Teresa Moorehouse's "narrative sculptures" tell deep, often timeless stories in cold cast bronze, with patinas of copper, silver, or gold. Some draw on traditional myths or legends. Others discover new voices for contemporary experience of spiritual mysteries. Her images weave a language of symbols that surpasses logic and speaks directly to intuition and spirit. Soul Stories elegantly displays thirty-nine of the artist's favourite works in cold cast bronze. Her own brief narratives companion the photographs, to lead us by the hand into each sculpture's magical world.

Carved for a Roman city prefect who was a newly baptized Christian at his death, the sarcophagus of Junius Bassus is not only a magnificent example of "the fine style" of mid-fourth-century sculpture but also a treasury of early Christian iconography clearly indicating the Christianization of Rome--and the Romanization of Christianity. Whereas most previous scholarship has focused on the style of the sarcophagus, Elizabeth Struthers Malbon explores the perplexing elements of its iconography in their fourth-century context. In so doing she reveals the distinction between "pagan" and Christian images to be less rigid than sometimes thought.

Against the background of earlier and contemporary art and religious literature, Malbon explicates the relationship of the facade's two levels of scenes depicting stories from the Old and New Testaments, the connection between the scenes on the facade with those on the lid and ends of the sarcophagus, and the integration of pagan elements within a Christian work. What emerges is a carefully constructed iconographic program shedding light on the development of early Christian art within late antique culture.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Born in New York in 1941, Joel Shapiro is one of the most significant artists of his generation. Since the first public showing of his work in 1969 as part of the landmark Anti-Illusion: Procedures/Materials exhibiton at the Whitney Museum of American Art, he has been the subject of numerous solo exhibitions in galleries and museums around the world. Most renowned for having developed in the 1980s and '90s a distinctive language of dynamic sculpture that blurs the lines between abstraction and figuration, Shapiro became known through his earliest 1970s New York shows for introducing common forms of often diminutive size. Since then he has continued to push the material and conceptual boundaries of sculpture by working in a number of materials and employing various working methods. Joel Shapiro: Sculpture and Works on Paper 1969-2019 is the first book in over twenty years to survey the artist's entire working career. In an extensive essay, art historian Richard Shiff provides a fresh and incisive examination of Shapiro's oeuvre and working process. With more than two hundred striking full-colour illustrations, this is a long-anticipated and much-needed survey of this vital and essential American artist.

The streets and public spaces of London are rich with statues and monuments commemorating the city's great figures and events - from Nelson's Column in Trafalgar Square and Sir Christopher Wren's Great Fire Monument to the charming Peter Pan statue in Kensington Gardens. Executed in stone, bronze and a range of other materials, London's statues and monuments include work by some of the world's greatest sculptors, such as Edwin Lutyens and Sir Christopher Wren. This newly revised book takes account of the many new statues erected between 2012 and 2017, including those of Mary Seacole at St Thomas' Hospital and Amy Winehouse in Camden, and is a fully illustrated guide to the works and their stories: sometimes surprising and occasionally controversial, but always fascinating.

A stunning volume celebrating the work of Agostino Bonalumi during the 1960s and 1970s and its connection with other artists of the Azimut group. A selection of Bonalumi's paintings from the 1960s and 1970s--including some unpublished and never before exhibited--form the core of this volume and confirm the important role played by this internationally lesser known artist in the development of modern art in Italy.

For the first time, the 92-metre frieze of the Voortrekker Monument in Pretoria, one of the largest historical narratives in marble, has been made the subject of a book. The pictorial narrative of the Boer pioneers who conquered South Africa's interior during the 'Great Trek' (1835-52) represents a crucial period of South Africa's past. Conceptualising the frieze both reflected on and contributed to the country's socio-political debates in the 1930s and 1940s when it was made. The book considers the active role the Monument played in the rise of Afrikaner nationalism and the development of apartheid, as well as its place in post-apartheid heritage. The frieze is unique in that it provides rare evidence of the complex processes followed in creating a major monument. Based on unpublished documents, drawings and models, these processes are unfolded step by step, from the earliest discussions of the purpose and content of the frieze, through all the stages of its design, to its shipping to post-war Italy to be copied into marble from Monte Altissimo, up to its final installation in the Monument. The book examines how visual representation transforms historical memory in what it chooses to recount, and the forms in which it is depicted. The second volume expands on the first, by investigating each of the twenty-seven scenes of the frieze in depth, providing new insights into not only the frieze, but also South Africa's history. Francois van Schalkwyk of African Minds, co-publisher with De Gruyter writes: From Memory to Marble is an open access monograph in the true sense of the word. Both volumes of the digital version of the book are available in full and free of charge from the date of publication. This approach to publishing democratises access to the latest scholarly publications across the globe. At the same time, a book such as From Memory to Marble, with its unique and exquisite photographs of the frieze as well as its wealth of reproduced archival materials, demands reception of a more traditional kind, that is, on the printed page. For this reason, the book is likewise available in print as two separate volumes. The printed and digital books should not be seen as separate incarnations; each brings its own advantages, working together to extend the reach and utility of From Memory to Marble to a range of interested readers.

For three months Biel, Switzerland, hosted a special kind of sculpture. It was special not simply because it was by one of Switzerland's most famous contemporary artists-Thomas Hirschhorn-and dedicated to one of the most prominent authors in the history of Swiss literature, Robert Walser. Beyond that, this sculpture was a redefinition of sculpture itself, because what takes on a plastic form here is not made of stone, steel, or bronze. It is society itself that helped to develop this work of art. In 2016 Thomas Hirschhorn and the curator Kathleen Buhler began doing field research in Biel, the city of Robert Walser's birth, connecting with residents, clubs, artists, literati, and experts. This resulted in a multifaceted agenda. Every day the two offered events such as readings, walking tours, lectures, and children's activities. All of this ultimately comprised the Robert Walser-Sculpture. Never before has an entire city been integrated into a temporary work of art in this way.

Henry Moore has influenced the history of twentieth - century sculpture more decisively than anyone else. He was one of the first contemporary sculptors to realise his ideas in the public space throughout the world. His oeuvre was a lasting source of inspiration for an entire generation of artists - from Hans Arp, Alberto Giacometti and Pablo Picasso to the younger generation of German sculptors. Henry Moore (1898 - 1 986), known as the "Picasso of Sculpture", is regarded as one of the most important sculptors of the twentieth century and the epitome of the modern artist. Typical of his work is the interrelationship between nature and abstraction. He discovered the "voi ds", so - called openings and holes which heighten the sculptural, three - dimensional effect of his works. With this new approach Moore exercised a strong influence on younger sculptors, who gained decisive impulses from his sculptures. This volume presents M oore as the dominant personality of modern sculpture in collaboration with the members of the younger generation of artists.

The art of Makoto Azuma uses flowers and plants as its starting point, but juxtaposes their timeless yet transient beauty with an incredibly diverse range of striking settings. In a series of sculptures, installations and interactive events, he delights in blurring the boundaries between nature and artifice. Azuma founded the floral atelier Jardins des Fleurs in 2002, taking commissions from private clients as well as brands and corporations, both in Japan and all over the world. His parallel career as an artist began in 2005 and involves creating and exhibiting artworks that turn flowers and plants into a medium for self-expression. In 2008, Azuma founded AMKK (Azuma Makoto Kaju Kenkyujo), a group specializing in experimental floral creation, with the aim of seeking new forms of botanical beauty and new ways to exhibit them. His works have travelled the globe, from barren deserts to frozen expanses, from thousands of feet below the sea to the very edge of space. Featuring more than sixty projects captured in breathtaking photography, this beautiful book is the most comprehensive showcase of Azuma's art ever published.

Bottles aligned on shelves or suspended in the air, jars of marbles and dye-filled tubes: form, substance and structure emerge from deceptively humble means in the sculpture of Tony Feher. His work uses gravity, light and repetition to isolate and animate everyday objects, creating a sculptural territory that Feher can rightfully claim as entirely his own. Published in conjunction with a major retrospective exhibition organized by the Blaffer Art Museum, this is the first publication to explore work from throughout the artist's significant and influential career. This comprehensive book reproduces his many sculptures, site-specific installations and two-dimensional works and includes major new texts on Feher's practice from Blaffer Director Claudia Schmuckli and curator and writer Russell Ferguson. Superbly realized by renowned New York design studio Matsumoto Incorporated, this publication is the definitive book on the work of a vanguard American artist.

This revelatory book concentrates on Scottish women painters and sculptors from 1885, when Fra Newbery became Director of the Glasgow School of Art, until 1965, the year of Anne Redpath's death. It explores the experience and context of the artists and their place in Scottish art history, in terms of training, professional opportunities and personal links within the Scottish art world. Celebrated painters including Joan Eardley, Margaret Macdonald Mackintosh and Phoebe Anna Traquair are examined alongside lesser-known figures such as Phyllis Bone, Dorothy Johnstone and Norah Neilson Gray, in order to look afresh at the achievements of Scottish women artists of the modern period. The book accompanies a show which will be held at the Scottish National Gallery of Modern Art Two in Edinburgh from 7 November 2015 to 26 June 2016.

Despite the fundamental functions that architecture must perform, it will always inspire artists across all genres with its masterful handling of space, harmony and proportion. Enric Mestre (b.1936) is one of those observers of space and volume who have left their mark on the ceramic sculptural art movement of the 20th century and beyond. As one of the key artists of the Spanish school, his name is mentioned in the same breath as master sculptors Jorge Oteiza and Eduardo Chillida. His sculptures come across as sober spatial constructions, but appearances are deceptive: these objects have a poetic force that counters the gaze of the beholder. This book celebrates the master's best creations and is a perfect opportunity to discover or rediscover his timeless work. Text in English and Spanish.

Volume 1 of 2. Lorenzo Ghiberti, sculptor and towering figure of the Renaissance, was the creator of the celebrated Bronze Doors of the Baptistery at Florence, a work that occupied him for twenty years and became known (at Michelangelo's suggestion, according to tradition) as the Doors of Paradise. Here Richard Krautheimer takes what Charles S. Seymour, Jr., describes as "a fascinating journey into the mind, career, and inventiveness of one of the indisputably outstanding sculptors of all the Western tradition." This one-volume edition includes an extensive new preface and bibliography by the author. Richard Krautheimer, Professor Emeritus of the Institute of Fine Arts at New York University, currently lives in Rome. He is the author of numerous works, including the Pelican Early Christian and Byzantine Architecture and Rome: Profile of a City, 312-1308 (Princeton). Princeton Monographs in Art and Archaeology, 31. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Volume 2 of 2. Lorenzo Ghiberti, sculptor and towering figure of the Renaissance, was the creator of the celebrated Bronze Doors of the Baptistery at Florence, a work that occupied him for twenty years and became known (at Michelangelo's suggestion, according to tradition) as the Doors of Paradise. Here Richard Krautheimer takes what Charles S. Seymour, Jr., describes as "a fascinating journey into the mind, career, and inventiveness of one of the indisputably outstanding sculptors of all the Western tradition." This one-volume edition includes an extensive new preface and bibliography by the author. Richard Krautheimer, Professor Emeritus of the Institute of Fine Arts at New York University, currently lives in Rome. He is the author of numerous works, including the Pelican Early Christian and Byzantine Architecture and Rome: Profile of a City, 312-1308 (Princeton). Princeton Monographs in Art and Archaeology, 31. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The work of the prize winning Peruvian American light artist Grimanesa Amoros is characterised by organic forms and an instinctive approach. The basis of her fascinating sculptures lies, however, in the natural sciences, social history and critical theory. Research and feeling establish a form of communication in her works. The expansive sculptures and video installations of Grimanesa Amoros have already been shown all over the world: from Mexico to Tel Aviv and from Beijing to Times Square in New York. She presented her latest works, "OCUPANTE" and "GOLDEN SECRET ROOM", In the Ludwig Museum Koblenz. The artist creat es playful light installations which are so enigmatic that they permit interpretations on different levels. Together with an overview of her work, this volume reproduces the works in large format illustrations, thereby reproducing their fluidity and luminosity.

In Richard Deacon's solo exhibition Some Time, a refabricated version of his sculpture Never Mind takes pride of place among more than twenty-five other works. Over time, the original sculpture, made in 1993, proved to be incompatible with the natural environment of an open-air museum. Now, after a period of critical reflection and discussion with the artist himself, what he calls a 'refabrication' has taken place. Follow the artist and the museum's quest for an innovative, sustainable solution to the renewal of (or variation on) a monumental sculpture that offers a potentially new line of approach for the future. This book not only represents the Some Time exhibition, but thanks to its diversity of material, ranging from original sketches and intimate correspondence to construction photos from the workshop and installation shots, it also gives a unique insight into Deacon's working process. At the same time, it provides a moment of critical reflection from the perspectives of the various authors who have contributed to it. Text in English and Dutch.

The sensuous human form-elegant and eye-catching-is the dominant feature of premodern Indian art. From the powerful god Shiva, greatest of all yogis and most beautiful of all beings, to stone dancers twisting along temple walls, the body in Indian art is always richly adorned. "Alankara" (ornament) protects the body and makes it complete and attractive; to be unornamented is to invite misfortune.

In "The Body Adorned," Vidya Dehejia, who has dedicated her career to the study of Indian art, draws on the literature of court poets, the hymns of saints and "acharyas," and verses from inscriptions to illuminate premodern India's unique treatment of the sculpted and painted form. She focuses on the coexistence of sacred and sensuous images within the common boundaries of Buddhist, Jain, and Hindu "sacred spaces," redefining terms like "sacred" and "secular" in relation to Indian architecture. She also considers the paradox of passionate poetry, in which saints praised the sheer bodily beauty of the divine form, and nonsacred Rajput painted manuscripts, which freely inserted gods into the earthly realm of the courts.

By juxtaposing visual and literary sources, Dehejia demonstrates the harmony between the sacred and the profane in classical Indian culture. Her synthesis of art, literature, and cultural materials not only generates an all-inclusive picture of the period but also revolutionizes our understanding of the cultural ethos of premodern India.

Italian-born American artist Harry Bertoia (1915-1978) was one of the most prolific, innovative artists of the post-war period. Trained at the Cranbrook Academy of Art, where he met future colleagues and collaborators Charles and Ray Eames, Florence Knoll, and Eero Saarinen, he went on to make one-of-a kind jewellery, design iconic chairs, create thousands of unique sculptures including large-scale commissions for significant buildings, and advance the use of sound as sculptural material. His work speaks to the confluence of numerous fields of endeavour, but is united throughout by a sculptural approach to making and an experimental embrace of metal. Harry Bertoia: Sculpting Mid-Century Modern Life accompanies the first U.S. museum retrospective of the artist's career to examine the full scope of his broad, interdisciplinary practice, and feature important examples of his furniture, jewellery, monotypes, and diverse sculptural output. Lavishly illustrated, the book offers new scholarly essays as well as a catalogue of the artists numerous large-scale commissions. It questions how and why we distinguish between a chair, a necklace, a screen, and a freestanding sculpture and what Bertoia's sculptural things, when taken together, say about the fluidity of visual language across culture, both at mid-century and now.

Andreas Schluter (1659-1714) was a well-known Baroque sculptor and the architect behind some of Berlin's most famous buildings, from the legendary Amber Room to the City Palace--which is in the midst of a major rebuilding effort. In his role as court sculptor and court architect, Schluter worked under the direction of Frederick I of Prussia, who hoped to position the city through ambitious new art and architectural projects alongside Paris and Rome as a chief artistic center of Europe. The perfect companion for those planning a trip to the city or interested in this particularly rich period of its architectural history, Schluter In Berlin: A City Guide takes readers through all of the architect's most famous works with illustrations and convenient city maps. Each sculpture or building is accompanied by a concise description and a longer essay on the broader historical background of the period. Schluter is the artistic force behind what is now known as Baroque Berlin, and Schluter in Berlin is the first book to offer English-language readers a look at his many contributions to the city.

Gunther Gerlach is widely hailed for having forged a new direction within the long tradition of wood sculpture, with expansive, abstract works that nonetheless remain concerned with form and demonstrate his dedication and deep respect to this living medium.
"Gunther Gerlach: Sculpture and Space" documents Gerlach's work over thirty-five years and offers the first comprehensive overview of his critically acclaimed career. Slender and arranged in groups of varying heights to evoke the human form or painted to mimic the appearance of metal or stone, Gerlach's sculptures are truly three-dimensional and of equal interest from every perspective. The space between the sculptures invites viewers to explore their placement relative to one another, as well as the empty space between them, lending additional layers of meaning to each work as part of the larger installation. In addition to eighty full-color illustrations, the book includes critical texts by art historian Arie Hartog and Yvette Deseyve that reflect on the artist's process and tendency toward experimentation.

The Galleria Borghese brings together an extraordinary collection of ancient and modern sculpture within a beautifully decorated villa. This volume, dedicated to modern sculpture (Late Renaissance to Baroque to Neoclassical), marks the start of a new general catalogue of the collection. The introduction narrates the history of the collection, from its creation by Cardinal Scipione Borghese in the 17th century to its sale to the Italian Republic at the end of the 19th century. The entries are full of chronological details, new attributions, information on restorations and account for the different historical settings thanks to an accurate study of the inventory records of the villa. They include world-famous masterpieces by Algardi, Bernini and Canova among others. The sale to Napoleon of many of its Antique works of art (now in the Louvre) was key to the Borghese's commission works of ancient inspiration, the analysis of which animates the pages of another section, based on the concepts of copy and remake. The catalogue closes with a section on restoration, that gives an account of the fundamental role of 16- to 18th-century sculptors in the maintenance and transformation of the archaeological collection in relation to the villa's display requirements. Text in Italian.