November 19, 1479: a dynastic alliance, two noble scions, a regal wedding, short-lived and with an unhappy ending. These pages reconstruct the story of the magnificent bas relief in the Acton Collection (Villa La Pietra, Florence), commissioned to celebrate the marriage between Antonio Basso Della Rovere, nephew of Pope Sixtus IV, and Caterina Marzano d'Aragona, the niece of King Ferdinand I of Naples. The heraldic symbols of the three coats of arms leave no doubt about the identities of the characters and events surrounding its creation, and lead us to the original location of the work, born as the overdoor to the main portal of the Basso Della Rovere Palace in piazza della Maddalena in Savona. Through close examination of the Della Rovere in Rome, this study highlights some previously unknown facts about the family's origins and returns to Savona and its role as a political, cultural, and artistic protagonist in late 15th-century Italy.

King George III will not stay on the ground. Ever since a crowd in New York City toppled his equestrian statue in 1776, burying some of the parts and melting the rest into bullets, the king has been riding back into American culture, raising his gilded head in visual representations and reappearing as fragments. In this book, Wendy Bellion asks why Americans destroyed the statue of George III—and why they keep bringing it back. Locating the statue’s destruction in a transatlantic space of radical protest and material violence—and tracing its resurrection through pictures and performances—Bellion advances a history of American art that looks beyond familiar narratives of paintings and polite spectators to encompass a riotous cast of public sculptures and liberty poles, impassioned crowds and street protests, performative smashings and yearning re-creations. Bellion argues that iconoclasm mobilized a central paradox of the national imaginary: it was at once a destructive phenomenon through which Americans enacted their independence and a creative phenomenon through which they continued to enact British cultural identities. Persuasive and engaging, Iconoclasm in New York demonstrates how British monuments gave rise to an American creation story. This fascinating cultural history will captivate art historians, specialists in iconoclasm, and general readers interested in American history and New York City.

This volume examines the relationship between modern sculpture and architecture in the mid-twentieth century, an interplay that has laid the ground for the semisculptural or semiarchitectural works by architects such as Frank Gehry and artists such as Dan Graham. The first half of the book explores how the addition of sculpture enhanced several architectural projects, including Mies van der Rohe's Barcelona Pavilion (1929) and Eliel Saarinen's Cranbrook Campus (1934). The second half of the book uses several additional case studies, including Philip Johnson's sculpture court for New York's Museum of Modern Art (1953), to explore what architectural spaces can add to the sculpture they are designed to contain. The author argues that it was in the middle of the twentieth century - before sculptural and architectural forms began to converge - that the complementary nature of the two practices began clearly to emerge: figurative sculpture highlighting the modernist architectural experience, and the abstract qualities of that architecture imparting to sculpture a heightened role.

Providing the first thorough study of sculptural portraiture in 18th-century Britain, this important book challenges both the idea that portrait necessarily implies painting and the assumption that Enlightenment thought is manifest chiefly in French art. By considering the bust and the statue as genres, Malcolm Baker, a leading sculpture scholar, addresses the question of how these seemingly traditional images developed into ambitious forms of representation within a culture in which many core concepts of modernity were being formed. The leading sculptor at this time in Britain was Louis Francois Roubiliac (1702-1762), and his portraits of major figures of the day, including Alexander Pope, Isaac Newton, and George Frederic Handel, are examined here in detail. Remarkable for their technical virtuosity and visual power, these images show how sculpture was increasingly being made for close and attentive viewing. The Marble Index eloquently establishes that the heightened aesthetic ambition of the sculptural portrait was intimately linked with the way in which it could engage viewers familiar with Enlightenment notions of perception and selfhood. Published for the Paul Mellon Centre for Studies in British Art

As we mark the 150th anniversary of Barlach's birth in 2020, the Ernst Barlach Haus in Hamburg pays tribute to the artist with a comprehensive overview of his wood sculptures. Starting with its own collection, the museum elaborately documented all available figures between Lübeck and Zurich with new photographs. This book is the result of this monumental project. It introduces 72 of the 84 extant wood sculptures and includes many fascinating large-format colour plates presenting the statues and their details. Wood held particular importance for Barlach as an artistic material: he regarded it as animate matter. Consequently, woodwork takes centre stage in Barlach's artistic practice - a fact that is often obscured by the large number of mostly posthumous bronze casts of his works. Around 1907, Barlach began to explore the centuries-old medieval art of woodcarving without any prior training. The poor, the homeless, the struggling, invalids, beggars and outlaws: Barlach turned his attention to those pushed to the margins of society and paid tribute to them by placing them at the centre of his art. This book does justice to the reductive character of his forms, which gestures at simplification and a transcendence of time, by highlighting Barlach's contemporary relevance. Text in English and German.

Show Time initially awakens thoughts of glittering entertainment, shiny surfaces, and fancy stunts - a world that does not really belong in a museum. But here the title is associated with something more literal: time being shown to us. In Sabine Gross's (*1961) exhibition at the Museum fur Vor- und Fruhgeschichte Saarbrucken, archaeological finds meet contemporary art for the first time. As a professor of sculpture, Gross has specialised for many years in this type of confrontation, practising a kind of "archaeology of the future" in which she presents recent significant works of art as potential archaeological objects. Published to accompany an exhibition Sabine Gross. Show Time - Eine Archaologie der Zukunft, which runs from 11 December 2020-7 November 2021 at Museum fur Vor- und Fruhgeschichte, Saarbrucken, Germany. Text in English and German.

This is the seventeenth volume in the series the Public Sculpture of Britain, part of the PMSA National Recording Project, which will eventually cover the whole of the country. The introduction considers the ways in which the rural and urban landscapes of Sussex, from market town, rural village and country estate, to city, major seaside resort and new town development, are reflected in the county's public sculptures. The historical period covered ranges from the allegedly pre-historic (the Long Man of Wilmington) to the present day (the most recent entry is Maggi Hambling's The Resurrection Spirit, 2013). There is a high proportion of nineteenth- century sculptures, including significant works by John Flaxman, Michael Rysbrack, Frances Chantrey and John Edward Carew; the 'statuemania' that characterised the last part of this century is well illustrated by Thomas Brock's imposing statue celebrating Queen Victoria's Diamond Jubilee on Hove seafront. The achievements of major twentieth and twenty-first century sculptors are represented by Elisabeth Frink and William Pye among others. Many works from this period are the result of public art initiatives by local councils, often as part of more wide-ranging regeneration schemes for Sussex towns. The patronage of health authorities, influenced by new thinking about the calming and healing qualities of art in public places has also benefitted both local sculptors and those based elsewhere in the country. Each individual work is catalogued, with precise details of location, condition and history, including commissioning, opening ceremonies and re-siting. Most are individually illustrated in black and white. Biographies of local and less well-known sculptors, together with a selected bibliography are included at the end of the volume.

This book restores the fountains of Roman Byzantium, Byzantine Constantinople and Ottoman Istanbul, reviving the sounds, shapes, smells and sights of past water cultures. Constantinople, the capital of the Byzantine and Ottoman Empires, is surrounded on three sides by sea, and has no major river to deliver clean, potable water. However, the cultures that thrived in this remarkable waterscape through millennia have developed and sustained diverse water cultures and a water delivery system that has supported countless fountains, some of which survive today. Scholars address the delivery system that conveyed and stored water, and the fountains, large and small, from which it gushed. Papers consider spring water, rainwater and seawater; water suitable for drinking, bathing and baptism; and fountains real, imagined and symbolic. Experts in the history of art and culture, archaeology and theology, and poetry and prose, offer reflections on water and fountains across two millennia in one location.

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.

Bonalumi has overcome the two-dimensionality of painting through the technique of 'extroflexion', which transformed the canvas into a sculpture. The volume accompanies the first great anthological exhibition dedicated to Agostino Bonalumi (1935-2013) in the city of Milan, a few years after his death. From the beginnings with Enrico Castellani and Piero Manzoni, through the sixties in contact with major European groups until the recent international rediscovery, the volume documents the multi-faceted and at the same time rigorous activity of one of the greatest interpreters of abstractionism in the world, who managed to overcome the two-dimensionality of painting through works on canvas that are transformed into sculpture, thanks to the technique of 'extroflexion'. The volume, with texts by Marco Meneguzzo and Philip Rylands, is complete with an anthology of writings about the artist and bio-bibliographical sections.

One guilty secret will tear her life apart...After a series of heart-breaking miscarriages, Kate's marriage is hanging by a thread. When her husband Michael tells her he has shocking news, at first, she thinks the worst - he's been having an affair. It would explain why he's been so distant. Instead, he reveals that the daughter he abandoned twenty years ago is coming to stay. Kate is blindsided by the sudden arrival of Imogen mere hours later. Her new stepdaughter is beautiful but troubled and seems wary of her own father. All the same, Kate is pleased to find herself connecting with Imogen, until one day, Imogen reveals a disturbing secret to her stepmother, making her swear never to tell a soul. With Kate already keeping secrets of her own, she worries her marriage will crumble under the weight of another. But perhaps it's not Imogen's intrusion Kate should be worried about. Perhaps it's Michael's past she should have been looking at all along... A completely addictive domestic suspense novel that will keep you guessing into the early hours of the morning. Perfect for fans of The Stepdaughter, Amanda Robson and Adele Parks. What readers are saying about The Stepmother:'This elegantly written suspense novel quickly drew me in and transported me into the lives of Kate and Michael and their dysfunctional marriage... Compels the reader to keep turning the pages... A very satisfying and well-written novel.' M. M. DeLuca 'Loved this one! So easy to read and lots of twists and turns along the way. Definitely a quick read and one I recommend.' NetGalley Reviewer 'I really enjoyed this book, I was hooked from the first chapter and couldn't put it down, loads of twists & turns to keep one guessing' NetGalley Reviewer 'A marriage in tatters and a shocking surprise. This thriller is just that, thrilling until the end. Definitely not for the faint-hearted.' NetGalley Reviewer 'I really enjoyed this story... It was well written and truly heartfelt... A great read that I would recommend.' NetGalley Reviewer 'An original domestic thriller telling the story of a stepmother caught between the rock and a hard place... Highly recommended!' NetGalley Reviewer 'I really enjoyed this book... A unique perspective on the step-parent spectrum. Carne really makes you think and question the secrets of her characters. The Stepmother is a great read.' NetGalley Reviewer 'This is a story of a marriage failing, death and life's drama. Well written and gripping. This is my first book by Ros Carne and look forward to her next book.' NetGalley Reviewer 'I really enjoyed it. There were enjoyable twists to keep me guessing and I'd definitely read more by this author in the future.' NetGalley Reviewer

This is the sixth volume in Lund Humphries' series of monographs on British sculptor Anthony Caro and the first publication to focus on his use of stainless steel as a distinct body of work. Caro employed stainless steel extensively, from intimately scaled Table Sculptures to extremely large works, over many decades, and in his mature works, Caro's exploration and interrogation of this material became increasingly important. Karen Wilkin analyses Caro's use of stainless steel in the context of the development of modernist constructed sculpture, pioneered in the UK by Caro and in the US by David Smith, a friend and admired predecessor, from whom Caro inherited most of the stainless steel he first employed, following Smith's untimely death in 1965. Karen Wilkin's text represents a much-needed overview of Caro's late career and a vital expansion of our understanding of 20th-century and early 21st-century modernist sculpture.

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.

In his third book, Strauss delves into the mysterious process whereby an idea is born in the mind and materialized through the hand in the expression of an artwork. How exactly does this happen? It's a question so basic, an act so fundamental to art-making, that it has rarely received attention. It makes an ideal topic for Strauss, a writer with an exceptional ability to animate art's philosophical dimensions in a clear, persuasive manner. During this time when craft and the direct manipulation of materials by the artist appear to be in eclipse, Strauss comes to their defense in a spirited cri de coeur.
Featuring over 35 illustrations, the book examines a wide variety of media and individual examples. It explores the works of sculptors Martin Puryear, Ursula von Rydingsvard, and Donald Lipski; painters Leon Golub and Ron Gorchov; and writers Robert Duncan, Robert Kelly, Guy Davenport, John Berger, and Leo Steinberg. In addition, there are essays on Joseph Beuys's 7000 Oaks in Ireland, contemporary Haida carvers Reg Davidson and Jim Hart, Cecilia Vicuna's "memory of the fingers," and the influence of curators Harald Szeemann and Walter Hopps on the staging of contemporary art exhibitions.
Known primarily for his writings on photography and politics, Strauss here focuses on the least mediated arts--painting, sculpture, and writing. His claims are supported by a series of close readings which succeed in recovering the immediacy of the hand and revitalizing contemporary art's connection to the past."

Explores how artists from the European Renaissance to the global present have used sculpture and color to evoke the presence of the living body Since the earliest myths of the sculptor Pygmalion bringing a statue to life through desire, artists have explored the boundaries between sculpture and the physical materiality of the body. This groundbreaking volume examines key sculptural works from 13th-century Europe to the global present, revealing new insights into the strategies artists deploy to blur the distinction between art and life. Sculpture, which has historically taken the human figure as its subject, is presented here in myriad manifestations created by artists ranging from Donatello and Degas to Picasso, Kiki Smith, and Jeff Koons. Featuring works created in traditional media such as wood and marble as well as the unexpected such as wax, metal, and blood, Like Life presents sculpture both conventional and shocking, including effigies, dolls, mannequins, automata, waxworks, and anatomical models. Containing texts by art and cultural historians as well as interviews with contemporary artists, this is a provocative exploration of three-dimensional representations of the human body.

The Waldfrieden Sculpture Park is honouring the great painter and sculptor Heinz Mack on his 90th birthday with an exhibition devoted exclusively to his sculptural work. In its three exhibition halls and in the open grounds, the sculpture park presents 50 sculptures by Heinz Mack, including numerous works that have never been shown publicly before. Accompanying the exhibition is this comprehensive catalogue in German and English with numerous illustrations from the exhibition, a foreword by Anthony Cragg, a preface by Dr. Thomas A. Lange, two statements by Heinz Mack and essays by Heinz-Norbert Jocks, Norman Rosenthal, Corinna Thierolf and Jon Wood. The essays - analogous to the illustration section, which shows photographs from all three exhibition pavilions and from the outdoor area - are devoted to the artist's wealth of forms and diversity of materials on the basis of the exhibited stone works, steles made of wood and metal, metal reliefs and screens.

The Stephen K. and Janie Woo Scher Collection of portrait medals is unparalleled among those in private hands. Noted for its comprehensiveness and outstanding quality, it includes medals dating from the fifteenth to the nineteenth centuries. This new volume, the result of a the Schers' gift of 450 medals to The Frick Collection in 2016, brings to life these masterpieces of small-scale sculpture, conveying the circumstances of their creation and their historic significance. Beginning in the Italian Renaissance, medals were made to commemorate individuals and to acknowledge specific events or milestones, such as marriages, deaths, coronations, and military victories. They were precious, portable, and popular among the wealthy and powerful. This book provides a concise, fascinating introduction to their artistry.

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.

Medardo Rosso (1858-1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. In this book, Sharon Hecker develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, A Moment's Monument negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siecle.

Originally published in 1909, this book contains a guide in English and French to the sculptures of Chartres Cathedral. The text is illustrated with over one hundred photographic plates of the sculptures, with an explanation for each in both languages on the facing page. Some of the photographs included are among the earliest published examples of telephotography. This book will be of value to anyone with an interest in French medieval sculpture, the cathedral at Chartres or the history of photography.

Arman was a US-naturalised French painter. This book covers the first twenty years of Arman's artistic production, from the Accumulations of industrial objects and series products to the Poubelles, documenting consumer society's waste; from the famous Coleres, Coupes and Combustions, which through different processes dematerialise objects depriving them of their functionality, to paintings, to actions and monumental works adhering to the 'poetic of things'.