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.

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."

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.

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."

Greek Sculpture presents a chronological overview of the plastic and glyptic art forms in the ancient Greek world from the emergence of life-sized marble statuary at the end of the seventh century BC to the appropriation of Greek sculptural traditions by Rome in the first two centuries AD. * Compares the evolution of Greek sculpture over the centuries to works of contemporaneous Mediterranean civilizations * Emphasizes looking closely at the stylistic features of Greek sculpture, illustrating these observations where possible with original works rather than copies * Places the remarkable progress of stylistic changes that took place in Greek sculpture within a broader social and historical context * Facilitates an understanding of why Greek monuments look the way they do and what ideas they were capable of expressing * Focuses on the most recent interpretations of Greek sculptural works while considering the fragile and fragmentary evidence uncovered

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.

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 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.

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 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 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.

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).

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.

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.

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."