This beautifully written study focuses on the life and public sculpture of Meta Warrick Fuller (1877-1968), one of the early twentieth century's few African American women artists. To understand Fuller's strategy for negotiating race, history, and visual representation, Renee Ater examines the artist's contributions to three early twentieth-century expositions: the Warwick Tableaux, a set of dioramas for the Jamestown Tercentennial Exposition (1907); Emancipation, a freestanding group for the National Emancipation Exposition (1913); and Ethiopia, the figure of a single female for the America's Making Exposition (1921). Ater argues that Fuller's efforts to represent black identity in art provide a window on the Progressive Era and its heated debates about race, national identity, and culture.

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.

This book examines Rembrandt Bugatti's fraught personal life, his position in art history, and the wide-ranging artistic influences apparent in his works. It discusses the sculptor's innate empathy for the life of his subjects, revealing a fascinating figure, independent from yet not unrelated to the artists of his time. This updated lavishly illustrated publication will be a revelation to those discovering the artist for the first time. For those already aware of his brilliant vision and unsurpassed sculptural skills, it offers a spectacular photographic archive of his works, and much fresh thinking and research about his career.

atelierJAK has been working on the film project Soul Blindness for a number of years. The main character in the film is JAK, who suffers from visual agnosia. Soul Blindness does not have a preconceived script. The plot of the film develops further with each exhibition and each artwork, until there are finally thirty film clips, each of them exactly three minutes long. This makes it possible to continuously develop both the storyline itself and the setting ever further. The publication provides insights into the exhibition FAULTY REVERIES. It presents sculptures and installations that enter into interaction with one another, become props, and form the backdrops for the film through their interplay. Besides sculpture, drawing, writing, and language, the use of digital processes also plays a significant role. Text in English and German.

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.

In recent years, art historians have begun to delve into the patronage, production and reception of sculptures-sculptors' workshop practices; practical, aesthetic, and esoteric considerations of material and materiality; and the meanings associated with materials and the makers of sculptures. This volume brings together some of the top scholars in the field, to investigate how sculptors in early modern Italy confronted such challenges as procurement of materials, their costs, shipping and transportation issues, and technical problems of materials, along with the meanings of the usage, hierarchies of materials, and processes of material acquisition and production. Contributors also explore the implications of these facets in terms of the intended and perceived meaning(s) for the viewer, patron, and/or artist. A highlight of the collection is the epilogue, an interview with a contemporary artist of large-scale stone sculpture, which reveals the similar challenges sculptors still encounter today as they procure, manufacture and transport their works.

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.

This new and updated edition adds new figures as well as historic documents. Of particular interest is the discovery of the long-lost marble figure Polar Bear last seen over 75 years ago in Paris, where it was exhibited for the first and last time at the 1943 Salon des Artistes Francais. Accompanying images of this important discovery are presented in this edition for the very first time. Over 26 years ago the first publication of Chiparus: Master of Art Deco brought this artist into the public eye. His name, lost in records and catalogues, was rejuvenated by Alberto Shayo's rediscovery of his works, effectively bringing artist and oeuvre back to life. The book dwells on the sources and inspiration of the Art Deco movement, with particular emphasis on sculptures created by Demetre Chiparus. Contents: The Early Years; Development of the Art Deco Style; The New Woman; Chryselephantine Sculpture; Chiparus and the Art Deco Aesthetic; The Polar Bear; The Death of Chiparus; Vintage Images; Notes; Plates; Paintings by Chiparus; Care of Chryselephantine Sculpture; Fakes and Reproductions; Bibliography. Also available by Alberto Shayo: Roland Paris: The Art Deco Jester King ISBN 9781851498239 Statuettes of the Art Deco Period ISBN 9781851498246

The sculptural history of the long 1980s has been dominated by New British Sculpture and Young British Artists. Arguing for a more expansive history of British sculpture and its supporting infrastructures, these twenty-three vivid and enthralling interviews with artists, curators, dealers and facilitators working then demonstrate the interconnected networks, diversity of ideas and practices, energy, imagination and determination that transformed British art from being marginal to internationally celebrated. With a substantial introduction, this timely volume provides valuable new insights into the education, work, careers, studios, infrastructures and exhibitions of the artists and facilitators, substantially enlarging our understanding of the era.

Ramkinkar Vaij (1906-1980), a significant artist of twentieth century India, is regarded as the first major figure in modern Indian sculpture. Born into a poor family in Bankura district, Bengal, he enrolled himself as a student in Santiniketan, at the university founded by Rabindranath Tagore, at the age of 19. Having made his home and found his creative metier there - as a student first and a teacher later - he was one of the pioneering trio of artists, along with Nandalal Bose and Benodebehari Mukherjee, who made Santiniketan the most important center for art in India between 1920 and 1947. Ramkinkar, as he was popularly known, was a man who had enormous gifts but never aired them; an artist who was single-minded in his pursuit of work but treated the results with philosophic unconcern. Indifferent to success, fame and money, he lived an unworldly and capricious life. His works reflect a great zest for the gifts of nature and deep concern for the conditions of poor and laboring people. The subject of this book is Ramkinkar's sculptures as seen through the photographic lens of Devi Prasad, supplemented by discussions on the artist's life and work in his own words and through the eyes of his students, friends and associates. Devi Prasad, who was a student at Kala Bhavan during 1938-44, went back to Santiniketan as a Visiting Professor in the year 1978. During his stay there, he undertook a photographic study of 60-odd sculptures of Ramkinkar. Towards the end of that year, during the seventh Pous celebrations, he exhibited nearly 150 of these photographs in three halls of Kala Bhavan. Ramkinkar himself, though in poor health by then, inaugurated the exhibition; he was deeply moved to see such a large photographic representation of his works.This book on Ramkinkar's sculptures by Devi Prasad is published as a tribute, to mark the artist's birth centenary year.