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.

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."

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."

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.

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.

This is the first monograph on Arne Quinze (b.1971), an internationally known Belgian contemporary artist, painter and sculptor. He is best known for his monumental outdoor sculptures, which can be found all over the world. This book gathers his large-scale work, and includes other mediums he works in, including paintings, smaller sculptures, and light installations. With 500 images, an elaborate essay by Xavier Roland, the director of the Musee des Beaux-Arts in Mons (Belgium), and a revealing and exclusive interview by Herve Mikaeloff, this beautifully illustrated publication marks the opening of a retrospective of his work at the Musee des Beaux-Arts in Mons (Belgium) in May 2021.

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.

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 book, Rachel Kousser draws on contemporary reception theory to present a new approach to Hellenistic and Roman ideal sculpture. She analyzes the Romans' preference for retrospective, classicizing statuary based on Greek models as opposed to the innovative creations prized by modern scholars. Using a case study of a particular sculptural type, a forceful yet erotic image of Venus, Kousser argues that the Romans self-consciously employed such sculptures to represent their ties to the past in a rapidly evolving world. Kousser presents Hellenistic and Roman ideal sculpture as an example of a highly effective artistic tradition that was, by modern standards, extraordinarily conservative. At the same time, the Romans' flexible and opportunistic use of past forms also had important implications for the future: it constituted the origins of classicism in Western art.

Auguste Rodin (1840-1917) was a radical sculptor whose unorthodox approach to sculpture-making provided a definitive break in the history of Western sculpture. Although much of his commercial success was based on the bronze and marble versions of his work, Rodin's greatest talent was as a modeller who captured movement, emotion, light and volume in clay and plaster, to challenge traditional conceptions of beauty and perfection. In line with new thinking on Rodin, this book explores the artist's use of plaster, a material which demonstrates his interest in creating sculptures that are never completed, always becoming. United by their materiality, fragile and experimental pieces are explored alongside new readings of some of Rodin's iconic works, and a selection of his watercolour drawings. Including an exclusive contribution from sculptor Phyllida Barlow, The Making of Rodin sheds light on the artist's use of materials, his unique way of working, and his imaginative use of photography, revealing how Rodin reinvented sculpture for the modern age - and why his work continues to enthral and provoke to this day.

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.

The conflict between National Socialism and Ernst Barlach, one of the important sculptors of the twentieth century, is an unusual episode in the history of Hitler's efforts to rid Germany of 'international modernism.' Barlach did not passively accept the destruction of his sculptures, but protested the injustice, and continued his work. Peter Paret's discussion of Barlach's art and struggle over creative freedom, is joined to an analysis of Barlach's opponents. Hitler's rejection of modernism, often dismissed as absurd ranting, is instead interpreted as a internally consistent and politically effective critique of liberal Western culture. That some radical national socialists nevertheless advocated a 'nordic modernism' and tried to win Barlach over, indicates the cultural cross-currents running through the early years of the Third Reich. Paret's closely focused study of an artist in a time of crisis seamlessly combines the history of modern Germany and the history of modern art. Peter Paret is Mellon Professor in the Humanities Emeritus of the Institute for Advanced Study in Princeton and Spruance Professor Emeritus at Stanford University. He is a member of the American Philosophical Society, which awarded him the Thomas Jefferson Medal and a Fellow of the American Academy of Arts and Sciences. The German government has awarded him the Officer's Cross of the Order of Merit. His other works include, German Encounters with Modernism, 1840-1945 (Cambridge, 2001), Imagined Battles: Reflections of War in European Art (Univ, of NC, 1997), The Berlin Secession: Modernism and its Enemies in Imperial Germany (Harvard, 1989), and Clausewitz and the State (Oxford, 1985).

In the 1950s and 60s, Martin Heidegger turned to sculpture to rethink the relationship between bodies and space and the role of art in our lives. In his texts on the subject—a catalog contribution for an Ernst Barlach exhibition, a speech at a gallery opening for Bernhard Heiliger, a lecture on bas-relief depictions of Athena, and a collaboration with Eduardo Chillida—he formulates his later aesthetic theory, a thinking of relationality. Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as already beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness. Heidegger suggests how we can still find room to dwell therein. Filled with illustrations of works that Heidegger encountered or considered, Heidegger Among the Sculptors makes a singular contribution to the philosophy of sculpture.

The conflict between National Socialism and Ernst Barlach, one of the important sculptors of the twentieth century, is an unusual episode in the history of Hitler's efforts to rid Germany of 'international modernism.' Barlach did not passively accept the destruction of his sculptures, but protested the injustice, and continued his work. Peter Paret's discussion of Barlach's art and struggle over creative freedom, is joined to an analysis of Barlach's opponents. Hitler's rejection of modernism, often dismissed as absurd ranting, is instead interpreted as a internally consistent and politically effective critique of liberal Western culture. That some radical national socialists nevertheless advocated a 'nordic modernism' and tried to win Barlach over, indicates the cultural cross-currents running through the early years of the Third Reich. Paret's closely focused study of an artist in a time of crisis seamlessly combines the history of modern Germany and the history of modern art. Peter Paret is Mellon Professor in the Humanities Emeritus of the Institute for Advanced Study in Princeton and Spruance Professor Emeritus at Stanford University. He is a member of the American Philosophical Society, which awarded him the Thomas Jefferson Medal and a Fellow of the American Academy of Arts and Sciences. The German government has awarded him the Officer's Cross of the Order of Merit. His other works include, German Encounters with Modernism, 1840-1945 (Cambridge, 2001), Imagined Battles: Reflections of War in European Art (Univ, of NC, 1997), The Berlin Secession: Modernism and its Enemies in Imperial Germany (Harvard, 1989), and Clausewitz and the State (Oxford, 1985).

An expanded edition of the definitive book on Ruth Asawa's fascinating life and her lasting contributions to American art. The work of American artist Ruth Asawa (1926-2013) is brought into brilliant focus in this definitive book, originally published to accompany the first complete retrospective of Asawa's career, organized by the Fine Arts Museums of San Francisco in 2006. This new edition features an expanded collection of essays and a detailed illustrated chronology that explore Asawa's fascinating life and her lasting contributions to American art. Beginning with her earliest works-drawings and paintings created in the 1940s while she was studying at Black Mountain College-this beautiful volume traces Asawa's flourishing career in San Francisco and her trajectory as a pioneering modernist sculptor who is recognized internationally for her innovative wire sculptures, public commissions, and activism on behalf of public arts education. Through her lifelong experimentations with wire, especially its capacity to balance open and closed forms, Asawa invented a powerful vocabulary that contributed a unique perspective to the field of twentieth-century abstract sculpture. Working in a variety of nontraditional media, Asawa performed a series of remarkable metamorphoses, leading viewers into a deeper awareness of natural forms by revealing their structural properties. Through her art, Asawa transfigured the commonplace into metaphors for life processes themselves. The Sculpture of Ruth Asawa establishes the importance of Asawa's work within a larger cultural context of artists who redefined art as a way of thinking and acting in the world, rather than as merely a stylistic practice. This updated edition includes a new introduction and more than fifty new images, as well as original essays that reflect on the impact of American political history on Asawa's artistic vision, her experience with printmaking, and her friendship with photographer Imogen Cunningham. Contributors include Susan Ehrens, Mary Emma Harris, Karin Higa, Jacqueline Hoefer, Emily K. Doman Jennings, Paul J. Karlstrom, John Kreidler, Susan Stauter, Colleen Terry, and Sally B. Woodbridge. Published in association with the Fine Arts Museums of San Francisco (FAMSF).

The 607 paintings and one sculpture documented in Volume 4 of The Andy Warhol Catalogue Raisonne were produced during a period of less than three years, from late 1974 through early 1977. In September 1974, Warhol changed studios, moving across Union Square from the sixth floor of 33 Union Square West to the third floor of 860 West Broadway. Like Volumes 2 and 3, Volume 4 is identified with a new studio, where Warhol continued to work for a decade, until he moved into his last studio at 22 East 33rd Street on December 3, 1984. Volume 4 may be seen as the first in a series of books associated with one studio that will document an enormously productive ten-year period in Warhol's oeuvre from the mid seventies to the mid eighties.

Since its Tokyo debut in 1995, Gunther von Hagens' 'Body Worlds' exhibition has been visited by more than 25 million people at museums and science centers across North America, Europe, and Asia. Preserved through von Hagens' unique process of plastination, the bodies shown in the controversial exhibit are posed to mimic life and art, from a striking re-creation of Rodin's ""The Thinker"" to a preserved horse and its human rider, a basketball player, and a reclining pregnant woman - complete with fetus in its eighth month. This interdisciplinary volume analyzes ""Body Worlds"" from a number of perspectives, describing the legal, ethical, sociological, and religious concerns which seem to accompany the exhibition as it travels the world.Section One focuses on the ways in which von Hagens' exhibit is designed to elicit a constrained and manipulated viewer response, investigating rhetorical persuasion embedded in the 'Body Worlds' exhibition and literature along with the linguistic trickery of donor consent forms. Section Two examines the historical antecedents of 'Body Worlds', focusing on how Victorian anatomical museums and freak shows have shaped and informed the contemporary exhibit.Section Three describes the exhibition's engagement with European historical contexts, including the motif of bodily degradation and the rise of abstractionist art. Section Four focuses on queer or gendered readings of 'Body Worlds', while Section Five addresses concerns about the exhibit's bio-ethical, religious, and spiritual controversies, including arguments that it commodifies the human body and depoliticizes the dead. The book includes photographs of plastinated cadavers and Ron Mueck's hyper-realist sculptures, along with several anatomical drawings and facsimiles of Victorian anatomical museum catalogs.

The first true monograph on the work of celebrated French conceptual artist and sculptor Bernar Venet Bernar Venet is one of France's most celebrated living artists. Having emerged from the late 1960s avant-garde scene in New York, Venet developed a personal aesthetic based on an innovative use of mathematics and science, where control, chance, and chaos converge to form a fine equilibrium while investigating their relationship with the environment. Conversant in many media, Venet is mostly known for his monumental outdoor sculptures in major cities worldwide and, in fall 19, his Arc Majeur is due for completion at a site in Belgium - at almost 200 feet in height (60 metres), Venet's sculpture will be taller than New York's Statue of Liberty.

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.

Colour is at the core of our perception, the very essence of how we see and understand the world, but the question to ask is: how does one interpret it? Six well-known British artists - David Batchelor, Ian Davenport, Lothar Goetz, Jim Lambie, Annie Morris, Fiona Rae - have interpreted in different ways, the relationship of colour within space. Colour is the main protagonist of their works: it can be found in Batchelor's sculptures assembled with found objects, in the coloured trails of Davenport's paintings, in Fiona Rae's delicate, floating marks on white surfaces, and in Annie Morris' sculptures that powerfully define the environment. Finally, the colour comes out of the paintings to invade the walls and the floor of the Gallery itself, with two site-specific creations: an entire wall painted by Lothar Goetz, and Zobop, the floor made of vinyl by Jim Lambie. Text in English and Italian.