A nucleus of sculptures cast by Andrea di Alessandri, commonly called from his native city, 'Il Bresciano', or from his products, 'Andrea dai bronzi', has been identified over the centuries. His style has been described as having similarities both with the High Renaissance of Sansovino and the Mannerism of Vittoria, the two successive master sculptors of sixteenth-century Venice, though he cast major bronzes for both. Andrea's signed masterpiece is a Paschal Candlestick in bronze, over two metres high and with sixty or more fascinating figures, made for Sansovino's magnificent lost church of Santo Spirito in 1568 and now in Santa Maria della Salute. The author's identification in 1996 of a pair of magnificent Firedogs with sphinx feet (which in 1568 had been recommended to Prince Francesco de'Medici in Florence), and in 2015 of an elaborate figurative bronze Ewer in Verona, have been the culmination of the process of recognition. Archival research has at last revealed the span of Andrea's life as 1524/25-1573, as well as many significant facts about his family and patronage. So the time is ripe for a comprehensive, well-illustrated, book on Il Bresciano, a 'new' and major bronzista in the great tradition of north Italy.

Screening Statues: Sculpture and Cinema is the first book to focus on the relationship between sculpture and the silver screen. It covers a broad range of magical, mystical and phenomenological interactions between the two media, from early film's eroticized tableaux vivants to enigmatic sculptures in modernist cinema. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. The book examines key sculptural motifs and cinematic sculpture in film history through a series of case studies and through an extensive reference gallery of 150 different films. Considering the work of directors like Georges Melies, Jean Cocteau and Alain Resnais, as well as films like House of Wax, Jason and the Argonauts and Clash of the Titans, this is an innovative exploration of two different media, their artistic traditions and their respective theoretical paradigms.

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.

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.

This brilliant book focuses on the aesthetic concerns of the two most important sculptors of the early 19th century, the great Italian sculptor Antonio Canova (1757-1822) and his illustrious Danish rival Bertel Thorvaldsen (1770-1844). Rather than comparing their artistic output, the distinguished art historian David Bindman addresses the possible impact of Kantian aesthetics on their work. Both artists had elevated reputations, and their sculptures attracted interest from philosophically minded critics. Despite the sculptors' own apparent disdain for theory, Bindman argues that they were in dialogue with and greatly influenced by philosophical and critical debates, and made many decisions in creating their sculptures specifically in response to those debates. Warm Flesh, Cold Marble considers such intriguing topics as the aesthetic autonomy of works of art, the gender of the subject, the efficacy of marble as an imitative medium, the question of color and texture in relation to ideas and practices of antiquity, and the relationship between the whiteness of marble and ideas of race.

Medieval polychrome wood sculptures are highly complex objects, bearers of histories that begin with their original carving and adornment and continue through long centuries of repainting, deterioration, restoration, and conservation. Abundantly illustrated, this book is the first in English to offer a comprehensive overview of the conservation of medieval painted wood sculpture for conservators, curators, and others charged with their care. Beginning with an illuminating discussion of the history, techniques, and meanings of these works, it continues with their examination and documentation, including chapters on the identification of both the wooden support and the polychromy itself-the paint layers, metal leaf, and other materials used for these sculptures. The volume also covers the many aspects of treatment: the process of determining the best approach; consolidation and adhesion of paint, ground, and support; overpaint removal and surface cleaning; and compensation. Four case studies on artworks in the collection of The Cloisters in New York, a comprehensive bibliography, and a checklist to aid in documentation complement the text.

Barbara Hepworth: The Sculptor in the Studio is the first study devoted to Hepworth's St Ives studio in which the centrality of Trewyn Studio and garden to her art and life is brought to the fore. 'It affects my whole life & work most profoundly', she wrote to a friend in 1949 shortly before acquiring it. A history and a portrait of a unique place, the book illuminates the ways in which the place and the work are bound together. It explores Hepworth's working environment and the development of her practice over a period of 25 years. The studio, and especially the garden that Hepworth shaped, was the primary and ideal context in which her sculptures were viewed. Following Hepworth's death in 1975, Trewyn Studio was opened as the Barbara Hepworth Museum and Sculpture Garden, fulfilling the hopes she had expressed at the end of her life. The adaptation of Hepworth's studio-home to create the Museum is examined in detail. The Museum was given to the Tate Gallery in 1980, becoming the first of Tate's outstations and helping to lay the foundations for Tate St Ives. It contains the largest group of Hepworth's works, permanently on display in the place in which they were created. Here the visitor is closest to Hepworth's work and to the sources of her inspiration.

The artist who created the statue for the Lincoln Memorial, John Harvard in Harvard Yard, and The Minute Man in Concord, Massachusetts, Daniel Chester French (1850-1931) is America's best-known sculptor of public monuments. Monument Man is the first comprehensive biography of this fascinating figure and his illustrious career. Full of rich detail and beautiful archival photographs, Monument Man is a nuanced study of a preeminent artist whose evolution ran parallel to, and deeply influenced, the development of American sculpture, iconography, and historical memory. Monument Man was specially commissioned by Chesterwood / National Trust for Historic Preservation. The release will coincide with the fiftieth anniversary of the opening of Chesterwood, his country home and studio, as a public site and with a major renovation of the Lincoln Memorial. The book includes a comprehensive geographical guide to French's public work.