) across the Mediterranean. Inland palatial centers of bureaucratic power weakened or collapsed ca. 1200 BCE while entrepreneurial exchange by sea survived and even expanded, becoming the Mediterranean-wide network of Phoenician trade. At the heart of that system was Kition, one of the largest harbor cities of ancient Cyprus. Earlier research has suggested that Phoenician rule was established at Kition after the abandonment of part of its Bronze Age settlement. A reexamination of Kition s architecture, stratigraphy, inscriptions, sculpture, and ceramics demonstrates that it was not abandoned. This study emphasizes the placement and scale of images and how they reveal the development of economic and social control at Kition from its establishment in the thirteenth century BCE until the development of a centralized form of government by the Phoenicians, backed by the Assyrian king, in 707 BCE."

Few monuments have fascinated people as much as the Parthenon. Two and a half millennia after its construction, this monument continues to generate important research across a wide range of fields, from classics and art history to archaeology and the physical sciences. This book, which grows out of a conference held at the University of Missouri, St. Louis, presents the latest developments in Parthenon research by an international cast of scholars and scientists. It offers new interpretations of some of the most crucial issues, ranging from the authorship of the frieze to the reconstruction of its missing sculpture, as well as the sociopolitical context in which the monument was created and the application of new technologies in Parthenon studies. Showcasing the most up to date research on the Parthenon, this book not only presents the current state of Parthenon studies but also marks the future direction of scholarship.

This book takes as its subject the most important kind of surviving post-Reformation church art and the most important genre of English Renaissance sculpture, the carved stone funeral monument. These complex constructions, comprising not just sculpted figures but also architectural framing, heraldic decoration and inscribed text, were set up in huge numbers during the years around 1600 and still survive in their thousands in parish churches across England. This is a comprehensive account of the subject, Llewellyn examines the place of the tomb in the historiography of English art, issues of patronage and the business of erecting a monument, the tomb-makers, their world and the materials, and Reformist iconoclasm in England and its impact on the tombs. The volume is lavishly illustrated with rare photographs of tombs and monuments and offers a valuable and informative record of one of England's greatest treasures.

There is no soundtrack is a study of how sound and image produce meaning in contemporary experimental media art by artists ranging from Chantal Akerman to Nam June Paik to Tanya Tagaq. It contextualises these works and artists through key ideas in sound studies: voice, noise, listening, the soundscape and more. The book argues that experimental media art produces radical and new audio-visual relationships challenging the visually dominated discourses in art, media and the human sciences. In addition to directly addressing what Jonathan Sterne calls 'visual hegemony', it also explores the lack of diversity within sound studies by focusing on practitioners from transnational and diverse backgrounds. As such, it contributes to a growing interdisciplinary scholarship, building new, more complex and reverberating frameworks to collectively sonify the study of culture. -- .

This title features 25 practical projects from world renowned woodturning expert. It will appeal to novice and intermediate turners. It includes all the knowledge needed to get started, along with step-by-step instructions and detailed drawings. Build your woodturning skills and confidence with this variety of projects that take between a couple of hours and a couple of days to complete. All of the 25 projects can be undertaken using a limited amount of tools and equipment. Making use of the six basic tools - spindle roughing gouge, spindle gouge, parting tool, bowl gouge, skew chisel and scrapers - the book will introduce a couple of carving tools and a boring tool and explain why and how to use them. Each project will have a list of tools and materials required, drawings with dimensions and a panel on the wood used. Sections on safety and seasoning wood are also included. Projects include: napkin rings, rolling pin, pastry press, meat tenderizer, wall clock, and bud vase

A new book, expanded from the 1995 first edition, describing detailed, step-by-step procedures for sculpting, molding and painting original prehistoric animals, emphasising the use of relatively inexpensive materials including oven-hardening polymer clay and wire. Additional tips are offered on how to build distinctive dino-dioramas and scenes involving one's own original sculptures that you will learn how to conceive and build. This book will appeal to - and inspire - the latest generation of prospective prehistoric animal lovers who would like to break into the industry of paleosculpture. Techniques range from the ""basic"" to ""advanced."" The authors also discuss what it means to be a ""paleoartist,"" both in the past and present.

What do Greek myths mean and how was meaning created for the ancient viewer? In Art, Myth and Ritual in Classical Greece, Judith Barringer considers the use of myth on monuments at several key sites - Olympia, Athens, Delphi, Bassai, and Trysa - showing that myth was neither randomly selected nor purely decorative. The mythic scenes on these monuments had meaning, the interpretation of which depends on context. Barringer explains how the same myth can possess different meanings and how, in a monumental context, the mythological image relates to the site and often to other monuments surrounding it, which redouble, resonate, or create variation on a theme. The architectural sculpture examined here is discussed in a series of five case studies, which are chronologically arranged and offer a range of physical settings, historical and social circumstances, and interpretive problems. Providing new interpretations of familiar monuments, this volume also offers a comprehensive way of seeing and understanding Greek art and culture as an integrated whole.

In this volume, Stephanie M. Langin-Hooper investigates the impact of Greek art on the miniature figure sculptures produced in Babylonia after the conquests of Alexander the Great. Figurines in Hellenistic Babylonia were used as agents of social change, by visually expressing and negotiating cultural differences. The scaled-down quality of figurines encouraged both visual and tactile engagement, enabling them to effectively work as non-threatening instruments of cultural blending. Reconstructing the embodied experience of miniaturization in detailed case studies, Langin-Hooper illuminates the dynamic process of combining Greek and Babylonian sculpture forms, social customs, and viewing habits into new, hybrid works of art. Her innovative focus on figurines as instruments of both personal encounter and global cultural shifts has important implications for the study of tiny objects in art history, anthropology, classics, and other disciplines.