Originally published in 1936, this book examines the seventh-century Dorian art style known as Dedalism. In the first section, Jenkins outlines the four schools of Dedalic art and attempts an absolute chronology, and applies his conclusions to extant examples of stone sculpture from immediately before and after the Dedalic period. This book will be of value to Classicists and anyone with an interest in ancient art.

Originally published in 1885, this book examines the extant works of the Greek sculptor Pheidias, best known as the creator of the Parthenon Marbles and the gold and ivory statue of Zeus at Olympia, which was considered to be one of the seven wonders of the ancient world. Waldstein examines the Parthenon Marbles with particular scrutiny and charts the relationship between Pheidias' school and the development of later Greek art, particularly sepulchral reliefs. Four earlier papers by Waldstein on the topic of Pheidias are also reprinted here. This book will be of value to anyone with an interest in ancient Greek sculpture.

Originally published in 1914, and previously delivered as lectures to students at the Royal Academy Art School in 1913, this book by Charles Waldstein, then director of the Fitzwilliam Museum, provides an introduction to the study of sculpture. The text is richly illustrated with a variety of examples ranging from the earliest Daedalic forms through classical and Hellenistic art to the more modern examples of Meunier and Millet. This book will be of value to anyone seeking an introduction to sculpture or with an interest in art history.

Originally published in 1851, partly with the aim of correcting certain mistakes in painter George Jones's 1849 tribute (also reissued in this series), this work commemorates Norton-born sculptor Sir Francis Chantrey (1781-1841), whose illustrious career began in nearby Sheffield. His most celebrated works include The Sleeping Children in Lichfield Cathedral, his statue of James Watt, and his busts of Sir Walter Scott and John Horne Tooke. An enthusiast for his country's art, Chantrey left a generous bequest to the Royal Academy which allowed for the purchase of numerous works of British art, now held by the Tate. The author John Holland (1794-1872), himself a Sheffield man, wrote with a passion for local history and topography. Here, his delight in the 'absolutely or comparatively trivial' lends a curious local slant to his delineation of the sculptor's background, entry into the profession, later working life and burial back in Norton.

Originally published in 1931, this was the first comprehensive textbook on the development of French medieval sculpture to appear in the English language. Detailed yet accessible, it was designed to 'cater for the intelligent tourist as well as the student'. Numerous photographs are contained throughout, the majority of which were taken by the author during various church visits. Examples are drawn from more genuine and less restored pieces, and where restoration is obvious it is pointed out in the text. This is a beautifully presented book that will be of value to anyone with an interest in medieval France, church architecture and sculpture.

Originally published in 1927, this book presents an accessible guide to Gothic foliage sculpture, aimed at visitors to ancient English churches. Exploring the development of a specifically English tradition in this area, the text begins with an exploration of pre-Conquest and Anglo-Saxon work before moving chronologically through the medieval period to the Tudor flower. Numerous illustrative figures are also included. This book will be of value to anyone with an interest in church sculpture and the English Gothic tradition.

First published in 1913, this highly illustrated two-volume work was intended to give as full an account as possible of the lives and works of painters, sculptors and engravers in Ireland from the earliest times to the nineteenth century. Until then, the history of Irish art had been largely neglected, so this project was an extensive undertaking for Walter George Strickland (1850 1928), who became Director of the National Gallery of Ireland. It took him two decades to compile, and involved accessing private collections, corresponding with experts, meeting with the artists' descendants, and consulting letters, diaries and notes relating to their works. Volume 1 covers artists with surnames beginning A to K. Each entry contains biographical information on the artist and details of their works, with portraits and examples provided in hundreds of plates. This unique reference work remains of great interest to art historians and historians of Ireland.

First published in 1913, this highly illustrated two-volume work was intended to give as full an account as possible of the lives and works of painters, sculptors and engravers in Ireland from the earliest times to the nineteenth century. Until then, the history of Irish art had been largely neglected, so this project was an extensive undertaking for Walter George Strickland (1850 1928), who became Director of the National Gallery of Ireland. It took him two decades to compile, and involved accessing private collections, corresponding with experts, meeting with the artists' descendants, and consulting letters, diaries and notes relating to their works. Volume 2 covers artists with surnames beginning L to Z. Each entry contains biographical information on the artist and details of their works, with portraits and examples provided in hundreds of plates. This unique reference work remains of great interest to art historians and historians of Ireland.

Zhao Wenbing provides an accessible, illustrated introduction to the sculptural art of China, including the magnificent Terracotta Army, Buddhist sculpture, tomb carvings, architectural sculpture, exchange with foreign cultures and Chinese sculpture today. Chinese Sculpture takes the reader through the unique aesthetic features of sculpture in China, arguing that the evolution of this sculpture parallels the development of Chinese culture through history.

As the United States struggled to recover from the Great Depression, 24 towns in Alabama would directly benefit from some of the $83 million allocated by the Federal Government for public art works under the New Deal. In the words of Harold Lloyd Hopkins, administrator of the Federal Emergency Relief Act, “artists had to eat, too,” and these funds aided people who needed employment during this difficult period in American history. This book examines so of the New Deal art-murals, reliefs, sculpture, frescoes and paintings-of Alabama and offers biographical sketches of the artists who created them. An appendix describes federal art programs and projects of the period (1933-1943).

Architecture and sculpture in English churches changed and developed markedly between the eleventh and sixteenth centuries, partly due to the invading French influence on the existing Anglo-Saxon buildings. In this 1927 book, the different categories and forms of foliage sculpture and decoration are subdivided roughly chronologically showing how each form developed from a previous one and the possible influences and reasoning behind the changes. Each stage of growth is explored thoroughly using specific examples, all of which are detailed in the photographs in the second half of the book. Examples are taken from churches and cathedrals across England, whose individual architectural growth over centuries is often in parallel with the evolving forms of sculpture, particularly gothic foliage. The increased communication with Europe over the medieval period was mutually influential and with increased proficiency and innovation there was natural development of art and gothic sculpture evolved as a living art.

In this wide-ranging exploration of the creation and use of Buddhist art in Andhra Pradesh, India, Catherine Becker examines how material remains and visual experiences shape and reveal essential human concerns. Shifting Stones, Shaping the Past addresses the fundamental Buddhist question of how humanity progresses centuries after the passing of its teacher, the Buddha Sakyamuni. How might the Buddhas distant teachings be made immediate and accessible? Beginning with an analysis of the spectacular relief sculptures that once adorned the stupas of the region during the early centuries of the Common Era, Becker analyzes the creation of scenes of devotion and the representation of narratives. These reliefs reveal the ancient devotees faith, or optimism, in the role of visual imagery to continue the work of the Buddha by advancing the spiritual progress of visitors to Andhras stupas. Over a period of almost two millennia, many of these stupas have fallen into disrepair. While it is tempting to view these monuments as ruins, they are by no means dead. Turning to the 20th and 21st centuries, Becker analyzes examples of new Buddhist imagery, recent state-sponsored tourism campaigns, and new devotional activities at the sites in order to demonstrate that the stupas of Andhra Pradesh and their sculptural adornments continue to engage the human imagination and are even ascribed innate power and agency. Shifting Stones, Shaping the Past reveals intriguing parallels between ancient uses of imagery and the new social, political, and religious functions of these objects and spaces.

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.

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.

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.

This first monograph on Phillip Lai (b.1969, Kuala Lumpur, Malaysia) charts the artist's sculptural development over the course of the last two decades. From a basement soy-sauce factory to the Hepworth Prize for Sculpture, the publication surveys several of the artist's exhibitions across London, Wakefield, Turin, Berlin and Hong Kong. The nine chapters explore an evolving oeuvre that finds form in materials like aluminium, pewter, concrete, resin, rice, cooking pots, textiles and film. It is through these technologies that Lai broaches the material limits of the everyday world, often working with casting processes that see the abstraction and changing stability of materials as they transition from fluid to solid. What comes into focus is a fascination with how objects can relieve or modulate primal human urges to food and water and how, by extension, a material world might be re-envisioned around concerns of depletion and survival. This publication includes an essay by critic and writer Jan Verwoert, with bilingual text in English and Chinese throughout.

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.