Originally published in 1912, this book contains the first half of the catalogue of the sculptures held in the collection of the Acropolis Museum in Athens. In this volume, Dickins lists the museum's assortment of archaic sculptures, thought to have been made before the razing of the Acropolis in 480 BC. The detailed text is illustrated with drawings of many of the sculptures listed, including the famous Peplos Kore, Kore 675 and the 'Mourning Athena' relief. This well-presented and thoroughly researched book will be of value to anyone with an interest in ancient Greek art, particularly art in the archaic style.

Originally published in 1921, this book contains the second half of the catalogue of the sculptures held in the collection of the Acropolis Museum in Athens. In this volume, Casson lists the sculptural and architectural fragments in the museum dating from after 480 BC. The detailed text is accompanied with drawings and photographs of many of the sculptures listed, including sculptures from the Temple of Athena Nike and several sections of the Parthenon Frieze. A special section at the end by Dorothy Brooke is devoted to the terracotta finds from the Acropolis. This well-presented and thoroughly researched book will be of value to anyone with an interest in ancient Greek art.

Examines the styles and contexts of portrait statues produced during one of the most dynamic eras of Western art, the early Hellenistic age. Often seen as the beginning of the Western tradition in portraiture, this historical period is here subjected to a rigorous interdisciplinary analysis. Using a variety of methodologies from a wide range of fields - anthropology, numismatics, epigraphy, archaeology, history, and literary criticism - an international team of experts investigates the problems of origins, patronage, setting, and meanings that have consistently marked this fascinating body of ancient material culture.

Originally published in 1927, this book contains analysis on two Greek sculptures, the Constantinople Pentathlete and a draped female figure in Burlington House. Walston compares each piece with similar figures on vases, coins and other forms of sculpture in order to provide each with its appropriate artistic and historical context. This book will be of value to anyone with an interest in ancient art.

Originally published in 1935, this book presents the content of Alan Wace's inaugural lecture upon taking up the position of Laurence Professor of Classical Archaeology at Cambridge University. This book will be of value to anyone with an interest in ancient Greek art and archaeology.

In this book, Dan Adler addresses recent tendencies in contemporary art toward assemblage sculpture and how these works incorporate tainted materials - often things left on the side of the road, according to the logic and progress of the capitalist machine - and combine them in ways that allow each element to retain a degree of empirical specificity. Adler develops a range of aesthetic models through which these practices can be understood to function critically. Each chapter focuses on a single exhibition: Isa Genzken's "OIL" (German Pavilion, Venice Biennale, 2007), Geoffrey Farmer's midcareer survey (Musee d'art contemporain, Montreal, 2008), Rachel Harrison's "Consider the Lobster" (CCS Bard Hessel Museum of Art, 2009), and Liz Magor's "The Mouth and Other Storage Facilities" (Henry Art Gallery, Seattle, 2008).

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).

Latinx artist Tamara Kostianovsky began using her discarded clothes as artistic material shortly after immigrating to the United States, addressing cultural and physical displacement, assimilation and identity, and the brutal history of Latin America. Today, these emotionally charged materials coalesce in a post-colonial vision for an ecological future. Tamara Kostianovsky creates sculptures from textiles that address the relationship between landscapes, the body, and violence. This volume highlights distinct bodies of her work including sculptures of butchered carcasses, slayed birds, and severed trees. Built with layers of texture, colour, and emotion, these works dive head-first into the tension between beauty and horror, confronting histories of systemic violence and transforming them into utopian environments.

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.