In Puritan New England, with its abiding concern for things not of this world and its distrust of forms and ceremonies, one art flourished: the symbolic art of mortuary monument stonecarvers. This carefully researched, beautifully illustrated work was the first to consider this art in depth as a meaningful aesthetic-spiritual expression. It is reissued for today's readers, with a new preface outlining changes in the field since the book appeared in 1966.

This richly illustrated and beautifully produced scholarly catalogue of the superlative collection of Renaissance and Baroque bronze figurative statuettes from the Hill collection accompanies an exhibition of the collection at the Frick Collection, New York, opening late January 2014. Spanning from 1470 to 1740, the bronzes presented are of exceptional quality and exemplify the development of bronze statuettes from 1470 in Renaissance Italy to their dissemination across the artistic centres of Europe. The Hill Collection is distinguished by rare, autograph masterpieces by Italian sculptors such as Andrea Riccio and Giambologna, and has the most important collection of Baroque Bronzes by Giuseppe Piamontini in the world. Its holding of works by the Giambologna school is the strongest found in any single collection, with the sole exception of the Museo Nazionale del Bargello, Florence. These evoke the splendour of the late Renaissance courts, while the richness of the international BAroque is represented by religious themes by Alessandro Algardi, northern bronzes by Adriaen de Vries and Hubert Gerhard, and a remarkable assemblage of French 16th- and early 17th-century bronzes in the classical mode by Barthélemny Prieur and from the circle of Ponce Jacquiot. The Hill Collection reveals the range of artistry, invention and technical refinement characteristic of sculptures created when the tradition of the European statuette was at its height. The catalogue includes detailed biographies of each of the artists represented, and is introduced with essays by the distinguished authors. Patricia Wengraf is one of the world's leading dealers in bronzes, scuplture and works of art, and in her particular speciality, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. Denise Allen is Curator of Renaissance Paintings and Sculpture at the Frick Collection. Claudia Kryza-Gersch, formerly at the Kunstkammer, Vienna, is an independent scholar renowned for her studies of North Italian bronzes of the 16th and 17th centuries. Dimitrios Zikos, in Florence, an independent scholar renowned for his knowledge of the Florentine archives from c. 1550 to 1740, has curate many exhibitions at the Museo Nazionale del Bargello, Florence. Rupert Harris is the leading conservator of metalwork and sculpture in the UK.

Nancy Holt: Inside/Outside takes a journey through the artist's key experiments in visual art presenting works never seen before, commissioning new critical thinking, and amplifying knowledge of an artist whose ideas are fundamental to how we define art today. Over the course of fifty years, Nancy Holt's rich output spanned concrete poetry, audio, film and video, photography, drawings, room-sized installations, earthworks, and public sculpture. Nancy Holt: Inside/Outside details her unique and significant contributions, situating an important female voice within the narratives of land art and conceptual art. Initiating her art practice in 1966 with concrete poetry, she soon expanded her ideas into other media and the landscape. Through each of the mediums she worked in, Holt explored how we understand our place in the world by investigating perception and site within and outside of traditional museum contexts. In the mid-1970s Holt completed her most influential earthwork, Sun Tunnels, an artwork central to the definition of land art. Rigorous documentation of Holt's work, as well as contributions by key scholars, previously unseen photoworks and drawings, and a revealing, never-before-published "self-interview" by the artist bring her work into far fuller context. Developed in close consultation with Holt/Smithson Foundation, an artist endowed organization dedicated to preserving and extending the work of Nancy Holt and her husband Robert Smithson, this expansive publication will serve as a major contribution to the critical ongoing research into the art of our time. This new book is published to coincide with an exhibition anchored at Bildmuseet in Umea, Sweden, and traveling to MACBA Museu d'Art Contemporani de Barcelona and further internationally.

The first biography of Anne Damer since 1908, The Life of Anne Damer: Portrait of a Regency Artist, by Jonathan Gross, draws on Damer s notebooks and previously unpublished letters to explore the life and legacy of England s first significant female sculptor. Best known for her portraits of dogs and other animals, Damer also created busts of England s most important political heroes, sometimes within days or hours of their historical accomplishments. This in-depth biography traces her life during the American Revolution, the French Revolution, the Peace of Amiens and the Hundred Days. Damer was convinced that art could have significant political influence, sending her bust of Nelson to the King of Tanjore to encourage trade with India. Her art stands at the transition between neoclassicism and romanticism and provides a wealth of insight into 19th century British sculpture. In the last twenty years, there has been a strong revival of interest in Damer s life, particularly in gay and lesbian studies due to her famous relationship with author Mary Berry. This text serves as a deeper investigation of this fascinating and important figure of British art history. The emotional menage a trois of Anne Damer, Mary Berry, and Horace Walpole forms the heart of this new biography. Gross contends that all three individuals, had they led more conventional lives, would never have given the world the literary and artistic gifts they bestowed in the form of Strawberry Hill, Belmour, and Fashionable Friends. The struggles they faced will encourage modern readers to appreciate anew the fluidity of sexual identity and passionate friendship, as well as the restraints put in place by society to control them. Anne Damer s life has much to teach a new generation concerned with the complex relationship between love, art, and politics. The Life of Anne Damer will interest historians of Georgian England, and readers in the fine arts, literature, and history.

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

LAND ART: A COMPLETE GUIDE TO LANDSCAPE, ENVIRONMENTAL, EARTHWORKS, NATURE, SCULPTURE AND INSTALLATION ART

A fully illustrated guide to land and environmental art. A newly updated and revised edition of our best-selling book.

For the land artist, the whole planet is an artist's studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks.

This book explores all of the major land, environmental and earthwork artists of the past 40 years, including James Turrell and his vast volcano site Hans Haacke's Conceptual art Michael Heizer's Mid-West earthworks Robert Smithson and his giant spiral, entropic earthworks Christo's wrapped buildings and islands, Robert Morris's environments Walter de Maria's Romantic Lightning Field David Nash's stoves, stones, trees and North Wales environments Hamish Fulton's walks and words Dennis Oppenheim's concentric snow circles Richard Long and his art of walking Andy Goldsworthy's natural, spontaneous, eco-friendly sculptures Alice Aycock's mysterious underground mazes Mary Miss's sunken pools and pavilions Wolfgang Laib's delicate, luminous pollen spreads Nancy Holt and her observation sculptures and the enigmatic floor sculptures of Carl Andre.

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.

Includes new illustrations, bibliography, notes. 380 pages. ISBN 9781861714008. www.crmoon.com

Born near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian emigre formatori and collaborated with other makers of facsimiles-including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine-to bring sculpture into the spaces of learning and leisure for as broad a public as possible. Brucciani's plaster casts survive in collections from North America to New Zealand, but the extraordinary breadth of his practice-making death masks of the famous and infamous, producing pioneering casts of anatomical, botanical and fossil specimens and decorating dance halls and theatres across Britain-is revealed here for the first time. By making unprecedented use of the nineteenth-century periodical press and dispersed archival sources, Domenico Brucciani and the Formatori of Nineteenth-Century Britain establishes the significance of Brucciani's sculptural practice to the visual and material cultures of Victorian Britain and beyond.

The ultimate illustrated guide to the sculpture parks and trails of England, Scotland, Ireland and Wales. This exciting guide to the sculpture parks, trails and gardens of England, Ireland, Scotland and Wales is the perfect book for those who like art and the outdoors. Divided up into countries and regions, the book is informative as well as beautifully illustrated with fabulous images of sculptures by a broad array of international artists. It provides information on all the major sculpture venues of interest, featuring the best and most established, while also providing a wide range of other interesting places to visit and explore. Each feature provides directions of how to get there, along with an overview of the park or trail, and lists sculptures of particular interest and quality, while maps of each area will help you find places close by to visit. This makes it easy to see which places are suited to you depending on your preferences, level of interest and time available. This fully revised 2nd edition provides updated information and new entries for England, as well as brand new sections providing thorough coverage of Scotland, Ireland and Wales. The ideal guide for those with a passion for both nature and sculptures.

Through meticulously researched case studies, this book explores the materiality of terracotta sculpture in early modern Europe. Chapters present a broad geographical perspective showcasing examples of modelling, firing, painting, and gilding of clay in Portugal, Spain, Italy, Germany, and the Netherlands. The volume considers known artworks by celebrated artists, such as Luca della Robbia, Andrea del Verrocchio, Filipe Hodart, or Hans Reichle, in parallel with several lesser-studied terracotta sculptures and tin-glazed earthenware made by anonymous artisans. This book challenges arbitrary distinctions into the fine art and the applied arts, that obscured the image of artistic production in the early modern world. The centrality of clay in the creative processes of artists working with two- and three-dimensional artefacts comes to the fore. The role of terracotta figures in religious practices, as well as processes of material substitutions or mimesis, confirm the medium’s significance for European visual and material culture in general. This book will be of interest to scholars working in art history, Renaissance studies, and material culture.

From Seattle's earliest days as a Gold Rush boomtown to its celebration of the future during the 1962 World's Fair, local artists have created public art installations-statuary, reliefs and other sculpture-that became familiar features of the city's landscape. This comprehensive study of 12 Seattle sculptors and their works examines the motivations of the artists and their benefactors, the development of the city's public art policy, and the political forces behind the pieces that are now part of the city's rich history. Biographical details and historical perspective are provided for such artists as Lorado Taft, Alice Robertson Carr, John Carl Ely, Max P. Nielsen, August Werner and James FitzGerald.

Richly illustrated, Early Gothic Column-Figure Sculpture in France is a comprehensive investigation of church portal sculpture installed between the 1130s and the 1170s. At more than twenty great churches, beginning at the Royal Abbey of Saint-Denis and extending around Paris from Provins in the east, south to Bourges and Dijon, and west to Chartres and Angers, larger than life-size statues of human figures were arranged along portal jambs, many carved as if wearing the dress of the highest ranks of French society. This study takes a close look at twelfth-century human figure sculpture, describing represented clothing, defining the language of textiles and dress that would have been legible in the twelfth-century, and investigating rationale and significance. The concepts conveyed through these extraordinary visual documents and the possible motivations of the patrons of portal programs with column-figures are examined through contemporaneous historical, textual, and visual evidence in various media. Appendices include analysis of sculpture production, and the transportation and fabrication in limestone from Paris. Janet Snyder's new study considers how patrons used sculpture to express and shape perceived reality, employing images of textiles and clothing that had political, economic, and social significances.

Isamu Noguchi's Skyviewing Sculpture was created by invitation for Western Washington University, north of Seattle, in 1969. The 14-foot high sculpture, which sits in the university's central quad, acts as an observatory, encouraging viewers to enter and turn their gaze to the sky. 'Skyviewing' was a leitmotif in Noguchi's art throughout his long career as an artist and landscape architect, from his early work alongside Constantin Brancusi in Paris in 1928 to his death in 1988. Some sculptures act as reflecting telescopes with polished stone that mirror the firmament while others trace the path of the sun with cast shadows or lead the eye up towards the sky. The work at Western invites the viewer in, and guides the eye upwards to observe the sky in all of its variety. Looking Up explores Noguchi's work on the themes of space, and our place in the universe; examines the changing artistic climate during his long career; and places Noguchi in context with a younger generation of artists, including Robert Smithson, Nancy Holt, James Turrell, and Charles Ross. The book includes essays by leading specialists, as well as a plate section and contemporary photos of the creation, transportation and installation of Skyviewing Sculpture .

Fragments of history: Rethinking the Ruthwell and Bewcastle monuments is an innovative study of the two premier survivals of pre-Viking Anglo-Saxon stone sculpture. Both monuments are rich in finely carved images and complex inscriptions. Though in some way related, in this book, they have very different histories. This ambitious study draws the reader in through a vivid exposition of the problems left by earlier interpretations, shows him or her how to understand the monuments as social products in relation to a history of which our knowledge is so fragmentary, and concludes with a deeply persuasive discussion of their underlying premises. Orton, Wood and Lees bring their research in art history and antiquarianism, history and archaeology, medieval literature, philosophy and gender studies into a successful and coherent whole, organised around certain key notions, such as place, history and tradition, style, similarity and difference, time, textuality and identity. Theoretically astute, rigorously researched, vivid and readable, Fragments of history is a model of how interdisciplinary research can be conducted, written and published. It will be required reading in a number of disciplines, including art history, Anglo-Saxon studies, medieval language and literature, history and ecclesiastical history, antiquarianism and archaeology. -- .

Relegated to the Crypt of the Capitol building for 76 years, the Portrait Monument has stood in the Rotunda since 1997. Often referred to as the Suffrage Statue, it memorializes pioneering feminists Lucretia Mott, Elizabeth Cady Stanton and Susan B. Anthony and is the sole sculptural representation of women in the Rotunda. From its conception by sculptor Adelaide Johnson as three separate busts to its laborious execution and celebrated placement in the Rotunda, the seven ton sculpture has provoked frustration, jubilation and hullabaloo. Drawing on diaries, letters, newspapers and historic photos, this first-ever history of the monument explores the controversy, myths and artistry behind this neoclassical yet unconventional work of art.

It was during the Renaissance period that sculptors' models, together with drawings, were first assembled by avid collectors fascinated by the tangible evidence of the creative process of the artist. This fully illustrated collection of essays, by distinguished scholars and experts in the field, focuses on the process of sculptural design in fifteenth- and sixteenth-century Europe. The publication arises from a 2017 conference, and is the third and final Robert H. Smith Renaissance Sculpture volume.

This volume offers fresh approaches to the material and the subject matter of late medieval English alabaster sculptures, bringing them into dialogue with twenty-first-century scholarship on pre-modern visual culture. The book comprises an introduction by Brantley and Perkinson; ten essays by scholars trained in the history of medieval art and/or medieval English literature, including Brantley and Perkinson; and an afterword by Paul Binski.

First published in 1965, Mannerism is the rediscovery and revaluation of Mannerism, that long misjudged artistic style which came into its own during the crisis of the Renaissance. Expressionism, Surrealism and Abstract Art prepared the ground for a new understanding of Mannerism, and Dr. Hauser shows how this revaluation signifies an even deeper caesura in intellectual history than the crisis of the Renaissance itself in which Mannerism arose. These propositions however, only touch on the problem which is exhaustively treated by Hauser in all its historical and thematical variations. The author does not confine himself to the observation of development from the point of view of the history of art. In Part One he considers the emergence of the scientific worldview during the Renaissance, the economic and social revolution, religious movements and political ideas, the problem of alienation, and narcissism as keys to the understanding of Mannerism. Part Two, which deals with the history of Mannerism both in Italy and abroad, gives not only remarkable analyses of works of art with the aid of 322 reproductions, but also considers leading representatives of the literature of the Mannerism in Italy, Spain, France, and England. Again, in Part Three, parallel and connecting lines are drawn between art and literature to make the rules of form and the contents clearly recognisable. The book will be of interest to students of art history and literature.

Benvenuto Cellini's Perseus and Medusa, one of Renaissance Italy's most complex sculptures, is the subject of this study, which proposes that the statue's androgynous appearance is paradoxical. Symbolizing the male ruler overcoming a female adversary, the Perseus legitimizes patriarchal power; but the physical similarity between Cellini's characters suggests the hero rose through female agency. Dr. Corretti argues that although not a surrogate for powerful Medici women, Cellini's Medusa may have reminded viewers that Cosimo I de' Medici's power stemmed in part from maternal influence. Drawing upon a vast body of art and literature, Dr. Corretti concludes that Cellini and his contemporaries knew the Gorgon as a version of the Earth Mother, whose image is found in art for Medici women.

This extraordinary seven-part book covers the processes of creating 13 projects -- from pencils to vases to bicycles -- for all personalities, skill levels and interests. It is specifically designed for students, beginning welders, hobbyists, and do-it-yourselfers. Many of the plans have been built multiple times by students and others. The plans are easy to read and the projects are meant to motivate the reader to want to learn the welding and fabrication processes. All plans include a list of materials, dimensions, special notes as needed., plus any commentaries about special equipment that might be necessary to compete the projects.Kristi Richardson McCoy is a self-taught welding instructor, with over 16 years of teaching and studying the welding process. Each year she has striven to learn something new about the field, weather it is the certification process, finishes and paints, or trying something new like underwater welding. She earned certification in SMAW and GMAW. Having an art background has helped her develop a creative teaching style that holds the interests of students who might otherwise be intimidated by the welding environment. McCoy teaches Computer-Aided Drafting, Electronics, Woodworking, Basic Welding, Advanced Welding,and Welding Sculpture at Spearfish High School in south Dakota. Part 1: Beginning Gas Metal Arc Welding. Part 2: Beginning Shielded Metal Arc Welding Projects. Part 3: Gas Welding Projects. Part 4: Beginning Gas Tungsten Arc Welding. Part 5: Bending Wrought Iron Projects. Part 6: Metal & Wood

Engaging with the imaginative, nonreligious response to Gothic sculpture in German-speaking lands and tracing high and late medieval notions of the 'living statue' and the simulacrum in religious, lay, and travel literature, this study explores the subjective and intuitive potential inherent in thirteenth- and fourteenth-century sculpture. It addresses a range of works, from the oeuvre of the so-called Naumburg Master through Freiburg-im-Breisgau to the imperial art of Vienna and Prague. As living simulacra, the sculptures offer themselves to the imaginative horizons of their viewers as factual presences that substitute for the real. In perceiving Gothic sculpture as a conscious alternative to the sacred imago, the book offers a new understanding of the function, production, and use of three-dimensional images in late medieval Germany. By blurring the boundaries between viewers and works of art, between the imaginary and the real, the sculptures invite the speculations of their viewers and in this way produce an unstable meaning, perpetually mutable and alive. The book constitutes the first art-historical attempt to theorize the idiosyncratic character of German Gothic sculpture - much of which has never been fully documented - and provides the first English-language survey of the historiography of these works.

Since the Renaissance, at least, the medium of sculpture has been associated explicitly with the sense of touch. Sculptors, philosophers and art historians have all linked the two, often in strikingly different ways. In spite of this long running interest in touch and tactility, it is vision and visuality which have tended to dominate art historical research in recent decades. This book introduces a new impetus to the discussion of the relationship between touch and sculpture by setting up a dialogue between art historians and individuals with fresh insights who are working in disciplines beyond art history. The collection brings together a rich and diverse set of approaches, with essays tackling subjects from prehistoric figurines to the work of contemporary artists, from pre-modern ideas about the physiology of touch to tactile interaction in the museum environment, and from the phenomenology of touch in recent philosophy to the experimental findings of scientific study. It is the first volume on this subject to take such a broad approach and, as such, seeks to set the agenda for future research and collaboration in this area.

Challenging distinctions between fine and decorative art, this book begins with a critique of the Rodin scholarship, to establish how the selective study of his oeuvre has limited our understanding of French nineteenth-century sculpture. The book's central argument is that we need to include the decorative in the study of sculpture, in order to present a more accurate and comprehensive account of the practice and profession of sculpture in this period. Drawing on new archival sources, sculptors and objects, this is the first sustained study of how and why French sculptors collaborated with state and private luxury goods manufacturers between 1848 and 1895. Organised chronologically, the book identifies three historically-situated frameworks, through which sculptors attempted to validate themselves and their work in relation to industry: industrial art, decorative art and objet d'art. Detailed readings are offered of sculptors who operated within and outside the Salon, including Sevin, Cheret, Carrier-Belleuse and Rodin; and of diverse objects and materials, from Sevres vases, to pewter plates by Desbois, and furniture by Barbedienne and Carabin. By contesting the false separation of art from industry, Claire Jones's study restores the importance of the sculptor-manufacturer relationship, and of the decorative, to the history of sculpture.