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 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 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.

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.

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.

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.

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.

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.

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.

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.

In Renaissance Florence, certain paintings and sculptures of the Virgin Mary and Christ were believed to have extraordinary efficacy in activating potent sacred intercession. Cults sprung up around these "miraculous images" in the city and surrounding countryside beginning in the late 13th century. In The Miraculous Image in Renaissance Florence, Megan Holmes questions what distinguished these paintings and sculptures from other similar sacred images, looking closely at their material and formal properties, the process of enshrinement, and the foundation legends and miracles associated with specific images. Whereas some of the images presented in this fascinating book are well known, such as Bernardo Daddi's Madonna of Orsanmichele, many others have been little studied until now. Holmes's efforts center on the recovery and contextualization of these revered images, reintegrating them and their related cults into an art-historical account of the period. By challenging prevailing views and offering a reassessment of the Renaissance, this generously illustrated and comprehensive survey makes a significant contribution to the field.

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.

French sculptor Aristide Maillol (1861-1944) is sometimes referred to as the "Cezanne of sculpture" as he, like Paul Cezanne in painting, paved the way for abstraction. Though Maillol began as a painter, he produced an impressive collection of sculptures, many featuring women, over the course of his career. This book, published in conjunction with a comprehensive Maillol exhibition at the Kunsthaus Zurich, examines how the male gaze operates in Maillol's art and the changing perceptions of this gaze from the 19th century to today. A photo essay by Franca Candrian contrasts Maillol's Venus au collier with works by modern and contemporary women artists from the Kunsthaus Zurich's collection. An essay by feminist art historian and curator Catherine McCormack explores the presence of art depicting female nudes - in contemporary museums. Supplemented by an introduction by Philippe Buttner, curator of Kunsthaus Zurich's permanent collection, the book thus offers a fresh and unique view of Maillol and his art. Text in English and German.

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.

Carved and decorated stone-work is a rare survival from the period before the Norman Conquest. In Nottinghamshire it survives as large crosses and as small fragments - to be found in churches, in public spaces and in museum collections. This is the first book to provide an authoritative listing, description and illustration of all examples of this type of decorated stone sculpture in Nottinghamshire. Each example is illustrated in a substantial catalogue containing high quality photographs, maps and interpretative drawings. In the introductory chapters the authors explore the geological and historical background of the sculptures and provide an overview of the types of style and ornament. The new information revealed by the systematic study of these major survivals of Anglo-Saxon art and archaeology demonstrates the major contribution that this category of material can make to an obscure and under-investigated period in Midlands history. Nottinghamshire emerges with a distinctive identity in the pre-conquest period, having strong connections both with the Mercian state to its south and with the Northumbrians to the north.

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.

This catalogue celebrates the recently installed collection of twentieth-century sculpture donated to the J. Paul Getty Trust by the Fran and Ray Stark Trust in 2005. The book takes the reader on a visual tour of the J. Paul Getty Museum's new sculpture gardens and installations, which features twenty-eight works by artists such as Alexander Calder, Alberto Giacometti, Ferdinand Leger, Roy Lichtenstein, Rene Magritte, Aristide Maillol, Joan Miro, Henry Moore, and Isamu Noguchi. The book offers essays on the curatorial decisions involved in establishing harmonious groupings; a history of European and American sculpture within built outdoor environments and gardens; and catalogue entries that discuss individual pieces within their broader art-historical contexts.

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.